David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Philosophy Compass 7 (10):669-678 (2012)
A passage in Plato’s Laws offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes used to attack it, sometimes to praise it. The explanation evidently lies in Plato’s understanding of drama, which in the Laws has grown more precise, from simply the presentation of characters to the presentation of multiple characters engaged in dramatic conflict
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References found in this work BETA
G. R. F. Ferrari (1987). Listening to the Cicadas: A Study of Plato's Phaedrus. Cambridge University Press.
Leon Golden (1975). Plato's Concept of Mimesis. British Journal of Aesthetics 15 (2):118-131.
Eric Alfred Havelock (1963). Preface to Plato. Cambridge, Belknap Press, Harvard University Press.
Christopher Janaway (1992). Craft and Fineness in Plato's Ion'. Oxford Studies in Ancient Philosophy 10:1-23.
Christopher Janaway (1995). Images of Excellence: Plato's Critique of the Arts. Oxford University Press.
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