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Filo-Sofija
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2012
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vol. 12
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issue 1(16)
53-68
EN
The contemporary interpretation of Plato’s thought is grounded in its ethical dimension, whereas the aesthetic dimension is regarded as either reducible to ethics or inaccessible. The presentation of Plato’s philosophy in ethical, political and educational categories concentrates on the sphere of logos and neglects the sphere of mythos, which – even when taken into consideration – is treated exclusively as a paradigm of formal and logical thinking. In this way the most important aspect in this philosophy is distorted – the primal unity of objective and subjective aspects of cognition. The introduction of the category of philosophy and the category of music makes it possible to achieve a well balanced relationship between Good and Beauty when examining the dialogues. Restoring the aesthetic dimension of music allows for a more accurate interpretation of Plato’s philosophy and opens up a possibility of a new look at a very important type of cognition, deeply rooted in the spiritual basis of the European culture.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 3
236 – 245
EN
The present article focuses on the dramatic context of Plato’s dialogue Phaedo tracing in it, in one hand, a confrontation of philosophical and poetical approaches and, inter-textual references to the Apology on the other hand. Consequently, Plato’s intention as the author seems to be double: take a “revenge” for the trial and execution of Socrates, as well as to put the high philosophy “on trial”. This testing of the boundaries of the philosophy itself can be only launched from the standpoint of a competing side, which is poetry. That is why in Plato’s work the poetry, working with mythos, remains a permanent incentive to descend from the heights of idealism to a lower, second-best type of philosophy which takes into account the real conditions.
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