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Journal articles on the topic 'Allegory of the Cave'

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Published: 4 June 2021
Last updated: 11 June 2025

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1

Fluke, John. "Allegory of the Cave." Child Maltreatment 14, no. 1 (2009): 69–72. http://dx.doi.org/10.1177/1077559508328257.

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Ostergaard, Edvin. "Echoes and Shadows: A Phenomenological Reconsideration of Plato's Cave Allegory." Phenomenology & Practice 13, no. 1 (2019): 20–33. http://dx.doi.org/10.29173/pandpr29372.

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In the cave allegory, Plato illustrates his theory of ideas by showing that the world man senses and tries to understand, actually only is a dim representation of the real world. We know the allegory for its light and shadow; however, there is also sound and echo in the cave. In this article, I discuss whether the narrative of the prisoners in the cave is in tune with an audial experience and whether an allegory led by sound corresponds to the one led by sight. I start with a phenomenological analysis of the cave as a place of sound. After that, I elaborate on the training of attentive listening skills and its ramifications for pedagogical practice. I conclude that there are profound differences between seeing and listening and that sound reveals different aspects of “the real” compared to sight. The significance of Plato’s cave allegory should be evaluated in relation to modern, scientific thought characterised by a visual-spatial language. With support of this allegory, the light-shadow polarity has become the Urbild of represented reality. At the same time, a visually oriented culture of ideas repeatedly confirms Plato’s cave allegory as its central metaphor. Finally, an elaboration on the sounds in the cave proves to be fruitful in an educational sense: The comparison of sound and sight sharpens the differences and complementarities of audial and visual experiences.
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Maiti, Soham. "The Allegory of the Digital Cave." Questions: Philosophy for Young People 18 (2018): 7. http://dx.doi.org/10.5840/questions2018185.

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Robinson, Jim. "Teaching the Allegory of the Cave." Teaching Philosophy 15, no. 4 (1992): 329–35. http://dx.doi.org/10.5840/teachphil199215456.

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5

Garadja, Alexei. "Praestigiae Platonis: the cavernous puppetshow." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 1 (2019): 78–82. http://dx.doi.org/10.25205/1995-4328-2019-13-1-78-82.

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The paper deals with Plato’s Allegory of the Cave at the beginning of the 7th book of the Republic, focusing on the two lowest stages of the Cave (and the corresponding parts of the Line from the simile in the Sixth book), occupied, respectively, by ‘prisoners and puppeteers’; the identity of these groups is questioned, along the lines set by J. Wilberding in his homonymously entitled article. The puppeteers and their show are examined with regard to the lexical peculiarities of Plato’s text, in particular his usage of thauma and the derived thaumatopoios. The overall ironical, playful character of the Allegory is emphasized, calling for cautious reading beyond its apparent face value. A Russian term vertep, meaning both ‘a cave’ and ‘a portable puppetshow’, may prove itself helpful in approaching the sense Plato actually intended with his Allegory.
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Hosle, Paul. "The Allegory of the Cave, the Ending of the Republic, and the Stages of Moral Enlightenment." Philologus 164, no. 1 (2020): 66–82. http://dx.doi.org/10.1515/phil-2020-0103.

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AbstractThis essay aims to shed new light on the stages of moral enlightenment in the Allegory of the Cave, of which there are three. I focus on the two stages within the cave, represented by eikasia and pistis, and provide a phenomenological description of these two mental states. The second part of the essay argues that there is a structural parallelism between the Allegory of the Cave and the ending of the Republic. The parallelism can be convincingly demonstrated by a purely formal analysis, but additionally it complements and reinforces the original interpretation of the Cave, insofar as the ending of the Republic also mirrors, on the level of content, the previously adduced stages of moral enlightenment.
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Calabreze, Claudio César. "Plato and the cave allegory. An interpretation beginning with verbs of knowledge." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 2 (2020): 431–47. http://dx.doi.org/10.25205/1995-4328-2020-14-2-431-447.

