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Plato’s attitude towards images is ambiguous. On the one hand, there are unmistakable signs that he denounces the status of images. In the simile of the Line, he puts images in the lowest subsection. He criticizes image-makers such as poets and painters. One of his main criticisms of the sophists is also that they are image-makers. On the other hand, Plato’s dialogues are full of vivid images. He may even have thought that the use of images and imagination is an intermediate step and a necessary means for achieving the highest level of understanding. How should we account for this ambiguity? The reinterpretations of philosophical images used in his dialogues and the new questions about their ontological and epistemological status have opened up the possibility of broader and more intensive discussions on Plato’s philosophical uses of images and imagination.
LUGAR/LOCATION/LUOGO: Seoul National University, Seoul (South Korea)
ORGANIZADOR/ORGANIZER/ORGANIZZATORE: Dae-Ho CHO (Yonsei University, South Korea); Hua-kuei HO (Chinese Culture University, Taiwan: Representative for Asia, Australia, and Africa of the IPS); Sung-Hoon KANG (Seoul National University, South Korea); Satoshi OGIHARA (Tohoku University, Japan); Euree SONG (Kyung Hee University, South Korea).
Invited Speakers (in alphabetical order):
Mary-Louise GILL (Brown University, USA)
Noburu NOTOMI (Tokyo University, Japan)
Dominic O’MEARA (Fribourg University, Switzerland)