Its power to illuminate the text..., its ecumenicity of inspiration, its methodological rigor, its originality, and its philosophical profundity—all together make it one of the few philosophical interpretations that the philosopher will ...

"Being and Logos" is... a philosophical adventure of rare inspiration.... Its power to illuminate the text..., its ecumenicity of inspiration, its methodological rigor, its originality, and its philosophical profundity—all together make it one of the few philosophical interpretations that the philosopher will want to re-read along with the dialogues themselves. A superadded gift is the author's prose, which is a model of lucidity and grace." —International Philosophical Quarterly "Being and Logos is highly recommended for those who wish to learn how (...) a thoughtful scholar approaches Platonic dialogues as well as for those who wish to consider a serious discussion of some basic themes in the dialogues." —The Academic Reviewer. (shrink)

Plato's Cratylus is a brilliant but enigmatic dialogue. It bears on a topic, the relation of language to knowledge, which has never ceased to be of central philosophical importance, but tackles it in ways which at times look alien to us. In this reappraisal of the dialogue, Professor Sedley argues that the etymologies which take up well over half of it are not an embarrassing lapse or semi-private joke on Plato's part. On the contrary, if taken seriously as they should (...) be, they are the key to understanding both the dialogue itself and Plato's linguistic philosophy more broadly. The book's main argument is so formulated as to be intelligible to readers with no knowledge of Greek, and will have a significant impact both on the study of Plato and on the history of linguistic thought. (shrink)

Plato's examination of False Statement is, like many of his discussions in the later dialogues, a mixture of complete lucidity with extreme obscurity. Any English student who seeks to understand it will of course turn first to Professor Cornford's translation and commentary; and if he next reads what M. Diès has to say in the Introduction to his Budé edition of the Sophist he will, I think, have sufficient acquaintance with the views of modern Platonic scholars on the subject. For (...) myself, at least, I have not gained any further understanding from other writers than these two. (shrink)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Of the later dialogues of Plato, the Sophists stand out. This article highlights the concept of sophist as propounded by Plato. A didactic approach runs through the text. Socrates harps on the relation between sophist, philosopher and a statesman. Are they three different or they are the same. The basic idea that Plato wants to convey is, both features highlight some of the key enigmas of the dialogue: What is the relation between the outer and middle parts? How seriously are (...) we to take the outer part? And is there a genuine, and successful, attempt to say what the sophist is? The article focuses on two key problems discussed and solved in the middle part: the late-learners' problem, and the problem of false statement. The article also discusses communion of kinds and Plato's idea of the four quartets. (shrink)

In this book, William H. F. Altman argues that it is not order of composition but reading order that makes Euthyphro, Apology of Socrates, Crito, and Phaedo “late dialogues,” and shows why Plato’s decision to interpolate the notoriously “late” Sophist and Statesman between Euthyphro and Apology deserves more respect from interpreters.

Plato's great attempt to define the nature of the sophist -- the false image of the philosopher -- has perplexed readers from classical times to the present. The dialogue has been central in the ongoing debate about the theory of forms, and it remains a crucial text for Plato scholars in both the analytical and the phenomenological traditions. Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. He (...) follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent technical themes and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. Rosen's new approach to the technical issues in the dialogue will be of interest to Plato scholars of all schools, and his analysis of the sophistical dimension of the world will engage all who have puzzled over what it means to be a philosopher. (shrink)

