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Contents Abbreviations Introduction 1 Apollodorus' Prologue: An Imitation of an Imitation 1.1 The Historical Frame 1.2 Apollodorus and Mimetic Narrative 1.3 The Force of Hybris 1.4 Malakos vs. Manikos: Soft or Mad? 1.5 Anachronisms? 2 Aristodemus' Prologue: The Destruction and Transformation of the Factual Frame of Reference 2.1 The Story 2.2 Accidental Details? 2.3 The Spatial Order? 2.4 Mimetic vs. Hybristic: The Destruction of the Factual Narrative 2.5 Sophistic Education in the Context of Other Dialogues: Protagoras, Phaedo, Republic 2.6 Between Religious Observance and the Cycle of Opposites 2.7 "The Father of the Discourse" 3 The Order of the Speeches: Formulating the Problem 3.1 Eros 3.2 Encomium 3.3 The Problem of the Significance of the Early Speeches 4 From Character to Speech: The Early Speeches and Their Significance 4.1 Phaedrus: The Ardent Apprentice, but Confused Mythologue 4.2 Pausanias: The Sophistic Sociologue 4.3 Hiccups and Eryximachus, the Homogenic Doctor-Scientist 4.4 Aristophanes: The Poet as Educator 4.4.1 Aristophanes' Speech and Socrates' Criticism of Mimetic Art in the Republic 4.4.2 The Possibility of Anachronism and Plato's Vanishing Signature 4.4.3 Aristophanes' Speech as a Parody of Philosophical Dialectic 4.4.4 Aristophanes' Speech and Individual Identity 4.4.5 Aristophanes' Hiccups Revisited 4.5 Agathon: The Sophistic Theologue as the "Climax" of an Unself-Critical Tradition 4.5.1 Advance over the Previous Speakers? 4.5.2 Agathon as Theologue Without Need 4.5.3 The Shadow of the "Good": Agathon's Portrait in the Context of the Republic 4.6 Conclusion 5 Diotima-Socrates: Mythical Thought in the Making 5.1 An Answer in Search of a Question 5.2 The Elenchus of Agathon and the Question of Truth 5.3 The Role of Diotima 5.4 Eros-Daimon 5.5 Diotima and the Art of Mythmaking Revisited: The Birth of Eros 5.6 Love: Relation or Substance? 5.7 Rhetoric and Dialectic 5.8 Criticism of Aristophanes and Agathon 5.9 The Curious Case of Procreation in the Beautiful 5.10 The Concluding Sections of the "Lesser Mysteries" 5.11 Preliminary Conclusion 6 The "Greater Mysteries" and the Structure of the Symposium So Far 6.1 The Movement of Ascent: Structure 6.2 The Movement of Ascent and the Earlier Speeches 6.3 Immortality and God-Belovedness 6.4 Overall Conclusion 6.4.1 "Platonic Love": The View So Far 7 Alcibiades and the Conclusion of the Symposium: The Test and Trial of Praise 7.1 The Figure of Dionysus and the Face of Socrates 7.2 The Role of Alcibiades 7.3 The Test of Praise 7.4 The Trial of Praise 7.5 Eros, the Tyrant, and His Revellers 7.6 Identity and Diversity: The Uniqueness of Socrates 7.7 Logoi Opened Up: An Image for the Symposium? 7.8 The Concluding Scenes: Rest and the Self-Motion of Thought: "Socrates Standing Seeking" 8 Conclusion: Plato's Dialectic at Play 8.1 Character, Voice, and Genre 8.2 Bakhtin and the Dialogical Character of Novelistic Discourse 8.3 The Symposium as the First "Novel" of Its Kind in History 8.4 Plato's Dialectic at Play: Art, Reason, and Understanding 8.5 Plato's Positive View of Art 8.6 Structure, Myth, and Argument 8.7 Soul-Body and Human Identity 8.8 "Platonic Love" and "Plato" Select bibliography
Library of Congress Subject Headings for this publication: Plato, Symposium, Plato Literary art