دانلود کتاب The musical structure of Plato's dialogues

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Cover Half Title Series Page Title Page Copyright Page Dedication Table of Contents Preface Abbreviations 1. The nature and history of philosophical allegory 1.1 Rehabilitating ancient ways of reading 1.2 Allegory, Socrates and Plato 1.3 Symbols, reserve and Pythagoreanism 1.4 Persecution and the politics of allegory in classical Athens 1.5 Plato and Pythagoreanism: two puzzles 1.6 The allegorical Plato in history 1.7 Methodological precedent: early Christianity 1.8 Methodological precedent: Renaissance Platonism 2. Introducing the dialogues’ musical structure 2.1 Structuring a dialogue 2.2 Ancient Greek music: three key ideas 2.3 Plato’s symbolic scheme 2.4 Harmony and consonance, disharmony and dissonance 2.5 Sevenths and mixture 2.6 Guide to the strongest evidence 2.7 Methodology for line-counting 2.8 Canons of criticism 2.9 Responses to possible objections 3. Independent lines of evidence 3.1 Simple, objective measurements 3.2 Parallel passages at the same relative location 3.3 Ranges of positive and negative concepts 3.4 Preview of the musical structure in the Republic 3.5 A control: falsifiability and the pseudo-Platonica 4. An emphatic pattern in the Symposium’s frame 4.1 A theory of music 4.2 Recurring clusters of features in the frame 4.3 A new kind of commentary 5. Making the Symposium’s musical structure explicit 5.1 Phaedrus 5.2 Pausanias 5.3 Eryximachus 5.4 Aristophanes 5.5 Agathon 5.6 Socrates and Diotima 5.7 Alcibiades 6. Parallel structure in the Euthyphro 6.1 The same scale and the same symbolic scheme 6.2 Guide to the strongest evidence 6.3 The sevenths 6.4 The connection to music 6.5 Another kind of evidence: parallels between dialogues 6.6 The Euthyphro is not aporetic 6.7 Marking the notes 7. Extracting doctrine from structure 7.1 Aristotle on virtues and means 7.2 Stichometry and the divided line 7.3 Reading the dialogues in parallel 7.4 The logic of the argument and its consequences 8. Some implications 8.1 Summary of the case 8.2 Interpreting the dialogues 8.3 Problems with anonymity and intentionality 8.4 Interpreting Plato, Pythagoras and Socrates 8.5 History of music and mathematics 8.6 History of literature and literary theory 8.7 Ancient book production, papyrology, textual studies 8.8 The forward path Appendix 1: More musicological background Appendix 2: Neo-Pythagoreans, the twelve-note scale and the monochord Appendix 3: Markers between the major notes Appendix 4: The central notes Appendix 5: Systematic theory of the marking passages Appendix 6: Structure in Agathon and Socrates’ speeches Appendix 7: Euripides and line-counting Appendix 8: Data from the Republic Appendix 9: OCT line numbers for the musical notes Notes Bibliography Index