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In this paper we study the organization of the allegory of the cavern through the investigation of knowledge verbs. First, we briefly follow the interpretations of the allegory of the cave that we consider most significant and our perspective: all are valid provided that each does not deny the others. At our core we analyze the verbs of knowledge: how they relate to each other and what structure of knowledge they establish. In the conclusion, we affirm that the verbs do not present a vision of being as "what is", but as "what is being"; this means, with respect to the allegory, that the relation between being and intelligibility means a pathway of mutual equalization, which the prisoner of the cave goes through; nevertheless, the attempt to reach a comprehensive intelligence of the being requires one more step: to integrate the phenomena to the comprehension of the real thing.
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McGuirk, James N. "Aletheiaand Heidegger's Transitional Readings of Plato's Cave Allegory." Journal of the British Society for Phenomenology 39, no. 2 (2008): 167–85. http://dx.doi.org/10.1080/00071773.2008.11006640.

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9

Świercz, Piotr. "The Allegory of the Cave and Plato’s Epistemology of Politics." Folia Philosophica 42, no. 2 (2019): 115–39. http://dx.doi.org/10.31261/fp.8520.

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The aim of this article is to analyze Plato’s epistemology of politics in the light of Book VII of the Republic, in which the Allegory of the Cave is introduced. The problem named in the title is presented within the framework of a veritative interpretation of Greek ontology (referencing Charles Kahn’s work) and against the backdrop of Plato’s polemic with sophistry (Protagoras and Gorgias), along with references to the sources of Plato’s inspiration – the Eleatics and Pythagoreans. In my analysis I propose hypotheses concerning certain aspects of the Cave Allegory (e.g. the status of the fire) and present my interpretation of Plato’s politico-philosophical project.
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Snow, Brenda L., and Virginia Fitzsimons. "Message From Plato: Expanding Our Nursing Horizons." Creative Nursing 21, no. 2 (2015): 119–22. http://dx.doi.org/10.1891/1078-4535.21.2.119.

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Recognizing human enlightenment is a common theme from the ancient discipline of philosophy. The budding philosophy of nursing continues to find meaning and value in advanced education. This article offers a lesson from the philosopher Plato about not knowing what we don’t know. Plato’s allegory of the cave offers a unique insight for nurses hesitant to return to school for advanced degrees. Those who believe that the endeavor offers little in return may find enlightenment in this two-thousand-year-old allegory. Plato’s cave both encourages the reader to consider the unseen benefits of an educational journey and provides hope about the value of the unknown.
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11

Gutiérrez, Raul. "The Structure of Plato’s Republic and the Cave Allegory." Peitho. Examina Antiqua 10, no. 1 (2019): 65–84. http://dx.doi.org/10.14746/pea.2019.1.3.

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As Plato’s Phaedrus 246c stipulates, every logos must be structured like a living being, i.e., the relation of all its parts to one another and to the whole must be appropriate. Thus, the present paper argues that Plato’s masterwork has been organized in accord with the ascent/descent movement as presented in the Allegory of the Cave: Book I represents eikasia, Books II–IV.434c exemplify pistis, Book IV.434d–444e illustrates dianoia and Books V–VII express noesis. Having reached the anabasis (with the Sun, the Line and the Cave images) the philosopher turns to the consideration of the deficient or unjust forms of the souls and the corresponding political regimes. Finally, the discussion comes back to eikasia through the renewed criticism of mimesis and the exposition of the Myth of Er. As is typical of Plato, this is not merely a formal matter, since the structure conveys that as the Good makes the Ideas intelligible, so the Sun, the Line and the Cave images also throw light on the whole dialogue.
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Stuke, Kurt. "Vision, Big Data, and the Allegory of the Cave." Open Journal of Business and Management 03, no. 04 (2015): 422–24. http://dx.doi.org/10.4236/ojbm.2015.34041.

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Peterson, Valerie V. "Plato’s Allegory of the Cave: literacy and “the good”." Review of Communication 17, no. 4 (2017): 273–87. http://dx.doi.org/10.1080/15358593.2017.1367826.

