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  1. The Carpenter as a Philosopher Artist: A Critique of Plato's Theory of Mimesis.Ilemobayo John Omogunwa - 2018 - Philosophy Pathways 222 (1).
    Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...)
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  2. Zur Systematik des μίμησις-Begriffs in Platons Kunstbegründung.Max Gottschlich - 2016 - Archiv für Begriffsgeschichte 57:7-56.
    This article engages with Plato’s justification of art and its core category, the concept of μίμησις. It will be shown that there is a sound systematic difference between two basic meanings of μίμησις in Plato. The proper understanding of this difference has considerable bearing both on the understanding of Plato and on the philosophy of art, since it enables us to bridge two gaps: First, the gap between the standpoint of the early and middle Plato with its famous criticism of (...)
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  3. Il problema delle idee di artefatto in Platone.Filippo Forcignanò - 2014 - Méthexis.
    It is widely believed that Plato promoted a version of the "one over many" argument such that there would be Forms of all things. Among these Forms are also included those of artefacts. Aristotle denies, however, that Plato would accept such Forms. The ancient Platonic tradition is unusually unanimous in denying the existence of Forms of artefacts. This paper supports three main points: (a) through a careful examination of some Platonic texts (in particular Resp. 596a) it is possible to assert (...)
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  4. Compte Rendu de F. Pelosi, Plato: On Music, Soul and Body, Cambridge, Cambridge University Press, 2010, 228 P.Catherine Collobert - 2013 - Plato: The Internet Journal of the International Plato Society (Plato 12 (2012)).
    Cet ouvrage constitue la version révisée d'une thèse de doctorat soutenue à la Scuola Normale Superiore de Pise, et traduite en anglais. Composé de quatre chapitres, l'ouvrage se propose d'abord d'examiner le rôle que Platon attribue à la musique dans l'éducation, pour ensuite analyser la relation que la musique entretient avec l'âme et le corps. F. Pelosi étudie la conception platonicienne de la musique et envisage son importance pour comprendre non seulement la relation corps-esprit chez Platon, mais (…) - 12. (...)
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  5. On the Threefold Sense of Mimesis in Plato's Republic.James Risser - 2013 - Epoché: A Journal for the History of Philosophy 17 (2):249-256.
    The traditional reading of Plato’s criticism of the poets and painters in Book 10 of the Republic is that they merely imitate. In light of Plato’s own image-making, the critique of imitation requires a more careful examination, especially in regards to painting. This paper argues that it is insufficient to view Plato’s critique of image-making by the painter solely in terms of the image replication that does not consider the eidos. In view of the context of Plato’s argument within Book (...)
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  6. Music and Pedagogy in the Platonic City. Bourgault - 2012 - Journal of Aesthetic Education 46 (1):59-72.
    The gods, however, took pity on the human race, born to suffer as it was, and gave it relief in the form of religious festivals to serve as periods of rest from its labors. They gave us the Muses, with Apollo their leader, and Dionysus; by having these gods to share their holidays, men were to be made whole again . . .That Plato1 regarded music as an extremely powerful means to cultivate morality and good citizenship is well-known.2 In the (...)
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  7. Plato on Art and Beauty.A. E. Denham (ed.) - 2012 - Palgrave-Macmillan.
  8. Plato.Robert Stecker - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 8-20.
  9. Platon: In Bildern Denken.David Ambuel - 2010 - In Johannes Grave & Arno Schubbach (eds.), Denken mit dem Bild: Platon, Plotin, Augustinus, Cusanus. Fink.
  10. Socrates' Graveyard.William Behun - 2010 - Semiotics:137-143.
    Statues, monuments, cenotaphs and markers litter the landscape of Plato’s Phaedrus. By drawing together these numerous references and examining the economy of these silent symbols, we can gain an insight into Plato’s project, especially as it relates to questions of narrative, speech and writing. While the examination of the myth of Theuth is familiar to scholars of both Plato and Derrida, what is often overlooked is the way in which writing and speech are represented in the text by monuments, which (...)
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  11. A Philosophy of Art in Plato's Republic: An Analysis of Collingwood's Proposal.José Juan González - 2010 - Proceeding of the European Society for Aesthetics 2:161-177.
    The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of the twentieth century (...)
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  12. Technê_ and the Good in Plato’s _Statesman_ and _Philebus.George Harvey - 2009 - Journal of the History of Philosophy 47 (1):1-33.
