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The Seal of the Author: Paradigm, Logos and Myth in Plato's 'Sophist' and 'Statesman'Barry, John Conor David January 2014 (has links)
Recent trends in scholarship on Plato’s philosophy have shifted emphasis from an almost exclusive focus on inductive and deductive logical techniques, and even ethics, to the treatment of image, myth and the literary dimension, above all in the work of scholars such as Kahn, Rowe and Gonzalez. In keeping with this trend, recent scholars, like Gill, Notomi and Collobert, have postulated the need for a philosophical image on the basis of a reading of the Sophist and Statesman. This thesis examines the unique significance given to the term ‘paradigm’ in Plato’s Sophist and Statesman. Paradigm is Plato’s term for image. A close reading of these dialogues shows, however, that such an image is “philosophical” or dialectical only insofar as it leads to a proportionate grasp of higher, invisible, ethical realities. This is the connection the specialist work on image in the Sophist and Statesman bears to wider scholarship on the literary dimension of Plato.
Plato provides, in the Sophist and Statesman, three ways of making use of paradigms: (1) the use of an analogy, like the city and the soul and the weaving analogy, which is functionally equivalent to the analogy of the city and the soul, (2) an inductively defined universal essence, for example, the universal essence of a human being, like Socrates, and (3) an ethical character, like the Socrates Plato presents in his dramatic composition, or other characters presented in myth. The distancing effect Plato uses in the Sophist and Statesman suggests that Plato, himself, is the philosophical artist or image-maker.
This is an important topic for one unifying reason. The question of a philosophical image in Plato remains unanswered or inadequately answered. Although the Sophist and Statesman treat this question, the exceeding technicality of these dialogues has lead commentators, unanimously, to treat the exploration of image and essence in these Eleatic dialogues, as a kind of island, separated from Plato’s work. My study, by leading readers of Plato to a greater awareness of the importance of these works for Plato on image and Plato as artist, turns this island into a peninsula.
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La forme du dialogue chez Platon : une étude « poétique » du PhédonKramar, Natalia 08 1900 (has links)
Le présent mémoire, qui s’inscrit dans l’approche dialogique des études platoniciennes, vise à expliciter la notion de forme du dialogue chez Platon, et ce, par le biais d’une analyse « poétique » du Phédon. Dans un premier temps, une définition provisoire et approximative de cette notion sera formulée à la suite de l’examen de ses significations dans les travaux des auteurs du courant dialogique : la forme du dialogue est une forme littéraire, poétique ou dramatique, conçue comme une totalité formée de parties, gouvernée par la « nécessité logographique » et ayant une structure telle que les éléments les plus importants du dialogue figurent en son centre (en anglais : “pedimental” structure). Dans un deuxième temps, il s’agira de préciser davantage ce en quoi consiste cette forme, en posant – et en faisant une tentative de justifier – la possibilité de l’examiner sous l’angle de la Poétique d’Aristote (qui porte essentiellement sur la tragédie). Enfin, l’analyse du Phédon à partir de la Poétique aristotélicienne révèlera la forme de ce dialogue comme une forme « pédimentale » dynamique, composée de trois mouvements, traduisant – mieux, « mettant sous les yeux » – le mouvement de la pensée de Socrate (c’est-à-dire, de son âme, quintessentiellement rationnelle) en train d’élaborer la méthode d’hypothèses, et, plus généralement, une théorie de la science. Ce sont : 1) le mouvement ascendant, préscientifique, de la première partie, 2) le mouvement de retournement et de révolution « théorique » dans la partie centrale, 3) le mouvement descendant, déductif ou scientifique, de la troisième partie. / This master’s thesis, which adopts the dialogical approach to Plato studies, aims to clarify the concept of Plato’s dialogue form by means of a “poetic” analysis of the Phaedo. Firstly, after having studied the meanings of the notion of dialogue form in a range of studies that fall within the dialogical approach framework, we propose a provisional definition of the dialogue form: it is a poetic, literary or dramatic form, designed as a whole composed of parts, governed by the “logographic necessity”, and characterized by a “pedimental” structure (a structure in which the most important things are put in the centre, by analogy with the figures that are arranged in the triangular pediment of a Greek temple). Secondly, having supposed that this notion could be further clarified by applying Aristotle’s analysis of tragedy in the Poetics to Plato’s dialogues, we attempt to justify this application. Finally, the analysis of the Phaedo from Aristotle’s “poetic” perspective reveals this dialogue’s “pedimental” dynamic form, which is organized in three movements and seems to translate – or “visualize” – the movement of Socrates’ thought (i.e. of his quintessentially rational soul) while constructing the method of hypotheses, and, more generally, a theory of science. The three movements comprise: 1) the upward (pre-scientific) movement of the first part, 2) the “theoretical” mouvement (turning and revolution) of the central part, and 3) the downward (deductive or scientific) movement of the third part.
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