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Circello, Jennifer E., and Scott R. Filkins. "A New Perspective on Three-Dimensional Geometry." Mathematics Teacher 105, no. 5 (2011): 340–45. http://dx.doi.org/10.5951/mathteacher.105.5.0340.

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15

Henao Castro, Andrés Fabián. "Slavery in Plato's Allegory of the Cave: Alain Badiou, Jacques Rancière, and the Militant Intellectual from the Global South." Theatre Survey 58, no. 1 (2017): 86–107. http://dx.doi.org/10.1017/s0040557416000703.

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In this article I argue that Plato's allegory of the cave dramatizes democracy's dependency on slavery. Plato's cave forces the theatre, the political space of ancient Greek representation, to confront its material dependency upon a space from which it is otherwise visually and territorially separated: the mines where intensive use was made of slave labor. As many have argued, the most salient aspects of Plato's allegory of the cave are the complete absence of lexis (speech) and praxis (action), the evacuation of the acoustic and the distortion of the visual. These are also the most decisive features when delimiting the border between the free and the unfree in Greek antiquity:Do you think these prisoners have ever seen anything of themselves and one another besides the shadows that the fire casts on the wall of the cave in front of them? … And if they could engage in discussion with one another, don't you think they would assume that the words they used applied to the things they see passing in front of them?
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Farman, Allan G. "Oral and maxillofacial radiology: the allegory of the cave revisited." Oral Surgery, Oral Medicine, Oral Pathology, Oral Radiology, and Endodontology 105, no. 2 (2008): 133–35. http://dx.doi.org/10.1016/j.tripleo.2007.11.013.

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17

Pietropaoli, Matteo, and Chiara D’Agostino. "The Allegory of the Cave between Truth, Formation, and Liberation." Heidegger Studies 34 (2018): 43–56. http://dx.doi.org/10.5840/heideggerstud2018343.

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18

Christopher Peterson. "The Magic Cave of Allegory: Lars von Trier's Melancholia." Discourse 35, no. 3 (2013): 400. http://dx.doi.org/10.13110/discourse.35.3.0400.

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19

Baranov, Vladimir. "Escaping Plato’s Cave: Some Platonic Metaphors in Symeon the New Theologian." Scrinium 11, no. 1 (2015): 181–96. http://dx.doi.org/10.1163/18177565-00111p17.

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This article proposes that the imagery Symeon the New Theologian employs for expressing his mystical experience in several passages of his Hymns of Divine Love might have been inspired by the texts of Plato and the Platonic tradition. The Hymns showing the traces of St. Symeon’s rethinking of the allegory of the Cave, the metaphor of the wings of the soul, and the intellectual Paradise of virtues are analyzed, opening the discussion on the earliest stages of the Platonic revival in eleventh-century Byzantium.
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20

Berszán, István. "Practical Rhythm and Time Projection." Hungarian Studies Yearbook 1, no. 1 (2019): 25–39. http://dx.doi.org/10.2478/hsy-2019-0003.

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Abstract In his article “Practical Rhythm and Time Projection”, István Berszán presents first a poetic experiment of Wordsworth in order to answer the question how to enter the rhythm of a happening. The argumentation is based on the assumption that Plato’s “allegory” of the cave is an experiment rather than a rhetorical construction and invokes contemporary string theory to show that everything that happens has its kinetic space as a special complementary rhythmic dimension. A second example reveals how Alain Badiou projects Saint Paul’s teaching and practice to the kinetic space of militant leftist struggle. The article concludes that instead of understanding allegory as a replacement based on similarity in the same rhetoric space, we have to take into consideration – or learn how to take into consideration – the multiple rhythmic dimensions of compared happenings.
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21

Connor, George. "Spelunking with Ray Bradbury: The Allegory of the Cave in Fahrenheit 451." Extrapolation 45, no. 4 (2004): 408–18. http://dx.doi.org/10.3828/extr.2004.45.4.7.

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22

Yonit, Nissim, and Pinto Iris. "From an Ancient Text to New Interpretation “The Allegory of the Cave”." Creative Education 08, no. 03 (2017): 389–404. http://dx.doi.org/10.4236/ce.2017.83031.