In the Statesman , Plato brings together--only to challenge and displace--his own crowning contributions to philosophical method, political theory, and drama. In his 1980 study, reprinted here, Mitchell Miller employs literary theory and conceptual analysis to expose the philosophical, political, and pedagogical conflict that is the underlying context of the dialogue, revealing that its chaotic variety of movements is actually a carefully harmonized act of realizing the mean. The original study left one question outstanding: what specifically, in the metaphysical order (...) of things, motivated the nameless Visitor from Elea to abandon bifurcation for his consummating non-bifurcatory division of fifteen kinds at the end of the dialogue? Miller addressed in a separate essay, first published in 1999 and reprinted here. In it, he opens the horizon of interpretation to include the new metaphysics of the Parmenides , the Philebus , and the "unwritten teachings." "This study demonstrates how the Statesman is the culminating expression of Plato's lifelong effort, both in Athens and in the Academy, to bring metaphysical insight to the unending political crisis of his times."The Philosopher in Plato's Statesman a trail-blazing work. While not every reader will agree with the lessons Miller himself draws from this approach, none should fail to be impressed by its interpretive power. All this is exciting stuff. The interpretive pathway on which Miller has embarked has the potential for changing the face of scholarship on the late Platonic dialogues. Parmenides [Publishing] is to be commended for making these two important contributions available under a single cover." -- Kenneth Sayre, Professor of Philosophy, University of Notre Dame "Miller casts considerable light on virtually every aspect of the dialogue. . . . All in all, this book is an outstanding contribution to our understanding of the Statesman." -- Stanley Rosen, Borden Parker Bowne Professor of Philosophy, Boston University MITCHELL MILLER is Professor of Philosophy at Vassar College. He is the author of Plato's Parmenides. (shrink)

Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. He follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent technical themes (...) and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. (shrink)

The word myth is commonly thought to mean a fictional story, but few know that Plato was the first to use the term muthos in that sense. He also used muthos to describe the practice of making and telling stories, the oral transmission of all that a community keeps in its collective memory. In the first part of Plato the Myth Maker , Luc Brisson reconstructs Plato's multifaceted description of muthos in light of the latter's Atlantis story. The second part (...) of the book contrasts this sense of myth with another form of speech that Plato believed was far superior: the logos of philosophy. Gerard Naddaf's substantial introduction shows the originality and importance both of Brisson's method and of Plato's analysis and places it in the context of contemporary debates over the origin and evolution of the oral tradition. "[Brisson] contrasts muthos with the logos found at the heart of the philosophical reading. [He] does an excellent job of analyzing Plato's use of the two speech forms, and the translator's introduction does considerable service in setting the tone."-- Library Journal. (shrink)

Plato's later dialogue, the Sophist, is deemed one of the greatest works in the history of philosophy, but scholars have been shy of confronting the central problem of the dialogue. For Plato, defining the sophist is the basic philosophical problem: any inquirer must face the 'sophist within us' in order to secure the very possibility of dialogue, and of philosophy, against sophistic counterattack. Examining the connection between the large and difficult philosophical issues discussed in the Sophist in relation to the (...) basic problem of defining the sophist, Dr Notomi shows how Plato struggles with and solves all these problems in a single line of inquiry. His interpretation of the whole dialogue finally reveals how the philosopher should differ from the sophist. (shrink)

Contradicting the long-held belief that Aristotle was the first to discuss individuation systematically, Mary Margaret McCabe argues that Plato was concerned with what makes something a something and that he solved the problem in a ...

This volume reconstructs Martin Heidegger's lecture course at the University of Marburg in the winter semester of 1924-25, which was devoted to an interpretation of Plato and Aristotle.

In engaging five of Plato's dialogues—Theaetetus, Euthyphro, Cratylus, Sophist, and Statesman—and by paying particular attention to Socrates' intellectual defense in the "philosophic trial" by the Stranger from Elea, Jacob Howland illuminates Plato's understanding of the proper relationship between philosophy and politics. This insightful and innovative study illustrates the Plato's understanding of the difference between sophistry and philosophy, and it identifies the innate contradictions of political philosophy that Plato observed and remain entrenched within the field to this day. This is essential (...) reading for anyone interested in the past, present, and future of political philosophy. (shrink)

Outstanding translations by leading contemporary scholars--many commissioned especially for this volume--are presented here in the first single edition to include the entire surviving corpus of works attributed to Plato in antiquity. In his introductory essay, John Cooper explains the presentation of these works, discusses questions concerning the chronology of their composition, comments on the dialogue form in which Plato wrote, and offers guidance on approaching the reading and study of Plato's works. Also included are concise introductions by Cooper and Hutchinson (...) to each translation, meticulous annotation designed to serve both scholar and general reader, and a comprehensive index. This handsome volume offers fine paper and a high-quality Smyth-sewn cloth binding in a sturdy, elegant edition. (shrink)

A new edition of a classic work compares Plato's dialogues to Aristotle's depiction of them. Reprint.

