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  1. Plato’s Dialogues: Creating Friendship Bonds for 2400 Years.Martha C. Beck - 2018 - Dialogue and Universalism 28 (2):99-118.
    This paper is about: a) the model of friendship bonds Plato presents to us through his character, Socrates; b) the kinds of friendship bonds Plato tried to create with his students and wanted his students to create when they returned home; c) the friendship bonds lovers of Plato’s dialogues have created with each other for 2400 years; and d) the bonds that those who want to imitate Socrates should create with all of their fellowcitizens. Such bonds are critical for sustaining (...)
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  2. Protreptic and Apotreptic: Aristotle's Dialogue Protrepticus.Monte Johnson - 2018 - In Olga Alieva, Annemare Kotze & Sophie Van der Meeren (eds.), When Wisdom Calls: Philosophical Protreptic in Antiquity. Turnhout. Belgium: Brepols Publishers. pp. 111-154.
    This paper has three major aims. The first is to defend the hypothesis that Aristotle’s lost work Protrepticus was a dialogue. The second is to explore the genres of ancient apotreptics, speeches that argue against doing philosophy and show the need for protreptic responses; our exploration is guided by Aristotle’s own analysis of apotreptics as well as protreptics in his Rhetorica. The third aim is to restore to the evidence base of Aristotle’s Protrepticus an apotreptic speech that argues against doing (...)
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  3. One Man Show: Poetics and Presence in the Iliad and Odyssey.Katherine L. Kretler - 2017 - Washington, DC, USA: Center for Hellenic Studies / Harvard University Press.
    This book plumbs the virtues of the Homeric poems as scripts for solo performance. Despite academic focus on orality and on composition in performance, we have yet to fully appreciate the Iliad and Odyssey as the sophisticated scripts that they are. What is lost in the journey from the stage to the page? -/- Readers may be readily impressed by the vividness of the poems, but they may miss out on the strange presence or uncanniness that the performer evoked in (...)
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  4. Plato and His Readers. A.K. Cotton Platonic Dialogue and the Education of the Reader. Pp. X + 330. Oxford: Oxford University Press, 2014. Cased, £70, Us$125. Isbn: 978-0-19-968405-2. [REVIEW]Alex Long - 2015 - The Classical Review 65 (1):49-51.
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  5. Platonic Dialogue and the Education of the Reader.A. K. Cotton - 2014 - Oxford University Press.
    Cotton examines Plato 's ideas about education and learning, with a particular focus on the experiences a learner must go through in approaching philosophical understanding.
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  6. Plato's Republic as a Philosophical Drama on Doing Well.Ivor Ludlam - 2014 - Lexington Books.
    The Republic is widely recognized to be Plato’s masterpiece, but for centuries it has been the subject of much debate. Is it about the ideal state, or the soul, or art, or education, or something else altogether? Interpretations have been many and various, for two main reasons: studies have tended to concentrate on parts of this very long dialogue to the exclusion of other parts; and some of the opinions expressed in the dialogue are routinely regarded as being those of (...)
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  7. Why Plato Wrote by Danielle S. Allen. [REVIEW]Lloyd P. Gerson - 2013 - Common Knowledge 19 (2):391-391.
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  8. Plato's Dialogues: Path to Initiation.Carol Dunn - 2012 - Portal Books.
    The author makes the case that Plato is engaged not only in thinking but also, and more important, in doing¿that what we do with the knowledge is crucial, because it can determine the meaning and purpose of our own life. She saw that he was not merely engaging in rational philosophical discussion, but that the dialogues of Plato, especially up to the Republic, embody the Socratic exhortation for each individual to "take care for the soul." The dialogues therefore embody both (...)
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  9. Form and Content in the Philosophical Dialogue: Dialectic and Dialogue in the Lysis / Morten S. Thaning ; The Laches and 'Joint Search' Dialectic / Holger Thesleff ; The Philosophical Importance of the Dialogue Form for Plato / Charles H. Kahn ; How Did Aristotle Read a Platonic Dialogue?Jakob L. Fink - 2012 - In The Development of Dialectic From Plato to Aristotle. Cambridge University Press.