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Canbek, Gürol. "Cyber Security by a New Analogy: “The Allegory of the ‘Mobile’ Cave”." Journal of Applied Security Research 13, no. 1 (2017): 63–88. http://dx.doi.org/10.1080/19361610.2018.1387838.

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24

Kutash, Emilie. "Myth, Allegory and Inspired Symbolism in Early and Late Antique Platonism." International Journal of the Platonic Tradition 14, no. 2 (2020): 128–52. http://dx.doi.org/10.1163/18725473-bja10002.

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Abstract The idea that mythos and logos are incompatible, and that truth is a product of scientific and dialectical thinking, was certainly disproven by later Platonic philosophers. Deploying the works of Hesiod and Homer, Homeric Hymns and other such literature, they considered myth a valuable and significant augment to philosophical discourse. Plato’s denigration of myth gave his followers an incentive to read myth as allegory. The Stoics and first-century philosophers such as Philo, treated allegory as a legitimate interpretive strategy. The Middle Platonists incorporated myth, for example, deifying the Monad and Dyad, as did 2nd century Platonists. Plutarch’s Isis and Osiris (2nd century CE), for example, equates Isis and Osiris with form and matter: the god (Osiris) sows in matter (Isis) logoi (forms or ideas) from himself (De Iside. 372F). Porphyry’s allegorizing of Plato’s Cave of the Nymphs is another example. Plotinus is a strong influence on how the late Neoplatonists regarded myth. This paper argues that these philosophers’ use of allegory prepared the way for the Neoplatonists treatment of myth as inspired symbolism. Proclus and Syrianus, as reported by Hermias, did something more extreme by using mythology to construct inspired symbolic argument. Mythos becomes another type of logos, a vehicle for representing the invisible world of being, another kind of truth that can even serve a function in anagogic ascent.
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Giannopoulou, Zina. "GILLES DELEUZE AND BERNARDO BERTOLUCCI ON PLATO'S CAVE." Ramus 49, no. 1-2 (2020): 70–88. http://dx.doi.org/10.1017/rmu.2020.5.

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The allegory of the Cave in Republic 514a–18d is one of the most memorable Platonic images. The depiction of chained humans in a cavernous dwelling looking at shadows of objects cast on a parapet in front of them but unable to locate the objects themselves until one of them is freed, turns around to see the objects, and finally leaves the cave has haunted and inspired readers throughout the centuries. The prisoners are said to be ‘like us’ (515a), which is taken to refer either to human life in general or to human life in corrupt political environments. Plato's core metaphysical and epistemological doctrines are thought to inhere in the Cave, his belief that the sensible world, represented by the cave, holds people captive to defective and erroneous appearances, and that only philosophy can free and enlighten them, leading them out of the cave to the intelligible realm of the eternal Forms. The cave then houses captives since childhood who believe that shadows of artifacts exhaust reality, and captors who project images of artifacts on the wall and thereby manipulate what the captives see and hear.
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Awtrey, Janet. "Allegory on Registered Care Technologists." American Journal of Nursing 89, no. 2 (1989): 176. http://dx.doi.org/10.2307/3471082.

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AWTREY, JANET. "ALLEGORY ON REGISTERED CARE TECHNOLOGISTS." AJN, American Journal of Nursing 89, no. 2 (1989): 176. http://dx.doi.org/10.1097/00000446-198902000-00011.

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Majumdar, Deepa. "Mysticism and the Political: Stairway to the Good in Plato’s Allegory of the Cave." Philotheos 7 (2007): 144–59. http://dx.doi.org/10.5840/philotheos2007710.

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Hassoun, Paul M., and Rachel Damico. "Moving beyond the “Allegory of the Cave” in the assessment of pulmonary arterial hypertension." Journal of Applied Physiology 110, no. 4 (2011): 871–72. http://dx.doi.org/10.1152/japplphysiol.00198.2011.

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Buckle, Stephen. "Descartes, Plato and the Cave." Philosophy 82, no. 2 (2007): 301–37. http://dx.doi.org/10.1017/s0031819107320056.

