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#!!/&nbsp; !/</a></div> <div style="font-family:Tahoma, Geneva, sans-serif;font-size:14px;"><p class='pcAuthor'><span class='pcName'>Dmitry Goncharko</span><span class='pcAffil'>, Herzen State Pedagogical University of Russia, St Petersburg; St Petersburg State Technological Institute (Technical University)</span><span class='pcPosition'>, Associate Professor</span><span class='pcDegree'>, CSc in Philosophy</span><br /> <span class='pcName'>Oksana Goncharko</span><span class='pcAffil'>, National Research University Higher School of Economics; St Petersburg Mining University</span><span class='pcPosition'>, Associate Professor</span><span class='pcDegree'>, CSc in Philosophy</span></p> <p class='pcTitleD'>Plato s <i>Symposium</i> and the law of identity<a href="#supFtn" name="supRtn">*</a></p><p class='tcSumma'>This paper presents an argumentation that the text of Plato s <I>Symposium</i> contains some reflections concerning the identity principle. We also try to point out some examples of prototype formulations of other logical principles in the dialogue and represent their dramatical connotations within the dialogue plot.</p><br /> <p class='tcKeywords'>Platonic dialogue structure, <I>Symposium</i>, Aristotelian relatives, law of identity</p><br /> <p class='tcGrant'><a href="#supRtn" name="supFtn">*</a>This paper is part of the research project ! 18-011-00669 funded by the Russian Foundation for Basic Research. AA;54>20=85 ?@>2>48BAO ?@8 ?>445@6:5 >AA89A:>3> D>=40 DC=40<5=B0;L=KE 8AA;54>20=89, ?@>5:B ! 18-011-00669</p><br /> <p class='hcAbstract'>Plato puts forward a great logical and at the same time dramaturgical issue, which involves both the dialogue thought building and the dialogue composition development as the parallel constructions. Plato s dialogues impress with compositional diversity. For example, in <I>Alcibiades I</I> the logical and dramatical movement develops while the Socratic  know yourself,  take care of yourself does change from the abstract everyday maxim to the fundamental identity of two different demands (the ability to control oneself and the ability to control the others). So, in order to manage others, one must first understand him/ or herself. The reverse situation is presented in the <I>Republic</i>: in order to know the whole state it is necessary to know a separate soul, regarded as a model of the state. <I>Phaedo</i> has the other compositional feature, which consists of the asymmetry of evidence: the first two arguments are constructed logically, the other two  as dramatical ones, being the  proto-autobiographical fragments of the life of Socrates. &nbsp;</p> <p class='hcAbstract'>The <I>Symposium</i> is a special case in this respect. It consists of both the plot and argumentation coherence. First of all, compositionally it is the dialogue within the dialogue. Moreover, the central speech of Socrates, being a part of the dialogue itself, also includes the dialogue in the dialogue part (Diotima s speech). Second, the dialogue in praise of Eros, who is the god of love and desire, and the  son of Aphrodite, occurs at the same time to be the dialogue in praise of Agathon, who is the famous tragedian and the victor in the dramatic festival, mentioned in the text. This dialogue comes into being during the feast in honor of Agathon, and Eros as a phenomenon also occurs, according to the myth of Plato, during the feast in honor of the birth of Aphrodite. So, the <I>Symposium</i> has a multiple concentric dramatic structure. And finally, its dramatic tension is supported by the logical tools and techniques, used by Socrates to build a thought on Eros by deconstructing the previous speeches. He builds it using the identity principle defining a concept of Eros in such a manner, in which Aristotle will define the relative notions in the <I>Categories</i>:  Is Love the love of something or of nothing? (A ÁÉ ÁÉ ÃÄv½ ¿P´µ½x " Ĺ½ÌÂ; (Plat. Sym. 199 e  200 a)). This question is not the question to be answered  no . Formally, it is equal to the questions  Whether the eros is eros? being a question about the identity law not less than being a question about the logical features of eros as a concept (i.e. to be a relative notion, for example). The same identity principle via the double negation is presented in the structure of the dialogue: the negation of all the speeches by Socratic questioning with the further negation of negation by the speech of Diotima, which is in fact the Socratic one.</p> </div> </td> <td style="background:url(tabs/tii_69.png) repeat-y"></td> </tr> <tr> <td><img src="tabs/tii_72.png" alt="" /></td> <td style="background:url(tabs/tii_74.png) repeat-x"></td> <td><img src="tabs/tii_79.png" alt="" /></td> </tr> </table> <p class="MsoNormal" align="right" style='text-align:right'><span style='font-size:10.0pt;font-family:&quot;Tahoma&quot;,&quot;sans-serif&quot;'>© ;0B>=>2A:>5 >1I5AB2>, 2018 3. </span></p> <p align="right" style='margin-top:0mm;margin-right:3pt;margin-bottom: 0mm;margin-left:-36.0pt;margin-bottom:.0001pt;text-align:right'><b><span style='font-size:10.0pt;font-family:&quot;Tahoma&quot;,&quot;sans-serif&quot;'><a href="../index3.htm">  !!# $ &</a></span></b></p> <!-- InstanceEndEditable --> </td> </tr> </tbody> </body> <!-- InstanceEnd --></html>