  10. Le Dialogue Socratique. By Livio Rossetti.David J. Murphy - 2012 - Ancient Philosophy 32 (2):429-433.
  11. Plato's Philosophers: The Coherence of the Dialogues.Gerald A. Press - 2012 - Journal of the History of Philosophy 50 (1):133-135.
    For most of the twentieth century, interpreters of Plato took little interest in the dramatic aspects of the dialogues, assumed Plato's teachings were directly expressed by their leading speakers, and sought to understand prima facie absences and inconsistencies among apparent teachings through a developmental picture of Plato's thought. Rarely did they explain why Plato occasionally used philosophical characters as different from each other and from Socrates as Parmenides, Timaeus, and the Eleatic Stranger, leaving Socrates present but largely silent. Nor did (...)
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  12. Die komplexe Anlage von Vorgespräch und Rahmenhandlung und andere literarisch-formale Aspekte des Symposion (172a1-178a5).Jula Wildberger - 2012 - In Christoph Horn (ed.), Platon, Symposion (Series: Klassiker Auslegen). Berlin: Akademie Verlag. pp. 17-34.
    Reads the frame of Plato’s Symposium and analyses this dialogue’s humor and literary form with a view to the philosophical import of such means of expression. Argues that the frame introduces the Symposium as an over-the-top parody of Platonic dialogue. Multiple layers of reporting and the leitmotif of mirror-imitation points the reader to the futility of such forms of reception.
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  13. Plato and the Art of Philosophical Writing.Marina Mccoy - 2011 - Ancient Philosophy 31 (1):203-208.
  14. “Trialogical” Duals in Plato’sEuthydemus: Dramatic Influence on Plato’s Illusion of the Dialogue.Wolfgang Polleichtner - 2011 - Bochumer Philosophisches Jahrbuch Fur Antike Und Mittelalter 14 (1):34-56.
  15. Plato’s Mimetic Art: The Power of the Mimetic and Complexity of Reading Plato.Gene Fendt - 2010 - Proceedings of the American Catholic Philosophical Association 84:239-252.
    Plato’s dialogues are self-defined as works of mimetic art, and the ancients clearly consider mimesis as working naturally before reason and beneath it. Such aview connects with two contemporary ideas—Rene Girard’s idea of the mimetic basis of culture and neurophysiological research into mirror neurons. Individualityarises out of, and can collapse back into our mimetic origin. This para-rational notion of mimesis as that in which and by which all our knowledge is framed requires we not only concern ourselves with Socrates’s arguments (...)
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  16. Christopher Rowe, Plato and the Art of Philosophical Writing. [REVIEW]Chloe Balla - 2009 - Rhizai. A Journal for Ancient Philosophy and Science 11:71-75.
    Review of Christopher Rowe, Plato and the Art of Philosophical Writing, Cambridge University Press, Cambridge, 2007.
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  17. Alcidamas, Isocrates, and Plato on Speech, Writing, and Philosophical Rhetoric.Marina Berzins Mccoy - 2009 - Ancient Philosophy 29 (1):45-66.
  18. Philosophy (C.) Rowe Plato and the Art of Philosophical Writing. Cambridge: Cambridge University Press, 2007. Pp. Ix + 290. £55. 9780521859325. [REVIEW]Penelope Murray - 2009 - Journal of Hellenic Studies 129:231-.
  19. Platon: La Ferveur Et les Limites D’Un Discipolat.Niadi-Corina Cernica - 2008 - Proceedings of the Xxii World Congress of Philosophy 2:239-248.
    Comment, Socrate, personnage historique et citoyen notoire de l’Athènes, est-il devenu une fiction littéraire dans les dialogues de Platon? Serait-il une réaction, assez étrange, au refus de socrate d’écrire? Quoi qu’il en soit, peu après la mort de Socrate, fait son apparition un nouveau genre nommé Socratikoi logoi. Outre Platon d’autres écrivains ont donné de telles compositions en dialogue: Eschine de Sphattos, Antistene, Aristipe, Bryson, Cebes, Criton, Euclide de Megara, Phaidon. Est-ce que les dialogues de jeunesse de Platon sont autre (...)
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  20. On Plato's Use of Socrates as a Character in His Dialogues.Hallvard Fossheim - 2008 - Rhizai. A Journal for Ancient Philosophy and Science 5:239-263.
