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This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek 'character' words (especially ethos), including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relatio

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek 'character' words (especially ethos), including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relatio

Ancient Greek culture is pervaded by a profound ambivalence regarding female beauty. It is an awe-inspiring, supremely desirable gift from the gods, essential to the perpetuation of a man's name throu

The story of Helen of Troy has its origins in ancient Greek epic and didactic poetry, more than 2500 years ago, but it remains one of the world's most galvanizing myths about the destructive power of

Ancient Sex: New Essays presents groundbreaking work in a post-Foucauldian mode on sexuality, sexual identities, and gender identities in ancient Greece and Rome. Since the production of Foucault’s Hi

Ancient Sex: New Essays presents groundbreaking work in a post-Foucauldian mode on sexuality, sexual identities, and gender identities in ancient Greece and Rome. Since the production of Foucault’s Hi

This is an example of one of R.C. Jebb's editions of Sophocles' plays, originally appearing in the last years of the 19th century. He gives literary and dramatic interpretations and translations that

Sixteen contributors, mostly from classics and philosophy, are united around the argument that despite the tradition ushered in by Aristotle and Diogenes Laertius, the mouthpieces for Plato's own view

"Women on the Edge," a collection of "Alcestis, Medea, Helen, " and "Iphegenia at Aulis, " provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving work