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Plato's entire fictive world is permeated with philosophical concern for Eros, well beyond the so-called erotic dialogues. Several metaphysical, epistemological and cosmological conversations - Timaeus, Cratylus, Parmenides, Theaetetus and Phaedo - demonstrate that Eros lies at the root of the human condition and that properly guided Eros is the essence of a life well lived. This book presents a holistic vision of Eros, beginning with the presence of Eros at the origin of the cosmos and the human soul, surveying four types of human self-cultivation aimed at good guidance of Eros and concluding with human death as a return to our origins. The book challenges conventional wisdom regarding the 'erotic dialogues' and demonstrates that Plato's world is erotic from beginning to end: the human soul is primordially erotic and the well-cultivated erotic soul can best remember and return to its origins, its lifelong erotic desire.
This book examines the fundamental importance of eros in Plato's writing, which views the human soul as primordially erotic. Challenging the traditional designation of specific dialogues as the "erotic dialogues," Jill Gordon argues that eros permeates Plato's fictive world, including the metaphysical, epistemological, and cosmological conversations in Timaeus, Cratylus, Parmenides, Theaetetus, and Phaedo.
The Symposium and the Phaedrus are combined here because of their shared theme: a reflection on the nature of erotic love, the love that begins with sexual desire but can transcend that origin and reach even the heights of religious ecstasy. This reflection is carried out explicitly in the speeches and conversations in the dialogues, and implicitly in the dramatic depiction of actions and characters. Thus, the two dialogues deal with a theme of enduring interest and are interesting for both their literary and their philosophical character. In addition to the introduction, the book contains substantial commentaries and thorough endnotes. Key Greek terms are discussed for readers who are unfamiliar with the language. A special feature is a discussion on the importance of the dramatic and literary aspects of the dialogues for interpreting their philosophical content. The introductions deal with the nature of the dialogues themselves as philosophical texts and with Plato's philosophical assumptions and key concepts, as well as with the necessary background of Athenian society. The endnotes clarify any ambiguities and obscurities in the original text, identifying all references to people, places, gods, et cetera. The commentaries are designed to open up the dialogues for the reader, showing the issues that have been debated by commentators and considering some of the responses to them. They are designed to stimulate further reflection.
Once in a while one comes across a work that strikes one as the definitive word on the text it examines. This is such a work' - David Walsh. This substantial study presents an in-depth and meticulous study of Plato's treatment of love in Symposium, Phaedrus and the Seventh Letter.
Masterfully leading the reader through the seven scenes of the drama, Cropsey shows how they are, to an astonishing degree, concerned with the resources available to help us survive in such a world.
The book then explores the Lysis and the Phaedrus, which both address how the object arises, in two different ways, the Socratic and the Platonic."--BOOK JACKET.
Ironically, the philosophy of love has long been neglected by philosophers, so-called “lovers of wisdom,” who would seemingly need to understand how one best becomes a lover. In Kierkegaard and the Philosophy of Love, Michael Strawser shows that the philosophy of love lies at the heart of Kierkegaard’s writings, as he argues that the central issue of Kierkegaard’s authorship can and should be understood more broadly as the task of becoming a lover. Strawser starts by identifying the questions (How should I love the other? Is self-love possible? How can I love God?) and themes (love’s immediacy, intentionality, unity, and eternity) that are central to the philosophy of love, and he develops a rich context that includes analyses of the conceptions of love found in Plato, Spinoza, and Hegel, as well as prominent contemporary thinkers. Strawser provides an original and wide-ranging analysis of Kierkegaard’s writings—from the early The Concept of Irony and Edifying Discourses to the late The Moment, while maintaining the prominence of Works of Love— to demonstrate how Kierkegaard’s writings on love are relevant to the emerging study of the philosophy of love today. The most unique perspective of this work, however, is Strawser’s argument that Kierkegaard’s writings on love are most fruitfully understood within the context of a phenomenology of love. In interpreting Kierkegaard as a phenomenologist of love, Strawser claims that it is not Husserl and Heidegger that we should look to for a connection in the first instance, but rather Max Scheler, Dietrich von Hildebrand, Emmanuel Levinas, and most importantly, Jean-Luc Marion, who for the most part center their thinking on the phenomenological nature of love. Based on an analysis of the works of these thinkers together with Kierkegaard’s writings, Strawser argues that Kierkegaard presents readers with a first phenomenology of love, a point of view that serves as a unifying perspective throughout this work while also pointing to areas for future scholarship. Overall, this work brings seemingly divergent perspectives into a unity brought about through a focus on love—which is, after all, a unifying force.
Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater.