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Abstract  

In Der Anfang der Philosophie Hans-Georg Gadamer attributed a constitutive trait of Plato’s philosophy to the literary qualities of the dialogues, and claimed that in the transition of Greek philosophy from mythological appreciation to conceptualization (from myths to logos) fictionalization ranked high as a genuine structural element of philosophical speculation. Meanwhile Gadamer’s reconstruction of pre-Socratic philosophy in view of its Platonic reception seems to be subordinate to his conviction that Heidegger’s revolution was unprecedented in the history of philosophy.

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Halperin, David 1988 Platonic Love or What Men Call Love in: Acient Philosophy 5 (1985), reprinted in: Plato. Critical Assessments I. ed. N. D. Smith, N. Y. 1998 Routledge, 66

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This article explores the symbiotic relationship between nature and poetry, which is in many ways pivotal for Vergil’s Arcadia, as an imaginary construct. Interdependence of the ideal landscape and the poetic creativity finds an especially refined and polysemic expression in the fagus, which functions in the Eclogues simultaneously as a literary image, a metaphor, and a symbol. It is also strongly reminiscent of the proto-idyllic segment of Plato’s Phaedrus (230b-e), describing a beautiful πλάτανος that turns out to be the source of anagogic inspiration. Based on this analogy, a comparative reading of Plato’s dialogue and Vergil’s idyllic poems is offered, and the ascensus motive of Eclogue 5 reveals the Platonic echoes. The anagogic aspect of Arcadia is examined from an intertextual and interdisciplinary point of view, hopefully contributing to seize the polyphonic complexity of Vergil’s poetics.

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In his Latin translation of Plato's Letter VII 326b-c Leonardo Bruni used the already existing translation of the passage made by Cicero. The paper shows how the Florentine humanist treated the version of his master: he reproduced it with slight modifications caused by his desire for originality.

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The paper aims to show that the suggestion of Alain Le Boulluec, delivered in his commentary, according to which Clement’s divine steersman, in Stromateis VII 5, may be a criticism of Numenius, is right. Clement is alluding to the Platonic myth in the Statesman while opposing some elements of this view. There are common moments between Numenius’ and Clement’s interpretations which are not present in Plato’s account. Clement shares only the positive aspect of the activity of the Son of God described by Numenius. He rejects the Numenian dualistic ontology and its consequence, the movement, the division and the split of the second divine figure providing the sequences of providential and non-providential conditions of the world.

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Daedalus in the Metamorphoses may be interpreted as one of Ovid's typical artist figures, like Pygmalion or Arachne. A detailed comparative analysis of Ovid's two Daedalus-Icarus episodes, and similarly the structure of Met. VIII 183-259 go to show that here is Icarus in the limelight as an artist-allegory, serving to express the poet's view on poetry and his own role in it. His winged artist refuses the Horatian middle course and approaches to the winged soul of Plato's Phaedrus, representing at the same time the tragical impossibility of its attempt.

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The paper examines a fragment of Xenocrates on definition preserved by Alfarabi. Proving that the exposition of Plato’s and Aristotle’s definitions in the same fragment reflect the views of the philosophers referred to in late antique wording the author accepts Alfarabi’s report as reliable and authentic. Further comparison of Alfarabi’s passage with late antique logical views results in the statement that Xenocrates’ definition was connected with the emerging doctrine of relational syllogisms. Alfarabi's fragment exposition of Xenocrates’ hitherto unknown teaching is, consequently, exposed as part of the late antique philosophical tradition.

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This article deals with Chapter V of Kitāb al-Ṭibb al-Rūḥānī of Abū Bakr al-Rāzī (Rhazes) which is concerned with ˓ishq (love) and entitled Fī al-˓Ishq wal-Ilf wa-Jumlat al-Kalām fī al-Ladhdha or “On Love and Intimacy and a Summary Account of Pleasure”. In this chapter, al-Rāzī propounds the idea that love is an unfortunate condition that leads to subservience and surrender, madness and enervation. Previous studies on Kitāb al-Ṭibb al-Rūḥānī show that al-Rāzī based his work on the maladies of the self on Plato, Galen and the tradition of Hedonism. In this article, however, I intend to explore al-Rāzī’s views on ˓ishq and aim to contextualise them within the framework of mediaeval Arabic love theory. I propose to show, moreover, that al-Rāzī’s psychology, or more specifically his argument over ˓ishq, is based not only on “a blend of materialistic and Platonic elements”, as Lenn Evan Goodman asserts, and on “lively debates typical of Hellenistic philosophy”, as Thérèse-Anne Druart claims, but his contemplation which derives from his perception of the vicissitudes of the society and his endeavours to demolish what he considers mistaken ideas of love which were promulgated by some works of mediaeval Arabic literature. By doing so, Chapter V could be considered an exemplar of a form of mediaeval applied ethics which “addresses the moral permissibility of specific actions and practices” as it occurred in the society.

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Az alábbi tanulmányban amellett érvelek, hogy Platón Phaidrosának egyik passzusában tudatos és jól megszerkesztett allúzió olvasható Pindaros első pythói ódájára és az abban kulcsszerepet játszó Typhón mitikus alakjára. A nyelvi és gondolati párhuzamok elemzésével feltárulnak a platóni szövegrész eddig rejtett jelentésrétegei, többek között a Pindaroson túlmutató zenei metaforák. Ezzel együtt felszínre kerülnek olyan témák, mint egység és sokaság, zenei éthos és kritika, melyek Platón gondolatrendszerében központi jelentőségűek, és az elemzett passzus kifejezésmódját meghatározzák.

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Az ember életét végigkísérő „személyes daimón” gondolata először Platónnál jelenik meg a görög filozófiai hagyományban. A platóni corpus idevágó szöveghelyeit megvizsgálva azt találjuk, hogy az elképzelés komoly változáson esett át Platón filozófiáján belül, azonban az alapgondolat végig ugyanaz marad: a személyes daimón az ember sorsának a beteljesítője. Platón utódai megpróbálták mesterük olykor ellentmondásosnak tűnő elképzeléseit összeegyeztetni egymással. A tanulmányban sorra veszem azokat a szövegeket, amelyek a személyes daimón kérdésével foglalkoznak. Ezek a művek középplatonikus és újplatonikus szerzőktől maradtak ránk. A szövegek arra mutatnak, hogy a platonizmus egyes korszakaiban a személyes daimón elképzelése bizonyos sajátosságokat hordoz: míg a középső platonizmusban Sókratés daimonionjának az alakjával összeolvadva az erkölcsös életre való buzdításra szolgál, addig az újplatonizmusban a lélek megszabadulásában játszik szerepet.

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