    In this essay, it is first argued that there are several important motivations for considering as wholly legitimate the question concerning the presence of Socrates in Plato’s work. After sketching how reason in Plato’s dialogues is generally portrayed as embedded in the soul as a whole, I then apply these insights in arguing that this relation between character and thinking should inform our understanding of Plato’s Socrates as well. Socrates is present in the texts because reason, according to Plato, is (...)
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  21. Plato's Dialogues and a Common Rationale for Dialogue Form.Alex Long - 2008 - In Simon Goldhill (ed.), The End of Dialogue in Antiquity. Cambridge University Press.
  22. Dialogue and Dialectic.David Evans - 2007 - The Proceedings of the Twenty-First World Congress of Philosophy 10:61-65.
    Plato wrote dialogues, and he praised dialectic, or conversation, as a suitable style for fruitful philosophical investigation. His works are great literature; and nodoubt this quality derives much from their form as dialogues. They also have definite philosophical content; and an important part of this content is their dialecticalepistemology. Dialectic is part of the content of Plato's philosophy. Can we reconcile this content with his literary style? I shall examine and sharpen the sense of this problem by referring to four (...)
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  23. ""Philosophical Training Grounds: Socratic Sophistry and Platonic Perfection in" Symposium" and" Gorgias".Joshua Landy - 2007 - Arion 15 (1):63-122.
    Plato’s character Socrates is clearly a sophisticated logician. Why then does he fall, at times, into the most elementary fallacies? It is, I propose, because the end goal for Plato is not the mere acquisition of superior understanding but instead a well-lived life, a life lived in harmony with oneself. For such an end, accurate opinions are necessary but not sufficient: what we crucially need is a method, a procedure for ridding ourselves of those opinions that are false. Now learning (...)
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  24. Plato and the Art of Philosophical Writing.Christopher Rowe - 2007 - Cambridge University Press.
    Plato's dialogues are usually understood as simple examples of philosophy in action. In this book Professor Rowe treats them rather as literary-philosophical artefacts, shaped by Plato's desire to persuade his readers to exchange their view of life and the universe for a different view which, from their present perspective, they will barely begin to comprehend. What emerges is a radically new Plato: a Socratic throughout, who even in the late dialogues is still essentially the Plato (and the Socrates) of the (...)
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  25. A Form of Self-Transcendence of Philosophical Dialogues in Cicero and Plato and its Significance for Philology.Vittorio Hösle - 2005 - Graduate Faculty Philosophy Journal 26 (1):29-46.
    The ontological distinctiveness of a work of art, which consists, among other things, in the fact that it creates its own universe, does not preclude a work of art from occasionally pointing beyond the unity of this very universe. This may take place in a direct way, say, when a statement that occurs within the context of the aesthetic universe created by the author is intelligible if it is attributed to the author herself, but not within the aesthetic universe. The (...)
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  26. The Philosophical Importance of the Dialogue Form for Plato.Charles H. Kahn - 2005 - Graduate Faculty Philosophy Journal 26 (1):13-28.
    Much has been written on Plato’s use of the dialogue form, and his complete avoidance of the usual philosophical treatise or lecture format. I will summarize some familiar points before giving my own view.
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  27. Plato: A Very Short Introduction.Julia Annas - 2003 - Oxford University Press.
    This lively and accessible book focuses on the philosophy and argument of Plato's writings, drawing the reader into Plato's way of doing philosophy and the general themes of his thinking. It discusses Plato's style of writing: his use of the dialogue form, his use of what we today call fiction, and his philosophical transformation of myths. It also looks at his discussions of love and philosophy, his attitude towards women, and towards homosexual love. It explores Plato's claim that virtue is (...)
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  28. Dialogic Characteristics of Philosophical Discourse: The Case of Plato's Dialogues.Frederic Cossutta - 2003 - Philosophy and Rhetoric 36 (1):48-76.
  29. Grenzen des Gesprächs Über Ideen. Die Formen des Wissens Und Die Notwendigkeit der Ideen in Platons "Parmenides".Gregor Damschen - 2003 - In Gregor Damschen, Rainer Enskat & Alejandro G. Vigo (eds.), Platon und Aristoteles – sub ratione veritatis. Festschrift für Wolfgang Wieland zum 70. Geburtstag. Göttingen: Vandenhoeck & Ruprecht. pp. 31-75.
