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Inaug.-Diss.--Kiel, 1906.

<p>Bilagor: Partitur till kammaroperan <em>Förlossningen</em> och stråkverket <em>Timaeus</em> medföljer, likaså ljudinspelning på bägge verken.</p>

In the Timaeus Plato sets forth his cosmological system, and near the beginning of the dialogue he carefully qualifies his claims by saying that his account of the cosmos is not absolutely true, but only no less likely than any other account. Rather than being an offhand remark, this statement is key to understanding Plato's aim in constructing his cosmological myth. Plato's epistemological position prevents him from making strong assertions about physical objects and phenomena, but does allow him to make assertions of truth in morality and metaphysics. Thus while the Timaeus is ostensibly an account of the physical universe, for Plato its true value is in using the physical universe as a mythological symbol for moral and metaphysical truth. Plato's account is no less likely than those of other ancient cosmologists because multiple accounts can fit with the observed phenomena. However, his account, while no more likely, is superior to those of others in that it avoids impiety and, by qualifying its claims about the physical universe, is not threatened by future observations. / text

Critics have declined to acknowledge the influence of Platonism on Keats' poetry except in its most rudimentary form. Close analysis of a contemporary translation of Plato's Timaeus, however, reveals many connections between Keats' thought and the mythology of the dialogue. This thesis contends that Thomas Taylor's translation of and commentaries on the Timaeus underlie much of the mythological structure of Keats' Hyperion and the system of salvation which Keats later develops in his vale of soul-making letter. It is true that the poet before 1818 decries the importance of "philosophy," but when the problem of evil comes to haunt him, he is forced to confess his need to understand the world within a philosophical framework. The mythology of the Timaeus provides him with such a framework. It cannot be proven absolutely perhaps that Keats was dependent upon the Timaeus in his own myth-making, but there appears to be a number of very direct influences of the dialogue on his letters and on Hyperion -- these are outlined in Chapters Two and Three. What is of most importance in the study of Keats' mythology is the way in which the poet eventually reshapes and moves beyond Platonism to answer the problem of evil and to establish a mythology of his own, a mythology which finds embodiment in the vale of soul-making and in the odes of 181°. Chapter One traces the growth of Keats from a poet who prefers to delight in sensations to one who seeks philosophic truth. It establishes his religious and philosophic beliefs before and after the problem of evil (recorded in March 1818) is brought home to him, and indicates how he modifies on ^'builds upon those beliefs. In the Mansion of Many Apartments and the March of Intellect letter, Keats introduces the allegories which later become the basis of the mythology of Hyperion. Chapter Two explores the process of Keats' myth-making in Hyperion and reveals to what extent the poet depends upon the Timaeus to answer the problem of evil. Keats is determined to show how the Principle of Beauty is inherent in the world, and he adopts the Platonic world-view to explain that mortality and mutability are really calculated towards a greater good, are not to be considered evils. The philosophic argument, sustained in the structure of the poem, falls apart on the emotional level, however: Keats' tragic vision as exemplified in the Titans is not compensated by the philosophic argument. The failure of Hyperion to build a mythology induces the poet to reassess the problem of evil, to rework its parameters, and the effort leads finally to the resolution of the problem and to Keats' own mythology. The final chapter establishes how, from the Pythagorean concept of soul found in the Timaeus, Keats develops his theology of soul-making. His- system of spirit-creation moves far beyond Platonism and becomes the basis of the poet's own, independent mythology. But although Platonism is abandoned, its contribution to the thought of Keats should not be underestimated: in measuring his own ideas against it, Keats is able finally to define his own philosophy, to answer the problem of evil. The odes of 1819 are a series of myths which develop and sustain Keats' vision. In each one Keats illustrates the weaknesses of traditional Greek theology, offering in its stead one more appropriate to modern England, one which explains the role of evil in man's personal salvation. If we are to know Keats' mythology, it is to the odes that we must turn. / Arts, Faculty of / English, Department of / Graduate

The purpose of the present study is to assess the explanatory value of the concept of the World Soul in the cosmological account of Plato&rsquo / s Timaeus. The World Soul plays a crucial role in the account of the world of Becoming in the Timaeus and in Plato&rsquo / s philosophy of science. The World Soul explains why there is motion at all in the universe and sustains the regularity and uniformity of the motion of the celestial objects. Its constitution and the way it is generated by the Demiurge endow it an intermediary status between the world of Being and the world of Becoming. Through this status the World Soul facilitates the applicability of the items of the former world (Forms and Numbers) in the explanation of the latter, hence makes natural science possible. The appreciation of the place of the World Soul in the natural philosophy of Plato leads us to a better place to view Plato&rsquo / s contribution to ancient natural philosophy and science.

