柏拉图的斐多篇与“格劳库斯的艺术”:超越发展主义的扭曲

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
W. Altman
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引用次数: 0

摘要

在1985年一篇名为《格劳科斯的艺术》的文章中,迪斯金·克莱提出,《费多》中地质神话开头的神秘段落提到了《共和国》,其中灵魂被比作海洋生物格劳科斯,他的真实本性和灵魂一样,被水下生活的扭曲所掩盖。从为克莱的巧妙建议辩护开始,我的目的是比较《费多托·格劳克斯篇》,它的真实本质被关于柏拉图创作对话的顺序的传统假设所掩盖,因此应该如何阅读它们。克莱的论点没有被接受的部分原因是因为它与费多不能引用《理想国》的信条相冲突;我想挑战这个教条。借用凯瑟琳·扎克特(Catherine Zuckert)的观点,既然《费多篇》出现在苏格拉底故事的结尾,它可以被有效地解读为柏拉图式对话的高潮,我将展示一个“晚期”的《费多篇》,即。,一种对对话的解读是开放的,它指的是一个以上的对话的可能性,通常被认为是比它晚的,就作曲而言,恢复了它的真实本质,目前被过时的发展主义的牡蛎和海藻所覆盖,这种发展主义遮蔽了柏拉图戏剧和哲学艺术的最终杰作。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Plato’s Phaedo and “the Art of Glaucus”: Transcending the Distortions of Developmentalism
In a 1985 article entitled “The Art of Glaukos,” Diskin Clay suggested that the enigmatic passage at the beginning of the geological myth in Phaedoreferred toRepublic10, where the soul is likened to the sea-creature Glaucus whose true nature, like the soul’s, is obscured by the distortions imposed by underwater life. Starting with a defense of Clay’s ingenious suggestion, my purpose is to compare Phaedoto Glaucus, with its true nature obscured by traditional assumptions about the order in which Plato composed his dialogues, and thus how they should be read. At least part of the reason that Clay’s thesis has not been embraced is because it clashes with the dogma that Phaedocannot refer back to Republic; I want to challenge that dogma. Borrowing from Catherine Zuckert the notion that, since Phaedocomes at the end of Socrates’ story, it can usefully be read as the culmination of the Platonic dialogues, I will show how a “late” Phaedo—i.e., a reading of the dialogue that is open to the possibility that it refers to more than one dialogue generally considered to be later than it with respect to composition—recovers its true nature, presently encrusted with the oysters and seaweed of an outdated developmentalism that has obscured this culminating masterpiece of Plato’s dramatic and philosophical art.
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