Myth and philosophy on stage in Platonic dialogues
Tofighian, O.
Citation
Tofighian, O. (2010, January 19). Myth and philosophy on stage in Platonic dialogues. Faculty of Humanities, Leiden University. Retrieved from https://hdl.handle.net/1887/14566
Version: Corrected Publisher’s Version
License: Licence agreement concerning inclusion of doctoral thesis in the Institutional Repository of the University of Leiden
Downloaded from: https://hdl.handle.net/1887/14566
Note: To cite this publication please use the final published version (if applicable).
Myth and Philosophy on Stage in Platonic Dialogues Table of Contents
1. Introduction 1
1.1 What do we mean by myth? The study of myth in general 3
1.2 The study of myth in philosophy 11
1.3 The study of myth in Plato 18
1.4 Methodology and genre 28
2. Mutual scaffolding as a method 34
2.1 Mutual scaffolding (a dialectical unity) 37
2.2 Plot structure 51
2.3 Character selection 53
2.4 Narrative mode 53
2.5 Mutual scaffolding as a trope 55
2.6 Liminality in Plato 64
3. Dialogue analysis (case studies) 67
3.1 Guidelines for the use of a myth/hypothesis – Meno 67
3.1.1 Introduction 67
a. Using a hypothesis and considering consequences 68
b. Comments on hypothesis in the Phaedo 71
3.1.2 Theme introduction, setting and narrative mode 73
3.1.3 The myth/hypothesis 76
3.1.4 The philosophical arguments 81
3.1.4 Mutual scaffolding 83
3.1.5 Plot structure 89
3.1.6 Character selection 91
a. Meno 91
b. Socrates 92
c. The slave boy 93
3.1.7 Index of themes and motifs 94
a. Setting (critical indications relating to method of analysis and arriving at unreasonable consequences) 94
b. Indications of, and references to, how a hypothesis must or must not be used 95
c. Liminality (the Trickster) 96
d. Plot (life-death-rebirth themes and motifs) 98
3.2 Demonstration of a beneficial myth/hypothesis – Protagoras 99
3.2.1 Theme introduction, setting and narrative mode 99
3.2.2 The myth/hypothesis 101
3.2.3 The philosophical arguments 105
3.2.4 Mutual scaffolding 108
3.2.5 Plot structure 112
3.2.6 Character selection 117
a. Socrates 117
b. Protagoras 118
c. The attendees 119
3.2.7 Index of themes and motifs 119
a. Motifs of the partnership theme (cooperation of different elements) 119
b. Socrates’ conservatism 120
c. Socrates’ inconducive attitude 121
d. Protagoras’ positive characteristics and favorable representation of sophists 121
3.3 Myth and the regulation of argument – Phaedo 123
3.3.1 Theme introduction, setting and narrative mode 123
3.3.2. The myth 127
3.3.3 The philosophical arguments 130
3.3.4 Mutual scaffolding 139
a. Preface 139
b. Regulation 145
3.3.5 Plot structure 147
3.3.6 Character selection 148
a. Phaedo 149
b. Echecrates 149
c. Socrates 150
d. Simmias and Cebes 150
3.3.7 Index of themes and motifs 151
a. Deliverance theme 151
b. Strict dualism theme 151
c. Pythagorean/ Platonic dynamics 151
d. Philosophical life as a preparation for death
(general hypothesis) 152
e. Two realities – the Pythagorean earth and the Platonic
dodecahedron 152
f. The prison 153
g. Liminal time 153
3.4 Myth/hypothesis, theoretical enhancement and transition – Phaedrus 155 3.4.1 Theme introduction, setting and narrative mode 155
3.4.2 The myth/hypothesis 161
3.4.3 The philosophical arguments 166
3.4.4 Mutual scaffolding 168
3.4.5 Plot structure 179
3.4.6 Character selection 181
a. Master 181
b. Student 182
3.4.7 Index of themes and motifs 183
a. Indications of former view/later view transition 183
b. Collection and division 184
c. Love, soul and knowledge connection 184
d. Liminal space 184
3.5 The Atlantis myth. The ideal, fantasy and critical commentary 185 Timaeus and Critias
3.5.1 Preface 185
3.5.2 Theme introduction, setting and narrative mode 187
3.5.3 The myth 193
3.5.4 The philosophical arguments (hypotheses) 198
3.5.5 Mutual scaffolding 199
a. Influence of the plot 200
b. Rethinking recollection 202
c. Revisiting the ideal state 205
d. Metaphysics as hypothesis 209
3.5.6 Plot structure 214
3.5.7 Character selection 217
a. Socrates 217
b. Critias 217
c. Timaeus 218
d. Egypt and the Egyptian Priest 219
e. Solon 219
f. Atlantis 220
3.5.8 Index of Themes and Motifs 221
a. Hypotheses 221
b. Recollection 221
c. Golden age (pure beginnings) 221
d. Regress 222
e. Athenian pride 222
4. Conclusion 223
Bibliography 233
Samenvatting 247
Curriculum Vitae 251
