| Přispěvatelé: |
Eleni Kaklamanou, Stephen Halliwell, Margalit Finkelberg, Carlotta Capuccino, Luc Brisson, Michael Erler, Maria Pavlou, Panagiotis Thanassas, Andrea Capra, Kathryn A. Morgan, Zacharoula Petraki, Antonis Tsakmakis, Spyridon Rangos, David Horan, Pauliina Remes, E. Kaklamanou, M. Pavlou, A. Tsakmakis, Carlotta Capuccino |
| Popis: |
In Plato’s so-called ‘mixed dialogues’, dramatic and narrative styles alternate giving rise to a structural anomaly: the dialogue, usually tripartite in a proem, a middle part and an epilogue, appears two-headed. The proem ‘internal’ to the dialogical scene is preceded by an ‘external’ proem that appears paradoxical because set in a place and at a time other than the place and time of the dialogue, and often between different interlocutors. By reinterpreting the traditional role of exordia, these paradoxical proems, with their skilful narrative games, contain allusions to Plato’s thesis on what, between διήγησις and μίμησις, is ultimately the preferable style for good philosophical writing. My aim is twofold: first, to determine which style, according to Plato, is the best, indeed which style is the only appropriate one for philosophical writing as he understood it, i.e. for a responsible philosophical writing; and secondly, to prove that Plato himself decided to show us all this, in his own way, namely in the allusive way that preserves his authorial anonymity. |
