In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

This paper attempts to do a comparative study on two traditions of humanistic pedagogies, West and East, represented by the Socratic and the Confucian teachings. It is intended to put into question our common misunderstanding reflected in the stereotyped contrasts between the Socratic self and the Confucian self: an intellectualist vs. a moralist, an active vs. a passive learner, and a political progressive vs. a political conservative. In this attempt, I will focus on the clarification of the idea of ‘self-knowledge’ (...) in each thinker, especially in its connection to our being virtuous or good. This bold attempt will give us a chance to view Socratic and Confucian teachings from an unfamiliar perspective, which will in turn lead us to see where and how the two thinkers’ teachings can converge and diverge in a new light for our humanistic teaching. It will also show how a comparative study in philosophy of education can contribute to constructive intercultural conversations. (shrink)

Readers of Plato since antiquity have generally taken Socrates’ intellectual autobiography in the Phaedo as a signal of his turn away from the study of natural philosophy. They have turned instead to characters such as Timaeus for evidence of Plato’s pursuit of physics. This article argues that Plato’s Socrates himself developed a philosophy of nature in his criticism of Anaxagoras and his subsequent philosophic pursuits. Socrates’ autobiography places the study of nature in a foundational position within the development of his (...) philosophic method. In the Apology, Socrates further elaborated his investigation into nature through his understanding of theology. Finally, in the Phaedrus, Socrates connects the study of nature with the study of rhetoric as tools for virtue. Therefore, Plato’s Socrates does not reject or abandon physics, as has often been suggested, but rather, he incorporates it into his own philosophic project and challenges its practitioners to connect their own inquiries with human affairs. (shrink)

The most famous Socratic question—ti esti touto?—is often pre- ceded by a far less famous, but more fundamental question—esti touto ti? Though this question is posed in many dialogues with re- spect to myriad topics, in every instance it receives but one answer: it is something, namely something that is. The dialogue devoted to why this question always meets with an affirmative answer would appear to be the Parmenides, for there Parmenides throws into question whether the eidē are, only to (...) establish that, if we have opinions that there is some unity in being, such unity must be. Nevertheless, the dramatic setting of the Parmenides is the quarreling of the Pre-Socratic schools, and the popular dismissal of philosophy that their quarreling engendered. For a dialogue that establishes that the object of inquiry is simply because we have opinions about it, we must, as I hope to show, turn to the Euthyphro. (shrink)