Gail Fine (ed.) 20192 Plato
Fine 2019 Plato
The Oxford Handbook of Plato, (Second Edition),
Oxford: University Press
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ToC of Fine 2019 Plato
Table of Contents |
Contributors
Index Locorum Index Nominum General Index |
General topic(s) of the book |
The volume collects many contributions describing in detail of Plato's philosophy. Some of these aspects are useful to better understand some consideration of Giorgio Buccellati in his volume "When on High the Heavens...". |
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Extended summary of Fine 2019 Plato
A handbook on Plato could be organized in different ways. One might have chapters just on individual dialogues, just on particular topics, or chapters of both sorts. This volume favors the last of these three options. This makes the volume richer and more varied than it would otherwise have been, providing different angles from which to view Plato’s multi-textured thought. Each dialogue is an integral whole and should be read as such, with proper attention to and appreciation of its overall structure and the interconnections among its various themes and arguments; one also needs to pay attention to the dialectical and dramatic context. If one focuses just on what is said on a given topic, abstracting it from its context, one runs the risk of misinterpretation. On the other hand, Plato discusses the same topics in many dialogues. Some dialogues seem to have the same, or similar, views; by considering them together, we can paint a fuller picture of Plato’s thought (Gail Fine, in Chapter 1. Introduction, p. 1).
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Excerpts from Fine 2019 Plato
Forms | pp. 233-234 (by S. Peterson) |
"Form" is the standard and unavoidable rendering of Socrates' word eidos (129a). Eidos, literally "that which is seen," or "aspect," indicates a feature or attribute via which something may be viewed. I may view or consider my teacup in various aspects: as vessel, pottery, blue.... The English "form," from the Latin translation forma for eidos, is unhelpful for those not thinking in Latin. "Form" most usually means either "shape-outline" (as in "form-fitting") or "variety" (as in "What form of welcome did you expect?"). Instead Socrates here means a noticeable feature. Forms such as likeness and unlikeness, as Socrates later says, are "grasped in reasoning" (130a2). That is, they are intelligible content. Without the presupposition that there are the two opposites likeness and unlikeness Zeno's statement that to be both like and unlike is to suffer impossibilities would have no content. Zeno's attempted reduction to absurdity incoherently relies on a hidden premise entailing exactly what he targets for reductio. |