Hosle covers the development of the philosophical dialogue beginning with Plato to the late twentieth century, providing a taxonomy and doctrine of categories.

Philosophical Conversations is a light, informal, and contemporary introduction to the study of philosophy. Using a dialogue format, Robert M. Martin delves into the traditional questions of philosophy in a manner that readers will find engaging. These substantive yet entertaining conversations emphasize that philosophical questions are contested and open-ended. The characters in each dialogue advocate different answers to questions on religion, ethics, personal identity, and other topics equitably and without naming any clear winners. Philosophic positions are presented with maximum clarity and persuasiveness, so that readers can appreciate all sides of an issue and make their own choices. An excellent tool for newcomers to philosophy, Philosophical Conversations provides the necessary background for further study while vividly portraying the back-and-forth argument that is essential to the philosophical method.

Based on a highly successful BBC television series, this book presents fifteen dialogues between author and broadcaster Bryan Magee and some of the most important thinkers of the twentieth century. Isaiah Berlin considers the fundamental question, "What is philosophy?," A. J. Ayer reviews logical positivism, and Iris Murdoch talks about the relation between philosophy and literature. Moral philosophy, political philosophy, the philosophy of language, and the philosophy of science are all treated in depth by the thinkers who have shaped these fields--including Noam Chomsky, W. V. O. Quine, and Herbert Marcuse. Written in an informal, conversational style, even the most difficult philosophical ideas are made accessible to the general reader.

In Plato's Apology, Socrates says he spent his life examining and questioning people on how best to live, while avowing that he himself knows nothing important. Elsewhere, however, for example in Plato's Republic, Plato's Socrates presents radical and grandiose theses. In this book Sandra Peterson offers a hypothesis which explains the puzzle of Socrates' two contrasting manners. She argues that the apparently confident doctrinal Socrates is in fact conducting the first step of an examination: by eliciting his interlocutors' reactions, his apparently doctrinal lectures reveal what his interlocutors believe is the best way to live. She tests her hypothesis by close reading of passages in the Theaetetus, Republic and Phaedo. Her provocative conclusion, that there is a single Socrates whose conception and practice of philosophy remain the same throughout the dialogues, will be of interest to a wide range of readers in ancient philosophy and classics.

Dialectic and Dialogue seeks to define the method and the aims of Plato's dialectic in both the "inconclusive" dialogues and the dialogues that describe and practice a method of hypothesis. Departing from most treatments of Plato, Gonzalez argues that the philosophical knowledge at which dialectic aims is nonpropositional, practical, and reflexive. The result is a reassessment of how Plato understood the nature of philosophy.

Plato's philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato's time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues. The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato's dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

A. G. Long presents a new account of the importance of conversation in Plato's philosophy. He provides close studies of eight dialogues, including some of Plato's most famous works, and traces the emergence of internal dialogue or self-questioning as an alternative to the Socratic conversation from which Plato starts.

Faced with the difficult task of discerning Plato’s true ideas from the contradictory voices he used to express them, scholars have never fully made sense of the many incompatibilities within and between the dialogues. In the magisterial Plato’s Philosophers, Catherine Zuckert explains for the first time how these prose dramas cohere to reveal a comprehensive Platonic understanding of philosophy. To expose this coherence, Zuckert examines the dialogues not in their supposed order of composition but according to the dramatic order in which Plato indicates they took place. This unconventional arrangement lays bare a narrative of the rise, development, and limitations of Socratic philosophy. In the drama’s earliest dialogues, for example, non-Socratic philosophers introduce the political and philosophical problems to which Socrates tries to respond. A second dramatic group shows how Socrates develops his distinctive philosophical style. And, finally, the later dialogues feature interlocutors who reveal his philosophy’s limitations. Despite these limitations, Zuckert concludes, Plato made Socrates the dialogues’ central figure because Socrates raises the fundamental human question: what is the best way to live? Plato’s dramatization of Socratic imperfections suggests, moreover, that he recognized the apparently unbridgeable gap between our understandings of human life and the nonhuman world. At a time when this gap continues to raise questions—about the division between sciences and the humanities and the potentially dehumanizing effects of scientific progress—Zuckert’s brilliant interpretation of the entire Platonic corpus offers genuinely new insights into worlds past and present.

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history.

How would Plato have responded if his student Aristotle had ever challenged his idea that our senses perceive nothing more than the shadows cast upon a wall by a true world of perfect ideals? What would Charles Darwin have said to Karl Marx about his claim that dialectical materialism is a scientific theory of evolution? How would Jean-Paul Sartre have reacted to Simone de Beauvoir’s claim that the Marquis de Sade was a philosopher worthy of serious attention? This light-hearted book proposes answers to such questions by imagining dialogues between thirty-three pairs of philosophical sages who were alive at the same time. Sometime famous sages get a much rougher handling than usual, as when Adam Smith beards Immanuel Kant in his Konigsberg den. Sometimes neglected or maligned sages get a chance to say what they really believed, as when Epicurus explains that he wasn’t epicurean. Sometimes the dialogues are about the origins of modern concepts, as when Blaise Pascal and Pierre de Fermat discuss their invention of probability, or when John Nash and John von Neumann discuss the creation of game theory. Even in these scientific cases, the intention is that the protagonists come across as fallible human beings like the rest of us, rather than the intellectual paragons of philosophical textbooks.