Annotated Bibliography on Plato and Aristotle Philosophy

Baktir, Hasan. "The Concept of Imitation in Plato and Aristotle (Aristo ve Plato'da Taklit)." Erciyes Universitesi Sosyal Bilimler Enstitusu Dergisi 1.15 (2003): 167-179.

Is your time best spent reading someone else’s essay? Get a 100% original essay FROM A CERTIFIED WRITER!

Order now

Baktir (168) assert that poet normally imitates the nature hence it is right to articulate that the artwork entails a reflection of nature. There exist different views on the roles of imitation in literature and art. Plato had the belief that there exists an ideal world whereby the real forms of each object exists is found in nature. An artwork which reflects that nature is normally far away from the reality which it represents. In this view, Plato does not appear to violate the truth but ends up reflecting on reality. Baktir goes ahead to argue that despite mimesis being an element of misrepresentation and something that is utilized in a manner that is dangerous for the youth's education, it can also mean that it refers to man's imitation. A behavior that is mimetic requires being avoided given that it can result in identification with the fallen characters as well as with hero.

Tucan, Dumitru. "The Quarrel Between Poetry and Philosophy: Plato-A Sceptical View on 'Poetry'." Procedia-Social and Behavioral Sciences 71 (2013): 168-175.

Tucan admits that one of the most crucial moments during the historical evolution of significant reflection on the literature is the philosophy by Plato. The study by Tucan helps in analyzing Plato's theoretical and critical views on poetry while conducting an analysis of cultural role which is played by the poetry. Tucan (169) assert that the critical view on poetry by Plato results in denying of poetry tradition and its role in the society. Tucan goes ahead to argue that the clear distinction by Plato between philosophy and poetry represents the emergence of analytical perspective done on the poetry that is seen in a specific cultural phenomenon. Tucan postulates that the view of poetry by Plato as truth imitation may only be discovered given that the search for truth is led by a given reason. Tucan (174) asserts that the negative critique of poetry by Plato serves as only an illustration of transformations of the Greek philosophy which is seeking new forms of confirmations at the time when the tradition is considered in the light of analytical reconsiderations that are new.

Kardaun, Maria S. "The Philosopher and the Beast: Plato's Fear of Tragedy." PsyArt 18 (2014): 148-153.

Kardaun postulates that in the utopian ideal state by Plato, it does not allow free artistic expressions. The artists are mainly mistrusted and the artworks become heavily censored. Kardaun (151) goes ahead to explain that Plato is found to completely disapprove the mimetic art category of art which he regards as being dangerous, morally bad and misleading. However, this may be regarded as being wrong given that the view by Plato is built on repression of the unconscious powers which can erupt any given time. Kardaun continues arguing by saying that it is incorrect for Plato to formulate a literary strategy which is particularly targeted against a given dram and disqualifies it by articulating it is untrue and trivial. From the different perspective of that held by Plat, the drama is viewed as being very instructive as it shows crucial aspects of condition humaine from the artistic perspective hence compensating for people's normal view of things in the society.

Alcock, Nicholas James. "The Insubstantial and Exclusionary Nature of Plato's Aesthetic Theory." Stance: An International Undergraduate Philosophy Journal 7 (2014): 79-88.

Alcock argues that the conversance of Plato with arts is exclusionary and insubstantial. Alcock goes ahead to explain that art normally guarantees all subjects in virtue of morality, pleasure, and utility as well as the subjects in virtue of impression, spirituality and feelings. Alcock articulates that Plato's perspective of art is exclusionary, insubstantial and even in relation to being self-contradictory. For Plato's view on poetry and poets to encompass the entirety of the art across all cultures, religions, and ages conclusively and accurately, the theory by Plato would need some revisions, especially in the spiritual inspiration, impression domains. Alcock (88) also postulates that Plato in incapacitated for him to produce a given work of art which is something that does not exist in nature.

Boysen, Benjamin. "Poetry, Philosophy and Madness in Plato." Res Cogitans 13.1 (2018): 154-184.