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It has been a commonplace, embodied in philosophy curricula the world over, to think of Descartes' philosophy as he seems to present it: as a radical break with the past, as inaugurating a new philosophical problematic centred on epistemology and on a radical dualism of mind and body. In several ways, however, recent scholarship has undermined the simplicity of this picture. It has, for example, shown the considerable degree of literary artifice in Descartes' central works, and thereby brought out the deceptive character of his self-presentation there. In particular, it has revealed the extent of his debts to the Neoplatonist tradition, particularly to Augustine, and of his engagement with the Scholastic commentators of his day. My aim in this paper is to push this interpretative tendency a step further, by bringing out Descartes' indebtedness to Plato. I begin by offering some reminders of the broadly Platonic nature of Cartesian dualism. I then argue that he provides clues sufficient for—and designed to encourage—reading the Meditations on First Philosophy in the light of distinctively Platonic doctrines, and in particular, as a rewriting of the Platonic allegory of the cave for modern times. It will further be argued that some puzzles about the Discourse on the Method can be resolved by recognizing that Descartes there presents himself as a Socratic enquirer after truth. I conclude by drawing attention to some practical benefits that flow from recognizing these linkages.
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McGregor, Rafe. "The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism." Critical Criminology 29, no. 2 (2021): 367–83. http://dx.doi.org/10.1007/s10612-020-09549-7.

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AbstractThis article makes the case for the zemiological value of Fredric Jameson’s (2019) model of fourfold allegory. Zemiological value is the value in reducing harm and it is realized by means of etiology, i.e., explaining the causes of harm. I make the case using a single, detailed example, but the argument is generalizable by virtue of the relationship between fourfold allegory and contemporary social life. I begin by delineating Jameson’s model of allegory as a thick narrative with four distinct levels of meaning: literal, symbolic, existential and anthropic. I explain each of these levels with reference to Carnival Row (2019)—an urban fantasy television series that explores racism, alienation and decivilization. I conclude by demonstrating how the allegory reveals a particular combination of causes that contribute to the replacement of a cosmopolitan ideal with a revanchist reality, articulated by Gareth Millington (2011) in his theory of the racialized global metropolis.
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Jankauskas, Skirmantas. "PLATONO OLOS DEKONSTRUKCIJA." Problemos 80 (January 1, 2011): 132–57. http://dx.doi.org/10.15388/problemos.2011.0.1302.

