This book explores Socrates’ role as narrator of the Lysis, Charmides, Protagoras, Euthydemus, and Republic. New insights about each dialogue emerge through careful attention to Socrates’ narrative commentary. These insights include a re-reading of the aporetic ending of the Lysis, a view of philosophy as a means of overcoming tyranny in the Charmides, a reconsideration of virtue in the Protagoras, an enhanced understanding of Crito in the Euthydemus, and an uncovering of two models of virtue cultivation (self-mastery and harmony) in the Republic. This book presents Socrates’ narrative commentary as a mechanism that illustrates how the emotions shape Socrates’ self-understanding, his philosophical exchanges with others, and his view of the Good. As a result, this book challenges the dominant interpretation of Socrates as an intellectualist. It offers a holistic vision of the practice of philosophy that we would do well to embrace in our contemporary world.

The essays in this volume provide a picture of the most interesting, puzzling, and provoking aspects of Plato's Republic.

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.

In The Gatekeeper: Narrative Voice in Plato’s Dialogues Margalit Finkelberg offers the first narratological analysis of all of Plato’s transmitted dialogues. The book explores the dialogues as works of literary fiction, giving special emphasis to such topics as narrative levels, focalization, narrative frame, and metalepsis. The main conclusion of the book is that in Plato the plurality of the speakers’ opinions is not accompanied by a plurality of points of view. Only one perspective is available, that of the narrator. Contrary to the widespread view, Plato’s dialogues cannot be considered multivocal, or “dialogic” in Bakhtin’s sense. By skillful use of narrative voice, Plato unobtrusively regulates the readers’ reception and response. The narrator is the dialogue’s gatekeeper, a filter whose main function is to control how the dialogue is received by the reader by sustaining a certain perspective of it.

For centuries, it has been the prevailing view that in prioritizing the soul, Plato ignores or even abhors the body; however, in Plato and the Body Coleen P. Zoller argues that Plato does value the body and the role it plays in philosophical life, focusing on Plato's use of Socrates as an exemplar. Zoller reveals a more refined conception of the ascetic lifestyle epitomized by Socrates in Plato's Phaedo, Symposium, Phaedrus, Gorgias, and Republic. Her interpretation illuminates why those who want to be wise and good have reason to be curious about and love the natural world and the bodies in it, and has implications for how we understand Plato's metaphysical and political commitments. This book shows the relevance of this broader understanding of Plato for work on a variety of relevant contemporary issues, including sexual morality, poverty, wealth inequality, and peace.

In Plato's Socrates on Socrates: Socratic Self-Disclosure and the Public Practice of Philosophy, Anne-Marie Schultz analyzes the philosophical and political implications of Plato’s presentation of Socrates’ self-disclosive speech in four dialogues: Theaetetus, Symposium, Apology, and Phaedo. Schultz argues that these moments of Socratic self-disclosure show that Plato’s presentation of “Socrates the narrator” is much more pervasive than the secondary literature typically acknowledges. Despite the pervasive appearance of a Socrates who describes his own experience throughout the dialogues, Socratic autobiographical self-disclosure has received surprisingly little scholarly attention. Plato’s use of narrative, particularly his trope of “Socrates the narrator,” is often subsumed into discussions of the dramatic nature of the dialogues more generally rather than studied in its own right. Schultz shows how these carefully crafted narrative remarks add to the richness and profundity of the Platonic texts on multiple levels. To illustrate how these embedded Socratic narratives contribute to the portrait of Socrates as a public philosopher in Plato’s dialogues, the author also examines Socratic self-disclosive practices in the works of bell hooks, Kathy Khang, and Ta-Neishi Coates, and even practices the art of Socratic self-disclosure herself.

Who is Socrates? While most readers know him as the central figure in Plato's work, he is hard to characterize. In this book, S. Montgomery Ewegen opens this long-standing and difficult question once again. Reading Socrates against a number of Platonic texts, Ewegen sets out to understand the way of Socrates. Taking on the nuances and contours of the Socrates that emerges from the dramatic and philosophical contexts of Plato's works, Ewegen considers questions of withdrawal, retreat, powerlessness, poverty, concealment, and release and how they construct a new view of Socrates. For Ewegen, Socrates is a powerful but strange and uncanny figure. Ewegen's withdrawn Socrates forever evades rigid interpretation and must instead remain a deep and insoluble question.

This book presents a thorough study and an up to date anthology of Plato’s Protagoras. International authors' papers contribute to the task of understanding how Plato introduced and negotiated a new type of intellectual practice – called philosophy – and the strategies that this involved. They explore Plato’s dialogue, looking at questions of how philosophy and sophistry relate, both on a methodological and on a thematic level. While many of the contributing authors argue for a sharp distinction between sophistry and philosophy, this is contested by others. Readers may consider the distinctions between philosophy and traditional forms of poetry and sophistry through these papers. Questions for readers' attention include: To what extent is Socrates’ preferred mode of discourse, and his short questions and answers, superior to Protagoras’ method of sophistic teaching? And why does Plato make Socrates and Protagoras reverse positions as it comes to virtue and its teachability? This book will appeal to graduates and researchers with an interest in the origins of philosophy, classical philosophy and historical philosophy.

The Republic is a Socratic dialogue, written by Plato around 380 BCE, concerning the definition of justice, the order and character of the just city-state and the just man. The dramatic date of the dialogue has been much debated and though it must take place some time during the Peloponnesian War, "there would be jarring anachronisms if any of the candidate specific dates between 432 and 404 were assigned". It is Plato's best-known work and has proven to be one of the most intellectually and historically influential works of philosophy and political theory. In it, Socrates along with various Athenians and foreigners discuss the meaning of justice and examine whether or not the just man is happier than the unjust man by considering a series of different cities coming into existence "in speech", culminating in a city (Kallipolis) ruled by philosopher-kings; and by examining the nature of existing regimes. The participants also discuss the theory of forms, the immortality of the soul, and the roles of the philosopher and of poetry in society.

Acclaimed philosopher and novelist Rebecca Newberger Goldstein provides a dazzlingly original plunge into the drama of philosophy, revealing its hidden role in today's debates on religion, morality, politics, and science.