This 1995 book takes as its starting point Plato's incorporation of specific genres of poetry and rhetoric into his dialogues. The author argues that Plato's 'dialogues' with traditional genres are part and parcel of his effort to define 'philosophy'. Before Plato, 'philosophy' designated 'intellectual cultivation' in the broadest sense. When Plato appropriated the term for his own intellectual project, he created a new and specialised discipline. In order to define and legitimise 'philosophy', Plato had to match it against genres of (...) discourse that had authority and currency in democratic Athens. By incorporating the text or discourse of another genre, Plato 'defines' his new brand of wisdom in opposition to traditional modes of thinking and speaking. By targeting individual genres of discourse Plato marks the boundaries of 'philosophy' as a discursive and as a social practice. (shrink)

Marina McCoy explores Plato's treatment of the rhetoric of philosophers and sophists through a thematic treatment of six different Platonic dialogues, including Apology, Protagoras, Gorgias, Republic, Sophist, and Phaedras. She argues that Plato presents the philosopher and the sophist as difficult to distinguish, insofar as both use rhetoric as part of their arguments. Plato does not present philosophy as rhetoric-free, but rather shows that rhetoric is an integral part of philosophy. However, the philosopher and the sophist are distinguished by the (...) philosopher's love of the forms as the ultimate objects of desire. It is this love of the forms that informs the philosopher's rhetoric, which he uses to lead his partner to better understand his deepest desires. McCoy's work is of interest to philosophers, classicists, and communications specialists alike in its careful yet comprehensive treatment of philosophy, sophistry, and rhetoric as portrayed through the drama of the dialogues. (shrink)

In this award-winning study of the _Phaedrus_, Charles Griswold focuses on the theme of "self-knowledge." Relying on the principle that form and content are equally important to the dialogue's meaning, Griswold shows how the concept of self-knowledge unifies the profusion of issues set forth by Plato. Included are a new preface and an updated comprehensive bibliography of works on the _Phaedrus_.

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 (...) 'character' words, including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero. (shrink)

MANY READERS HAVE TAKEN THE ELEATIC STRANGER to represent a later stage of Plato’s philosophical development because the arguments or doctrines the Stranger presents in the Sophist appear to be better than those Socrates articulates in earlier dialogues. In particular, in the Sophist Plato shows the Stranger answering two questions Socrates proved unable to resolve in two of his conversations the day before. In the Theaetetus Socrates admitted that he had long been perplexed by the fact of false opinion; he (...) was not able to explain how it was possible. Likewise, in the Cratylus Socrates and his interlocutors were not able to determine satisfactorily the relation between names and the things to which they refer. Through his teaching about the idea of the other, the Stranger shows not only how false opinion is possible but also why names do not always correspond to the kinds or ideas of things. More generally, in the course of his account of previous thought the Stranger presents a fundamental critique of the teaching of “friends of the forms” like Socrates. When we examine the definition of the sophist to which the Stranger comes at the end of the dialogue, however, we find reasons to question the adequacy of his teaching and, consequently, his superiority to Socrates. If philosophy consists in knowledge—of the whole or merely of self— we are forced to conclude, neither the Stranger nor Socrates is a philosopher. Each or even both might appear, therefore, to be a pretender—or sophist. If, on the other hand, philosophy consists in the search for knowledge by means of a dialectical sorting of things according to kinds, Socrates and the Stranger represent two different, although related types. (shrink)

The Sophist and Statesman are late Platonic dialogues, whose relative dates are established by their stylistic similarity to the Laws, a work that was apparently still “on the wax” at the time of Plato's death (Diogenes Laertius III.37). These dialogues are important in exhibiting Plato'sviews on method and metaphysics after he criticized his own most famous contribution to the history of philosophy, the theory of separate, immaterial forms, in the Parmenides. The Statesman also offers a transitional statement of Plato's political (...) philosophy between the Republic and the Laws. The Sophist and Statesman show the author's increasing interest in mundane and practical knowledge. In this respect they seem more down-to-earth and Aristotelian in tone than dialogues dated to Plato's middle period like the Phaedo and the Republic. This essay will focus on method and metaphysics. (shrink)

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)