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Straipsnyje aptariamas bene dažniausiai filosofijos tradicijoje eksploatuojamas ir, ko gero, taip pat dažnai mistifikuojamas Platono filosofijos vaizdinys – olos alegorija. Iš pradžių stilizuotai pateikiamos analitinė ir poetinė šio vaizdinio interpretacijos, pagrečiui atskleidžiamas jų problemiškumas. Su atskleistomis interpretavimo problemomis mėginama įsiveikti atkreipiant dėmesį į antikinio mąstymo subjekto ypatumus.Konstatuojama, kad antikinio mąstymo subjektas – siela, kitaip nei podekartinis cogito, yra ne tik vertybiškai konstituotas bei egzistenciškai angažuotas, bet ir numano prigimtinę virkštelę tarp mąstymo ir jusliškumo. Be to, teigiama, kad Platono olos alegorija tik suprastintai iliustruoja matematinę linijos analogiją, kuri savo ruožtu detalizuoja Platono ištarą apie gėrio vaidmenį steigiant būtį ir jos pažinimą. Todėl straipsnyje daugiausia dėmesio skiriama linijos analogijai, kuri eksplikuojama ne tik įvertinant antikinio anonimiško mąstymo subjekto būdą, bet ir specifines platoniškojo filosofavimo aplinkybes – aršią polemiką su sofistais ir matematikos sureikšminimą. Platono mąstymo specifika išryškinama gretinant jo samprotavimus tiek su juos pratęsiančiomis ir suprastinančiomis Aristotelio onto-gnoseologinėmis išvadomis, tiek su tą mąstymą dekonstruojančiomis Descartes’o mintimis. Straipsnis baigiamas lietuvių literatūros klasiko poemos ištrauka, kuri savaip iliustruoja straipsnyje pelnytas išvadas.Pagrindiniai žodžiai: olos alegorija, analitinis mąstymas, poetinis mąstymas, gėris, būtis, linijos analogija, materija, forma, nejudantis judintojas.Deconstruction of Plato’s CaveSkirmantas Jankauskas SummaryThe paper discusses perhaps the most exploited and often misinterpreted construct in the tradition of philosophy – Plato’s allegory of cave. At the beginning, stylized analytical and poetic interpretations of the construct are presented and their polemic points are highlighted. Further, the singular features of the knowing subject of the Greek philosophizing, namely, of the soul are identified. It is said that, otherwise than the post-descartian cogito, the soul is ethically constituted and existentially engaged and presupposes an uninterrupted linkage between mind and senses. The paper focuses on the analogy of line that precedes the allegory of cave and, on its turn, details the statement of Plato about the role of good in constituting the being and its knowing. The analogy of line is explicated taking into account the singular features of the knowing subject of the Greek philosophizing. Two specific circumstances characteristic to Plato’s philosophizing – his ardent polemical attitude towards sophists and his predilection to mathematics – are taken into account as well. The exclusiveness of Plato’s thinking is revealed by contrasting it with the simplifying ideas of Aristotle and the deconstructive attitude of Descartes’ cogito. Finally, the considerations are summarized in the article in a particular way by citing an excerpt from a famous poem of Lithuanian poet.Keywords: allegory of cave, analytical thinking, poetical thinking, the good, the being, analogy of line, matter, form, first mover.
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Mitta, Dimitra. "Reading Platonic Myths from a Ritualistic Point of View: Gyges' Ring and the Cave Allegory." Kernos, no. 16 (January 1, 2003): 133–41. http://dx.doi.org/10.4000/kernos.815.

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Fick, Thomas H. "Toni Morrison's "Allegory of the Cave": Movies, Consumption, and Platonic Realism in "The Bluest Eye"." Journal of the Midwest Modern Language Association 22, no. 1 (1989): 10. http://dx.doi.org/10.2307/1315270.

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Holbrook, Victoria Rowe. "Plato, fetters round the neck, and the Quran." Studia Philosophica Wratislaviensia 16, no. 4 (2021): 27–45. http://dx.doi.org/10.19195/1895-8001.16.4.2.

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I analyze fi gures and themes of Plato’s “Allegory of the Cave” evident in chapter thirty-six of the Quran. I argue that the two texts share (1) a neck fetter fixing the head; (2) a spatial organization of barriers before and behind and covering above; (3) a theme of failure to see the truth and assault upon those who tell the truth, and (4) a theme of transcendent reality as a context of meaning. I argue that the Quran displays an inheritance of some Platonic thought in Arabic at least two centuries prior to any known translation of Plato.
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Suzanne, Bernard. "Ἀνα τὸν αὐτὸν λόγον". PLATO JOURNAL 23 (29 березня 2022): 81–94. http://dx.doi.org/10.14195/2183-4105_23_6.

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Answering articles by Smith (PJ 18) and Matoso (PJ 22) about the Divided Line, I argue that the problems Smith raised and Matoso pretended to solve don’t exist in a proper reading of the analogy and the ensuing allegory of the cave in light of one another and stem from a misunderstanding of the expression ἀνα τὸν αὺτον λόγον at Rep. VI, 509d7: the λόγος to be used to split both segments is not the one used to split the line in the first place, and it is not a numerical ratio, but a logical rationale.
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Underwood, Ben. "Purely Platonic Relations with Isabel: Henry James'sThe Portrait of a Ladyand Plato's Allegory of the Cave." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 19, no. 2 (2006): 49–53. http://dx.doi.org/10.3200/anqq.19.2.49-53.

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Bonnemaison, Sarah. "Moses/Marianne Parts the Red Sea: Allegories of Liberty in the Bicentennial of the French Revolution." Environment and Planning D: Society and Space 16, no. 3 (1998): 347–65. http://dx.doi.org/10.1068/d160347.