Η συγκεκριμένη έρευνα επιδιώκει την διερεύνηση της φύσης των τριών διακριτών γενών του όντος, στηριζόμενη στις αναφορές του πλατωνικού Τίμαιου. Αρχικά, διευρενάται η φύση του γένους της Υποδοχης και στην συνέχεια γίνεται η απόπειρα προσέγγισης των γενών του Είναι και του Γίγνεσθαι, ενω επιδιώκεται παράλληλα και η ανάλυση των χαρακτηριστικών των υπο εξέτασιν γενών. Εξετάζοντας την σχέση των γενών, αντιλαμβανόμαστε την θέση στην οποίαν κατατάσσονται στην πλατωνική, αξιολογική ιεραρχία. Με αυτόν τον τρόπο, επιδίωκεται η κατανόηση του είδους της πραγματικότητας του γιγνόμενου κόσμου, αλλά και η απόλυτη πραγματικότητα του Είναι που υπερβαίνει τον αισθητό κόσμο. / This research aims to investigate the nature of the three distinct kind of Being, based on reports of Plato's Timaeus. Firstly, we are going to discover the nature of the third kind, the Receptacle,and then we are attempt to analyze the kind of Being and Becoming. Furthermore,we present and analyze the characteristics of the kinds, which are investigated.Examining the relationship of Being,Becoming and Chora it is possible to understand the position in which they possess in Platonic hierarchy. In this way,we could understand the kind of reality of sensible world and the ultimate reality of Being which is beyond the observable universe.

Thesis (doctoral)--Vrije Universiteit te Amsterdam, 1983. / Summary in Dutch. Includes indexes. Includes bibliographical references (p. [555]-569).

Thesis (doctoral)--Vrije Universiteit te Amsterdam, 1983. / Summary in Dutch. Includes indexes. Includes bibliographical references (p. [555]-569).

Made available in DSpace on 2015-05-14T12:11:56Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1000463 bytes, checksum: edec4944de2f1d5da7cb9e69a2a0b0cc (MD5) Previous issue date: 2014-11-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this research we examine the mortal soul and its disorders (pathémata) in Plato's Timaeus, to show that in this dialogue Plato extends the concept of death (thánatos) to explain the bond (syndouménes) and the association or communion (koinonía) between the mortal soul and the body. Plato relates the notion of death to the field of philosophy, so that on the one hand, the attribute mortal indicates the composition of human body and of all physical, visible and tangible beings; and sustains the state of dissolution and corruption of these (Timaeus 42e - 43a). Whereas on the other hand it indicates the intrinsic association (koinonía) between the deadly form of the body and mind both of distinct natures. This makes us infer that the deadly attribute (thnetón) is not used by Plato to designate the death of the mortal soul génos (téns psychéns thnetòn génos, Timaeus 69 d-e). Nowhere in the passages of the Timaeus Plato says that the eidos/génos of mortal soul is an elementary being and therefore, is natural to the human body and other beings. In a kind of divine and philosophical demiurge, Plato mixes psychic and physical aspects and demonstrates that the soul of mortal eidos is stuck in the body (sôma) through the medulla (myelós) and that the bonds of every human soul is anchored (ankurôn) in the bone marrow. Thus, the mortal soul feels and vigorates all body parts and accepts the disorders (pathémata) arising from its union with Soma. This reflection helps Plato demonstrate how the body affects the soul (psyché) and how affections (páthos) and passions (tà pathé) are born. It also helps him clarify the true meaning of mortal attributes (tòn thnetón) in relation to the form of mortal soul. Hence, the mortal attribute does not express the death (thánatos) of eídos/génos of mortal humon soul. It is just a Platonic dialectics of action encountered in the psychic tendencies of each of us that explains the complex union of thánatos with psyché sôma, aimed at the formation of virtuous and righteous citizens, the sole purpose (télos) of his philosophy. / Nossa pesquisa examina a alma mortal e suas afecções (pathémata) no Timeu de Platão, com o propósito de demonstrar que o filósofo amplia a noção de morte (thánatos), nesse diálogo, para explicar o vínculo (syndouménes) e a associação ou koinonía entre a alma mortal e o corpo. Platão transpõe a noção de morte para o campo de sua filosofia, de modo que por um lado, o atributo mortal indica a composição do corpo do homem e de todos os seres ditos físicos, visíveis e tangíveis; e ampara o estado de dissolução e corrupção destes (Timeu 42e - 43a); e por outro lado, passa a indicar a intrínseca koinonía entre a forma de alma mortal e o corpo, ambos de naturezas distintas; o que nos fez inferir, que o atributo mortal (thnetón) não é usado por Platão para designar a morte do génos de alma mortal (téns psychéns thnetòn génos, Timeu 69d-e); considerando sobretudo, que o filósofo não diz em nenhuma passagem do Timeu, que o eidos/génos de alma mortal é um ser elementar, portanto, de natureza afim ao corpo e demais seres da phýsis. Numa espécie de demiurgia divina e filosófica, Platão mescla aspectos anímicos e físicos e demonstra que a alma de eídos mortal está encravada no corpo (sôma) através da medula (myelós), ou seja, é na medula que estão ancorados (ankurôn) os laços de toda a alma humana. Dessa maneira, a alma mortal sente e vivifica todos os órgãos e partes corpóreas e acolhe afecções (pathémata), originadas de sua união com sôma. Essa reflexão propicia a Platão demonstrar como o corpo afeta a alma (psyché) e como surgem os afetos (páthos) e paixões (tà pathé) humanas; e esclarecer o verdadeiro sentido do atributo mortal (tòn thnetón) aplicado por ele à forma de alma mortal. Portanto, o atributo mortal não expressa a morte (thánatos) do eidos/génos de alma mortal do homem, é apenas um recurso da dialética platônica para conhecer as tendências anímicas de cada um de nós e explicar a complexa união psyché thánatos-sôma, com vistas à formação de cidadãos virtuosos e justos, a finalidade (télos) precípua de sua filosofia.