    My paper addresses a number of questions raised in the Statesman by the Eleatic Visitor’s identification of certain ontological conditions for the existence of art of due measure, and therefore of all the technai. My view is that evidence relevant to these questions can be found in the Philebus, and specifically, in an ontological doctrine presented at 23c–27c. What emerges from an examination of the Statesman and Philebus is a highly developed conception of technê, one that affords a place for (...)
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  13. Plato and Hegel on an Old Quarrel.Kalliopi Nikolopoulou - 2009 - Epoché: A Journal for the History of Philosophy 13 (2):249-266.
    This paper addresses the relationship of ancients to moderns by focusing on the “quarrel” between art and philosophy that has led to two articulations of the endof art—one in antiquity, another in modernity: Plato, who expelled the poets from his city on account of art’s irrationality, and Hegel, for whom art was no more the necessary vehicle for truth. Following Giorgio Agamben’s cue in The Man Without Content, I opt for a symptomatic reading of Plato’s condemnation of art, by foregrounding (...)
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  14. Plato's Art (C.) Rowe Plato and the Art of Philosophical Writing. Pp. X + 290. Cambridge: Cambridge University Press, 2007. Cased, £55, US$99. ISBN: 978-0-521-85932-. [REVIEW]Gerald Press - 2009 - The Classical Review 59 (1):54-.
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  15. Plato on Education and Art.Rachana Kamtekar - 2008 - In Gail Fine (ed.), The Oxford Handbook of Plato. Oxford University Press. pp. 336--359.
    The article resonates Plato's ideas on education and art. In the Apology, Socrates describes his life's mission of practicing philosophy as aimed at getting the Athenians to care for virtue; in the Gorgias, Plato claims that happiness depends entirely on education and justice; in the Protagoras and the Meno, he puzzles about whether virtue is teachable or how else it might be acquired; in the Phaedrus, he explains that teaching and persuading require knowledge of the soul and its powers, which (...)
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  16. Intelligibility in Nature, Art and Episteme.John P. Anton - 2007 - The Proceedings of the Twenty-First World Congress of Philosophy 10:3-9.
    The architectonic principle, as stated in Aristotle's Politics, is related to the arrangement of the arts, the technai, whereby it is argued that the leading art is the politike techne. Plato, in the Gorgias, has argued for an architectonic of crafts. Four technai provide the best, aei pros to beltiston therapeuousai, and they differ from the pseudo-crafts that offer pleasure while indifferent to the beltiston. The principle for arranging the architectonic is the pursuit of the best, whereby each practitioner of (...)
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  17. The Politics of Mimesis in the Platonic Dialogues: A Comment on Plato’s Art Theory From the Vantage Point of the Statesman.Constantinos V. Proimos - 2002 - International Studies in Philosophy 34 (2):83-93.
  18. Review. Of Art and Wisdom: Plato's Understanding of Techne. D Roochnik.A. Barker - 1999 - The Classical Review 49 (2):432-434.
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  19. Plato's Theory of Fine Art.Constantine Cavarnos - 1998 - Institute for Byzantine and Modern Greek Studies.
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  20. The Art of Plato. [REVIEW]Elizabeth Belfiore - 1997 - The Classical Review 47 (1):33-34.
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  21. The Art of Plato: Ten Essays in Platonic Interpretation.Susan B. Levin - 1997 - Philosophical Review 106 (3):467-470.
    As Rutherford acknowledges, there remains much disagreement on basic methodologies for the study of Plato. Briefly put, the dominant view has been that the dialogues present and argue for a range of doctrines, that is, offer us extensive and reliable evidence regarding theories espoused by Plato. Although there are numerous versions of what commentators have labeled the "doctrinal" approach, most generally put they emphasize either development or overall unity. While a second group of interpreters grants that Plato embraced theories, it (...)
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  22. Art and Philosphy in Plato's Dialogues. [REVIEW] Irwin - 1996 - Phronesis 41 (3):335-350.
  23. Review: Art and Philosophy in Plato's "Dialogues". [REVIEW]T. H. Irwin - 1996 - Phronesis 41 (3):335 - 350.
  24. Images of Excellence: Plato's Critique of the Arts.Christopher Janaway - 1995 - Oxford University Press.
    This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in (...)
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  25. Arts and Crafts in Plato and Collingwood.Christopher Janaway - 1992 - Journal of Aesthetics and Art Criticism 50 (1):45-54.