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The author critiques the view of spectacle as misrepresentation and proposes that allegory presents a possibility for redemptive readings of spectacle. In a case study of the French bicentennial commemoration of 1989 she explores how Jessye Norman's performance of Marianne—the traditional Republican allegory of French liberty—reconfigured notions of Nation in a way that served the socialist policies of Mitterand.
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Stefani, Sara. "The Unified State and the Unified Mind: Social and Moral Utopia in Zamiatin's We and Plato's Republic." Canadian-American Slavic Studies 45, no. 3-4 (2011): 263–88. http://dx.doi.org/10.1163/221023911x567579.

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AbstractScholars have often attempted to determine the objects of Zamiatin's satire in his dystopian novel We as well as the model on which he based the structure of his Edinoe Gosudarstvo. This article argues that in order to find the model that Zamiatin used, we should look to the exemplar of utopia itself, Plato's Republic. Plato's vision of the ideal social structure is meant to serve as an allegory for the ideal individual as well as an allegory for morality. Both the collective body and the individual mind are supremely moral, in Plato's view, when all irrational parts are subjugated to reason and rationality and marked by total unity. This article traces debates about Plato's Republic by Russian thinkers in the period just before and immediately after the Revolution, i.e., prior to the period when Zamiatin wrote We, in order to argue for the relevance of Plato in Russian society of the time. In many of these writings, Plato is identified as an ancient source of the ideals of socialism and communism. The close textual parallels between Republic and We are examined, from the broadest level of social organization to the appropriation of Plato's famous images of the Sun, the Line, and the Cave. In his novel, Zamiatin seems to question not only Plato's political vision, but his conceptions of truth, justice, and morality.
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Costa Filho, João Batista. "PLATÃO E A APRENDIZAGEM DO OLHAR EM JOÃO GUIMARÃES ROSA." Sapere Aude 10, no. 19 (2019): 382–88. http://dx.doi.org/10.5752/p.2177-6342.2019v10n19p382-388.

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RESUMOGuimarães Rosa foi o escritor que, como poucos, soube explorar as potencialidades do olhar na experiência de seus personagens para que estes criassem, a partir daí, um universo simbólico para a renovação de si mesmos e do mundo que os cerca. O aprendizado do olhar em Rosa pode ser comparado com o processo em que o prisioneiro, na alegoria da caverna, liberta-se, e sucessivamente passa de um estado de ignorância, em que via apenas o ilusório e o aparente, para a visão das formas puras e inteligíveis. Platão compara o sol com a forma do Bem. Um texto do escritor mineiro ilustra esse aprendizado do olhar em paralelo com a visão platônica: a novela Campo geral. Nela, o personagem central é uma criança míope de oito anos que, num processo de descoberta do mundo, renova o seu olhar a cada momento, a exemplo do prisioneiro liberto da alegoria da caverna. PALAVRAS-CHAVE: Guimarães Rosa. Platão. Olhar. Campo geral. ABSTRACTGuimarães Rosa was the author who, as few, knew how to exploit the look potentialities in his character’s experiences to enable them to create, from then on, the symbolic universe for the renewal of themselves and the world around. The learning of the look in Guimarães Rosa can be compared with the process where the prisioner, in the allegory in the cave, releases himself, and successively goes from an ignorance state, when he could only saw the illusory and apparent, to the intelligible and pure forms. Plato compares the sun with the Good forms. A specific text of the mineiro writer illustrates this learning of the look in parallel with the platonic vision: the Campo geral novel. Its main character is an eight-years-old shortsighted child who, in his world discovery proccess, renews his outlooks at each moment, at is done by prisioner released from the allegory of the cave. KEY-WORDS: Guimarães Rosa. Plato. Look. Campo geral
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Corr, Charles A. "Four Lessons From “The Horse on the Dining-Room Table”." OMEGA - Journal of Death and Dying 73, no. 3 (2015): 250–62. http://dx.doi.org/10.1177/0030222815576125.

