Aporetyka mitu i sztuki w Platońskiej dialektyce

The author sketches the history of the concept of myth and recalls main objections against the poetic mythmaking from Xenophanes to Pericles. He subsequently discusses the genesis of Plato’s approach to myth and art, and explains sources of the debate concerning the role of hermeneutics of poetry between Socrates and Protagoras. In discussing arguments in Symphosium he indicates reasons for which the main topic of the dialogue, which is the art of drama, is represented only implicitly by reference to the theatrical arrangement of the Symphosium itself. In his account of the main myths in Phaedrus and Gorgias he stresses essential elements of the Plato’s didactic programme, pointing out to Parmenides in which his dialectics has been most fully developed. In conclusion he elaborates on the meaning of the myths Timaeus. Finally, referring to Nicolai Hartmann, he argues that foundation of rational thought clears the ground for the aesthetics to emerge.The author sketches the history of the concept of myth and recalls main objections against the poetic mythmaking from Xenophanes to Pericles. He subsequently discusses the genesis of Plato’s approach to myth and art, and explains sources of the debate concerning the role of hermeneutics of poetry between Socrates and Protagoras. In discussing arguments in Symphosium he indicates reasons for which the main topic of the dialogue, which is the art of drama, is represented only implicitly by reference to the theatrical arrangement of the Symphosium itself. In his account of the main myths in Phaedrus and Gorgias he stresses essential elements of the Plato’s didactic programme, pointing out to Parmenides in which his dialectics has been most fully developed. In conclusion he elaborates on the meaning of the myths Timaeus. Finally, referring to Nicolai Hartmann, he argues that foundation of rational thought clears the ground for the aesthetics to emerge