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The term doxa is an ancient Greek noun related to the verb dokein (δοκεῖν), meaning 'to appear, to seem, to think, to accept'. [1]Between the 3rd and 1st centuries BC, the term picked up an additional meaning when the Septuagint used doxa to translate the Biblical Hebrew word for "glory" (כבוד, kavod).
Plato's allegory of the cave by Jan Saenredam, according to Cornelis van Haarlem, 1604, Albertina, Vienna. Plato's allegory of the cave is an allegory presented by the Greek philosopher Plato in his work Republic (514a–520a, Book VII) to compare "the effect of education (παιδεία) and the lack of it on our nature".
Plato's most self-critical dialogue is the Parmenides, which features Parmenides and his student Zeno, which criticizes Plato's own metaphysical theories. Plato's Sophist dialogue includes an Eleatic stranger. These ideas about change and permanence, or becoming and Being, influenced Plato in formulating his theory of Forms. [54]
For Plato and Aristotle, the notion of "doxa" meant "opinion". [ 1 ] The term grew in popular usage in the work of Edmund Husserl whose phenomenological project was indexed on attempting, via the descriptive method, to ground the notion of a proto-doxa or Urdoxa of experience.
Jane M. Day 1994 Plato's Meno in Focus (London: Routledge) – contains an introduction and full translation by Day, together with papers on Meno by various philosophers Don S. Armentrout and Robert Boak Slocum [edd], An Episcopal Dictionary of the Church, A User Friendly Reference for Episcopalians (New York, Church Publishing Incorporated)
The Theaetetus is one of the few works of Plato that gives contextual clues on the timeline of its authorship: The dialogue is framed by a brief scene in which Euclid of Megara and his friend Terpsion witness a wounded Theataetus returning on his way home after from fighting in an Athenian battle at Corinth, from which he apparently died of his wounds.
In The Republic (509d–510a), Socrates describes the divided line to Glaucon this way: . Now take a line which has been cut into two unequal parts, and divide each of them again in the same proportion, [1] and suppose the two main divisions to answer, one to the visible and the other to the intelligible, and then compare the subdivisions in respect of their clearness and want of clearness ...
Plato's dialogues also have metaphysical themes, the most famous of which is his theory of forms. It holds that non-material abstract (but substantial ) forms (or ideas), and not the material world of change known to us through our physical senses, possess the highest and most fundamental kind of reality.