    Limits of the Conversation about Forms. Types of Knowledge and Necessity of Forms in Plato's "Parmenides". - Forms (ideas) are among the things that Plato is serious about. But about these things he says in his "Seventh Letter": "There neither is nor ever will be a treatise of mine on the subject." (341c, transl. J. Harward). Plato's statement suggests the question, why one does not and never can do justice to the Platonic forms by means of a written text about (...)
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  30. Plato as Author: The Rhetoric of Philosophy.Ann N. Michelini (ed.) - 2003 - Brill.
    This collection presents stimulating and diverse essays by scholars from several different fields; the contributors have made important contributions to the ...
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  31. The Play of Character in Plato's Dialogues.Ruby Blondell - 2002 - Cambridge University Press.
    This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek (...)
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  32. G. A. Press : Who Speaks for Plato? Studies in Platonic Anonymity. Pp. Vi + 245. Lanham, Boulder, New York, and Oxford: Rowman & Littlefield, 2000. Paper, $23.95. ISBN: 0-8476-9219-1. [REVIEW]G. Boys-Stones - 2002 - The Classical Review 52 (1):173-174.
  33. Plato and His Predecessors: The Dramatisation of Reason.John Palmer - 2002 - Philosophical Review 111 (2):299-302.
    In this ambitious and highly original study, McCabe presents an intricately structured argument designed to demonstrate Plato’s concern with fundamental issues of rationality and personhood. In doing so, she pursues themes announced in her Plato’s Individuals and in Form and Argument in Late Plato, a collection she co-edited with Christopher Gill. The development of her position via consideration of the philosophical importance of characterization and the dialogue form in the Theaetetus, Sophist, Statesman, and Philebus leads her to focus in particular (...)
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  34. Beversluis, John. Cross-Examining Socrates. A Defense of the Interlocutors in Platos Early Dialogues. [REVIEW]Thomas A. Blackson - 2001 - Review of Metaphysics 54 (3):644-645.
  35. Cross-Examining Socrates: A Defense of the Interlocutors in Plato’s Early Dialogues.John Beversluis - 2000 - Cambridge University Press.
    This book is a rereading of Plato's early dialogues from the point of view of the characters with whom Socrates engages in debate. Socrates' interlocutors are generally acknowledged to play important dialectical and dramatic roles, but no previous book has focused mainly on them. Existing studies are thoroughly dismissive of the interlocutors and reduce them to the status of mere mouthpieces for views which are hopelessly confused or demonstrably false. This book takes interlocutors seriously and treats them as genuine intellectual (...)
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  36. Plato and His Predecessors: The Dramatisation of Reason.Mary Margaret McCabe - 2000 - Cambridge University Press.
    How does Plato view his philosophical antecedents? Plato and his Predecessors considers how Plato represents his philosophical predecessors in a late quartet of dialogues: the Theaetetus, the Sophist, the Politicus and the Philebus. Why is it that the sophist Protagoras, or the monist Parmenides, or the advocate of flux, Heraclitus, are so important in these dialogues? And why are they represented as such shadowy figures, barely present at their own refutations? The explanation, the author argues, is a complex one involving (...)
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  37. Turning Toward Philosophy: Literary Device and Dramatic Structure in Plato's Dialogues, by Jill Gordon; X & 182 Pp. University Park: Pennsylvania State University Press, 1999, $32.50. [REVIEW]Kenneth Seeskin - 2000 - Philosophy and Literature 24 (2):500-502.
  38. L'âme est un corps de femme.Giulia Sissa - 2000 - Paris: Odile Jacob.
    Ce livre met le doigt sur l'un des paradoxes les plus profonds parce que les plus anciens de la culture occidentale : dans un même mouvement, les femmes se trouvent exclues de la rationalité, et l'âme n'est pensée qu'à l'aide de métaphores féminines. Cette lecture des textes classiques est un voyage au coeur de la culture occidentale où s'enracine un questionnement de la différence des sexes.
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  39. Kahn, Charles H. Plato and the Socratic Dialogue: The Philosophical Use of a Literary Form.Thomas A. Blackson - 1999 - Review of Metaphysics 53 (1):172-173.
