By Julia Annas
This energetic and obtainable e-book specializes in the philosophy and argument of Plato's writings, drawing the reader into Plato's approach of doing philosophy and the final subject matters of his pondering. It discusses Plato's kind of writing: his use of the discussion shape, his use of what we this present day name fiction, and his philosophical transformation of myths. It additionally seems at his discussions of affection and philosophy, his perspective in the direction of ladies, and in the direction of gay love. It explores Plato's declare that advantage is adequate for happiness and touches on his arguments for the immorality of the soul and his principles in regards to the nature of the universe.
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Extra resources for Plato: A Very Short Introduction (Very Short Introductions - 79)
Firstly, he thinks of their role as limited. Some of the dialogues are written in ways that will draw in the unphilosophical, but this is a level at which we are not encouraged to stay. Even in the easier, attractive dialogues there is always a clear message that philosophy goes on to argue, to examine, and to test claims in a way that leaves behind their appeal to the imagination. And further, Plato rejects the idea that imagination and creativity have value of their own; he uses them only in the service of furthering what he takes to be true positions.
Some of his works are as famous for their literary as for their philosophical aspects. Even the more subdued contain metaphors, comic passages, and other attention-grabbers. One of the most striking things about his works, moreover, is that they are all cast in a dramatic form-either a dialogue between two or more people or a monologue, sometimes reporting others dialogue. Many of these writings characterize various speakers, guide the discussion, and keep the reader involved with great skill. Nothing could seem further from the specialized, often technical, and academic form in which most philosophers have written.
Fin de siècle Plato. 51 Homosexuality was literally unspeakable, and Plato was made available in bowdlerized and misleading translations. At the same time, there was a general anxious half-awareness that Platonic love was not socially approved heterosexual love. Jean Delville's Symbolist painting The School of Plato expresses this attitude well. Plato is presented as a spiritual figure reminiscent of Christ, with twelve disciples, who are depicted as naked and androgynous, indicating that they are sexless souls, but who look unmistakably like feminized beautiful young men grouped around an older mentor.
Plato: A Very Short Introduction (Very Short Introductions - 79) by Julia Annas