Zina Giannopoulou

Zina Giannopoulou offers a new reading of Theaetetus, Plato's most systematic examination of knowledge, alongside Apology, Socrates' speech in defence of his philosophical practice, and argues that the former text is a philosophical elaboration of the latter.

Plato's Theaetetus as a Second Apology

Pierre Destrée

Plato's Symposium is an exceptionally multi-layered dialogue. At once a historical document, a philosophical drama that enacts abstract ideas in an often light-hearted way, and a literary masterpiece, it has exerted an influence that goes well beyond the confines of philosophy. The essays in this volume, by leading scholars, offer detailed analyses of all parts of the work, focusing on the central and much-debated theme of erōs or 'human desire' - which can refer both to physical desire or desire for happiness. They reveal thematic continuities between the prologue and the various speeches as well as between the speeches themselves, and present a rich collection of contrasting yet complementary readings of Diotima's speech. The volume will be invaluable for classicists and philosophers alike, and for all who are interested in one of Plato's most fascinating and challenging dialogues.

A Critical Guide

Plato's Symposium

Beloved by film and art aficionados and fans of neo-noir cinema, Mulholland Drive is one of the most important and enigmatic films of recent years. It occupies a central and controversial position in the work of its director, David Lynch, who won the best director award at the 2001 Cannes Film Festival for the movie. Mulholland Drive in the Routledge Philosophers on Film series is the first full philosophical appraisal of Lynch's film. Beginning with an introduction by the editor, the volume explores the following topics: the identity of the self and its persistence through time the central, dual roles played by fantasy and reality throughout the film whether Mulholland Drive is best understood epistemologically via reason and language, or whether, as Lynch himself argues, by one's 'inner feelings' and emotions parallels between Mulholland Drive and Kafka's The Castle, both of which pit their protagonists at the mercy of unseen forces Mulholland Drive and romanticism. Additional key themes are also discussed, such as the interpenetration of ethics, classical tragedy, and the contrasting philosophical arguments of Plato and Nietzsche on tragic drama. These themes make Mulholland Drive essential and engaging reading for students of philosophy, especially aesthetics and ethics, as well as film studies.

Zina Giannopoulou

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