  26. Plato and the Painters.M. Morgan - 1990 - Apeiron 23:121-45.
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  27. Eva C. Keuls, "Plato and Greek Painting". [REVIEW]W. Joseph Cummins - 1982 - Journal of the History of Philosophy 20 (1):91.
  28. Plato on Beauty, Wisdom, and the Arts.J. M. E. Moravcsik & Philip Temko (eds.) - 1982 - Rowman & Littlefield.
  29. Introduction.Julius Moravcsik & Philip Temko - 1982 - In J. M. E. Moravcsik & Philip Temko (eds.), Plato on Beauty, Wisdom, and the Arts. Rowman & Littlefield.
  30. The Fire and the Sun: Why Plato Banished the Artists.John Peter Anton - 1981 - Journal of the History of Philosophy 19 (2):239-242.
  31. Did Plato Have A Theory of Art?John Fisher - 1981 - Pacific Philosophical Quarterly 62 (3):249.
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  32. The Continuities of Plato's Theory of Art.B. Lang - 1981 - Philosophical Inquiry 3 (3-4):157-166.
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  33. About Plato and About Art.I. M. Crombie - 1979 - The Classical Review 29 (01):76-.
  34. About Plato and About Art Iris Murdoch: The Fire and the Sun: Why Plato Banished the Artists. Pp. 89. Oxford: University Press, 1977. Cloth, £2·50. [REVIEW]I. M. Crombie - 1979 - The Classical Review 29 (01):76-77.
  35. Eva C. Keuls: Plato and Greek Painting. Pp. Xv + 154; 4 Plates , 2 Text Figures. Leiden: Brill, 1978. Fl. 54.Martin Robertson - 1979 - The Classical Review 29 (2):317-317.
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  36. Plato and Greek Painting.Eva C. Keuls - 1978 - Brill.
    INTRODUCTION Any scholar undertaking to add yet another book title to the already virtually uncontrollable bibliography on Plato needs justification. ...
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  37. Plato on Art and Reality.Charles Karelis - 1976 - Journal of Aesthetics and Art Criticism 34 (3):315-321.
  38. Plato, Visual Perception, and Art.George Kimball Plochmann - 1976 - Journal of Aesthetics and Art Criticism 35 (2):189-200.
  39. Plato's Theory of Art: A Reassessment.Robert W. Hall - 1974 - Journal of Aesthetics and Art Criticism 33 (1):75-82.
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  40. Plato’s View of Art. [REVIEW]Victor Menza & Whitney J. Oates - 1974 - Philosophical Review 83 (2):272.
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  41. The Ion: Plato's characterizatIon of Art.Kenneth Dorter - 1973 - Journal of Aesthetics and Art Criticism 32 (1):65-78.
  42. Plato’s View of Art. [REVIEW]S. L. - 1973 - Review of Metaphysics 27 (2):406-406.
    This book is short on pages but long on valuable content. Oates intends to refute the rather widespread contention that Plato "denied the worth of all the so-called fine arts" by an objective and historical study of the Ion, Republic, Greater Hippias, Phaedrus and Symposium. Since the author himself clearly summarizes his own thought frequently, we here need only present his final conclusion. Every human activity is valuable in direct proportion to its closeness to the domain of the ideas and, (...)
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  43. Plato’s View of Art.Whitney Jennings Oates - 1972 - New York: Scribner.
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  44. Plato’s Thought in the Making.J. D. Bastable - 1966 - Philosophical Studies (Dublin) 15:325-326.
  45. Plato and Aristotle on Musical Theory. [REVIEW]E. K. Borthwick - 1963 - The Classical Review 13 (2):160-161.
  46. Mimesis in The Arts in Plato's Laws.Edith Watson Schipper - 1963 - Journal of Aesthetics and Art Criticism 22 (2):199-202.
  47. The Platonic Ion Hellmut Flashar: Der Dialog Ion als Zeugnis platonischer Philosophie. (Akad. der Wiss. zu Berlin, Schr. der Sektion für Altertumswiss., 14.) Pp. vi + 144. Berlin: Akademie-Verlag, 1958. Paper, DM. 18. [REVIEW]H. C. Baldry - 1960 - The Classical Review 10 (02):113-115.
  48. The Platonic Ion.H. C. Baldry - 1960 - The Classical Review 10 (02):113-.
  49. LODGE, R. C. - Plato's Theory of Art. [REVIEW]I. M. Crombie - 1957 - Mind 66:273.
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  50. Das Problem der Kunst Bet Platon. [REVIEW]J. L. Ackrill - 1956 - The Classical Review 6 (2):164-165.
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