Thinking of Death places Plato's Euthydemus among the dialogues that surround the trial and death of Socrates. A premonition of philosophy's fate arrives in the form of Socrates' encounter with the two-headed sophist pair, Euthydemus and Dionysodorus, who appear as if they are the ghost of the Socrates of Aristophanes' Thinkery. The pair vacillate between choral ode and rhapsody, as Plato vacillates between referring to them in the dual and plural number in Greek. Gwenda-lin Grewal's close reading explores how the structure of the dialogue and the pair's back-and-forth arguments bear a striking resemblance to thinking itself: in its immersive remove from reality, thinking simulates death even as it cannot conceive of its possibility. Euthydemus and Dionysodorus take this to an extreme, and so emerge as the philosophical dream and sophistic nightmare of being disembodied from substance. The Euthydemus is haunted by philosophy's tenuous relationship to political life. This is played out in the narration through Crito's implied criticism of Socrates-the phantom image of the Athenian laws-and in the drama itself, which appears to take place in Hades. Thinking of death thus brings with it a lurid parody of the death of thinking: the farce of perfect philosophy that bears the gravity of the city's sophistry. Grewal also provides a new translation of the Euthydemus that pays careful attention to grammatical ambiguities, nuances, and wit in ways that substantially expand the reader's access to the dialogue's mysteries.

These four dialogues cover time surrounding the execution of Socrates. As he was charged, tried, and condemned to death, the four dialogues stand as final testaments to his credo of virtue. These are texts that have shaped thousands of years of thought on the meaning of life and personal conduct.

This book offers a new interpretation of Plato's early and middle dialogues as the expression of a unified philosophical vision. Whereas the traditional view sees the dialogues as marking successive stages in Plato's philosophical development, we may more legitimately read them as reflecting an artistic plan for the gradual, indirect and partial exposition of Platonic philosophy. The magnificent literary achievement of the dialogues can be fully appreciated only from the viewpoint of a unitarian reading of the philosophical content.

Socrates, one of the first of the great philosophers, left no written works. What survives of his thought are second-hand descriptions of his teachings and conversations—including, most famously, the accounts of his trial and execution composed by his friend, student, and philosophical successor, Plato. In Euthyphro, Socrates examines the concept of piety and displays his propensity for questioning Athenian authorities. Such audacity is not without consequence, and in the Apology we find Socrates defending himself in court against charges of impiety and corruption of the youth. Crito depicts Socrates choosing to accept the resulting death sentence rather than escape Athens and avoid execution. All three dialogues are included here, as is the final scene of Phaedo, in which the sentence is carried out.

Socrates and the Socratic Dialogue assembles the most complete range of studies on Socrates and the Socratic dialogue. It focuses on portrayals of Socrates, whether as historical figure or protagonist of ‘Socratic dialogues’, in extant and fragmentary texts from Classical Athens through Late Antiquity. Special attention is paid to the evolving power and texture of the Socratic icon as it adopted old and new uses in philosophy, biography, oratory, and literature. Chapters in this volume focus on Old Comedy, Sophistry, the first-generation Socratics including Plato and Xenophon, Aristotle and Aristoxenus, Epicurus and Stoicism, Cicero and Persius, Plutarch, Apuleius and Maximus, Diogenes Laertius, Libanius, Themistius, Julian, and Proclus.

Plato and the Elements of Dialogue examines Plato’s use of the three necessary elements of dialogue: character, time, and place. By identifying and taking up striking employments of these features from throughout Plato’s work, this book seeks to map their functions and importance. By focusing on the Symposium, Cratylus, and Republic, this book shows three ways that characters can be related to what they do and what they say. Next, the book takes up ‘displacement’ by focusing on the Hippias Major, arguing that individual characters can be expanded by the repeated practice of asking them to consider a question from a point of view other than their own. This ties into the treatments of ‘thinking’ in the Theaetetus and Sophist. The Parmenides, Lysis, and Philebus are examined to come to a better understanding of the functions of the settings (times/places) of Plato’s dialogues, while a reading of the beginning of the of the Phaedo shows how Plato can expand the settings of the dialogues by using ‘frames’ in order to direct his readers. Last, this book takes up the ‘critique of writing’ that closes the Phaedrus.

Hegel and Plato are united as political theorists by the convergence of their philosophical aspirations. But their political writings manifest the general disparities involved in their particular ways of seeking to fulfil these aspirations. Professor Browning compares the political thought of Plato and Hegel by locating their political theorizing within the context of their divergent modes of philosophizing.

What is the nature of norms and values for the constitution of human society and culture? In this groundbreaking work, T. K. Seung shows that this was the ultimate question for Plato throughout his life, and that he gave not one but two answers, thus twice inventing political philosophy as the science of all sciences. Providing a thematically unified interpretation of his dialogues on the grand scale, Seung retraces Plato's journey of invention. Plato Rediscovered extends the project Seung began in Intuition and Construction (1993) and Kant's Platonic Revolution (1994). A work that will radically alter our understanding of the philosopher.