Vigdis Songe-Møller – författare

For most of its history, western philosophy has regarded woman as an imperfect version of man. Like so many aspects of European culture, this tradition builds on foundations laid in ancient Greece. Yet the first philosophers of antiquity were hardly agreed on first principles. Vigdis Songe-Muller examines the differences between Presocratic monists like Parmenides, and implicit pluralists such as Anaximander, and shows how the Greeks made intellectual choices that would prove fateful for half of humankind. The text re-evaluates Greek mythology, throws a harsh new light on the invention of democracy, and exposes Platonic harmony to be an ideal driven by a peculiarly masculine fear of death. It was a fear that could only be overcome by denying the significance of difference, and at times even the rightful existence of that which embodied difference. For the Greek man, the difference that mattered was nowhere more frighteningly apparent than in woman.

For most of its history, western philosophy has regarded woman as an imperfect version of man. Like so many aspects of western culture, this tradition builds on foundations laid in ancient Greece. Yet the first philosophers of antiquity were hardly agreed on first principles. Songe-M-|ller shows how the Greeks made intellectual choices that would prove fateful for half of humankind.

Plato’s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato’s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato’s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

Plato''s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato''s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato''s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato''s corpus.

Plato''s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato''s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato''s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato''s corpus.

Plato’s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato’s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato’s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

This book presents a thorough study and an up to date anthology of Plato’s Protagoras. International authors' papers contribute to the task of understanding how Plato introduced and negotiated a new type of intellectual practice – called philosophy – and the strategies that this involved. They explore Plato’s dialogue, looking at questions of how philosophy and sophistry relate, both on a methodological and on a thematic level.While many of the contributing authors argue for a sharp distinction between sophistry and philosophy, this is contested by others. Readers may consider the distinctions between philosophy and traditional forms of poetry and sophistry through these papers. Questions for readers' attention include: To what extent is Socrates’ preferred modeof discourse, and his short questions and answers, superior to Protagoras’ method of sophistic teaching? And why does Plato make Socrates and Protagoras reverse positions as it comes to virtue and its teachability?This book will appeal to graduates and researchers with an interest in the origins of philosophy, classical philosophy and historical philosophy.