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  40. Das Prinzip des performativen Widerspruchs. Zur epistemologischen Bedeutung der Dialogform in Platons "Euthydemos".Gregor Damschen - 1999 - Méthexis 12:89–101.
    The principle of performative contradiction. On the epistemological significance of the dialogue form in Plato's "Euthydemus". - In this study, an analysis of the section 285d-288a of Plato's "Euthydemus" shall show two things: (1) The sophistic model of a world in which there is no contradiction, in which every linguistic utterance is true and every action correct, has no semantic inconsistencies, but can only be rejected with the help of the principle of performative contradictions. (2) It is precisely these performative (...)
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  41. Dramatic Structure and Cultural Context in Plato's Laches1.C. Emlyn-Jones - 1999 - Classical Quarterly 49 (1):123-138.
    The characters in Plato's Socratic Dialogues and the sociocultural beliefs and assumptions they present have a historical dramatic setting which ranges over the last quarter of the fifth century b.c.—the period of activity of the historical Socrates. That this context is to an extent fictional is undeniable; yet this leaves open the question what the dramatic interplay of dead politicians, sophists, and other Socratic associates—not forgetting Socrates himself—signifies for the overall meaning and purpose of individual Dialogues. Are we to assume, (...)
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  42. Turning Toward Philosophy: Literary Device and Dramatic Structure in Plato's Dialogues.Jill Gordon - 1999 - Pennsylvania State University Press.
    Acknowledging the powerful impact that Plato's dialogues have had on readers, Jill Gordon shows how the literary techniques Plato used function philosophically to engage readers in doing philosophy and attracting them toward the philosophical life. The picture of philosophical activity emerging from the dialogues, as thus interpreted, is a complex process involving vision, insight, and emotion basic to the human condition rather than a resort to pure reason as an escape from it. Since the literary features of Plato's writing are (...)
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  43. E Pluribus Unum? On the Platonic `Corpus'.Charles L. Griswold - 1999 - Ancient Philosophy 19 (2):361-398.
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  44. Review. Plato and the Socratic Dialogue: The Philosophical Use of a Literary Form. CH Kahn.D. Hutchinson - 1999 - The Classical Review 49 (2):428-429.
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  45. Plato and the Socratic Dialogue: The Philosophical Use of a Literary Form (Review).David Sider - 1999 - American Journal of Philology 120 (4):624-628.
  46. The Play of the Platonic Dialogues, by Bernard Freydberg.Gerald A. Press - 1998 - Ancient Philosophy 18 (2):477.
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  47. The Historical Reader of Plato's Protagoras1.D. Wolfsdorf - 1998 - Classical Quarterly 48 (01):126-.
    The popular question why Plato wrote dramatic dialogues, which is motivated by a just fascination and perplexity for contemporary scholars about the unique form of the Platonic texts, is confused and anachronistic; for it judges the Platonic texts qua philosophical texts in terms of post–Platonic texts not written in dramatic dialogic form. In comparison with these, the form of Platos early aporetic dialogues is highly unusual. Yet, in its contemporary milieu, the form of Platonic literature is relatively normal. Dramatic dialogue (...)
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  48. Who Speaks? Who Writes?: Dialogue and Authorship in the Phaedrus.Sean Burke - 1997 - History of the Human Sciences 10 (3):40-55.
    This paper argues that the concepts of writing and authorship in Plato are associated with monologism and absence rather than presence. The Phaedrus objects to writing precisely insofar as it creates that unre sponsive figure in the field of discursive which we have subsequently called the 'author'. The dialectical preference for question-and-answer is designed to resist anything resembling an author from entering the field of knowledge: the Socratic method resists monologism on epistemological and ethical grounds. However, the Platonic dialogues are (...)
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  49. Andrea Wilson Nightingale, Genres in Dialogue: Plato and the Construct of Philosophy Reviewed By.James Crooks - 1997 - Philosophy in Review 17 (1):65-67.
  50. Sayre, Kenneth M. Plato's Literary Garden: How to Read a Platonic Dialogue.Lloyd P. Gerson - 1997 - Review of Metaphysics 50 (3):690-691.
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