Boysen asserts that Plato's unease with poets is much known from his main city-state whereby they are found embodying the inversion of the philosophical self-understanding. Boysen (163) goes ahead explaining that the philosophy by Plato is guided by wisdom, self-control, and a reason which is seen as finding itself in great opposition in poetry which later dangerously provokes pleasure, desire as well as madness. According to Plato's philosophy on poetry, the philosophy may be only understood as being a given paraxis of reason that creates an active, self-determined, and ideal homogeneity that is opposed to poetry. Boysen also asserts that the philosophy by Plato is also understood as being passive, alienated heterogeneity and as an illusory. Boysen explains that Plato's view of poetry is 9ncorrect given that things appear has been turned upside-down as philosophy is being presented as being highly related to poetry as they are believed to both originating from the madness that is God-given.

Nabergoj, Irena Avsenik. "Pre-Modern Philosophical Views on Reality and Truth in Literature." Synthesis philosophica 28.1-2 (2013): 195-210.

Nabergoj postulates that in the ancient philosophy, there exist two distinct realms of reflection: the study of the world and nature, and the reflection on the human identity and self. Nabergoj goes ahead to explain that Plato and his followers practised reflection on the human identity and self and Plato held that the soul and the body represent two different types of beings. Nabergoj explains that it would be crucial given that Plato agreed that philosophy should not be viewed as being a mere abstract of the intellectual discipline and it should instead have pertained in a direct way to life through efforts to search for happiness and truth. Nabergoj explains that Plato was among the first authors who universally discussed the powerlessness and power for expressing truth and reality in the literature and in arts. Given that Plato was found judging poetry negatively according to its ability to mediate the truth as well as its educational duties, many authors from Aristotle were against Plato's view of poets and poetry. Nabergoj (200) asserts that Plato never wrote a systematic literary framework. He instead dealt with the poetry in the broader strategy of discussion on the basic philosophical questions. The main characteristic of Plato's perspective on poetry is that they are as a result of the logical consequence of the philosophical idealistic that he had that makes him not be considered as being favourable to mimesis or imitation which is known to be the foundation of the literary theory by Aristotle.

Edmonds III, Radcliffe G. "A Lively Afterlife and Beyond: The Soul in Plato, Homer, and the Orphica." Etudes platoniciennes11 (2014).

Edmonds III (1) argues that most of the ideas that are presented by Plato are mainly drawn from the broader mythological traditions. Even those aspects that Plato drew from Orphica or other similar sources, Plato transformed in substantial ways that were meant to suit his major philosophical purposes in a specific dialogue. Edmonds III goes ahead to explain that many ideas that are related to the body and the soul represented unfamiliar and extraordinary ideas that Plato is found transposing in a way that they fit the arguments represeneted in his major dialogue.

Works Cited

Alcock, Nicholas James. "The Insubstantial and Exclusionary Nature of Plato's Aesthetic Theory." Stance: An International Undergraduate Philosophy Journal 7 (2014): 79-88.

Baktir, Hasan. "The Concept of Imitation in Plato and Aristotle (Aristo ve Plato'da Taklit)." Erciyes Universitesi Sosyal Bilimler Enstitusu Dergisi 1.15 (2003): 167-179.

Boysen, Benjamin. "Poetry, Philosophy and Madness in Plato." Res Cogitans 13.1 (2018): 154-184.

Edmonds III, Radcliffe G. "A Lively Afterlife and Beyond: The Soul in Plato, Homer, and the Orphica." Etudes platoniciennes11 (2014).

Kardaun, Maria S. "The Philosopher and the Beast: Plato's Fear of Tragedy." PsyArt 18 (2014): 148-153.

Nabergoj, Irena Avsenik. "Pre-Modern Philosophical Views on Reality and Truth in Literature." Synthesis philosophica 28.1-2 (2013): 195-210.

Tucan, Dumitru. "The Quarrel Between Poetry and Philosophy: Plato-A Sceptical View on 'Poetry'." Procedia-Social and Behavioral Sciences 71 (2013): 168-175.