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This article offers a critical reflection on an allegory, “The Horse on the Dining-Room Table,” by Richard A. Kalish. After a brief review of Kalish's prolific publications during the mid-1960s to the late 1980s, the article turns to a detailed analysis of the three parts of the allegory. Next, there is a comparison of “The Horse on the Dining-Room Table” to a poem, “There’s an Elephant in the Room,” by Terry Kettering, with a table listing some similarities between the two texts. The article concludes with four lessons to learn from "The Horse on the Dining-Room Table.”
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Vdovin, Alexey, and Pavel Uspenskij. "“First Love Is Exactly Like Revolution”: Intimacy as Political Allegory in Ivan Turgenev's Novella Spring Torrents." Slavic Review 80, no. 3 (2021): 504–22. http://dx.doi.org/10.1017/slr.2021.148.

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This article tackles the allegorical mode of Russian realism using Ivan Turgenev's novella Spring Torrents (1872) and its political implications as a case study. We argue that this deeply intimate story of love and moral fall can be read in the context of the “social imaginary” which, in Turgenev's manner, is wrapped in motives and symbols correlating to “revolutionary” and “reactionary” discourses. The article shows how this projection emerges in the narration without direct political discourse by means of allegory. It is this mode that ties together the intimate and the natural and gives Turgenev's novellas a political dimension, which is obvious in his novels but latent in the novellas, thus opening them up to various sociological interpretations. Employing various theoretical readings of allegory, we explain how allegory is built upon and around the subjectivity of Turgenev's characters, implying concepts such as sexuality and the unconscious that had not yet been coined as such but directly influenced future European fiction.
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이정연 and 정고운. "Exploring a Dance-Philosophy Convergence Teaching Method for Elementary School Students - Focused on Plato’s “Allegory of the Cave” -." Korean Journal of Elementary Education 30, no. 1 (2019): 75–86. http://dx.doi.org/10.20972/kjee.30.1.201903.75.

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Steadman, Philip. "Allegory, Realism, and Vermeer's Use of the Camera Obscura." Early Science and Medicine 10, no. 2 (2005): 287–314. http://dx.doi.org/10.1163/1573382054088123.

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AbstractCritics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.
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Pimonov, V. I. "THE RIDDLE OF THE SPHINX AS A MATHEMATICAL ALLEGORY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 75 (2020): 123–28. http://dx.doi.org/10.37313/2413-9645-2020-22-75-123-128.

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Object the article: The riddle of the Sphinx in the Oedipus myth. Subject of the article: The riddle of the Sphinx as a mathematical allegory. Purpose of research: The author argues that the interpretation of the riddle of the Sphinx on a meta-linguistic level as an allegory of the mathematical notions (e.g. triangle) reveals the semantic parallels between the number code of the riddle and the number symbolism in the Oedipus myth. Research metods: Philological research methods applied. Results: The riddle of the Sphinx is a mathematical allegory as it is a narrative in which a concrete fictional character - a creature changing the number of feet - is used to convey abstract mathematical notions. The incorporation of the riddle into the myth in the post-Homer versions resulted in an “accommodation” of the literary story of Oedipus to the riddle by adding the images related to the number “three” (third day, crossroads, the forked motif in the double goad, “three-footed” Oedipus with a cane). Field of application: Literary studies. Conclusion: The interpretation of the riddle of the Sphinx as a mathematical allegory underscores the significance of the number motif in the riddle and myth. The semantic harmonization between the mathematical notions conveyed in the riddle and the number images in the literary versions of the legend, reflect a deep structure of the Oedipus myth. The author is indebted to Oleg B. Zaslavsky, Svetlana Gracheva and Dan F. Whitman for assistance and helpful advice
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Anvar Bunyatova, Shams. "Analysis of The Category of Truth - “Aletheia” in Plato’s Epistemology." SCIENTIFIC WORK 59, no. 10 (2020): 36–40. http://dx.doi.org/10.36719/2663-4619/59/36-40.

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The article reflects the explanation of the concept of the truth by Plato, referring to his allegory "the Cave" and the analogy "the Divided Line" as well as to the dialogues. At the same time, the concept of the truth is being analyzed in the context of episteme and doxa and, accordingly, the hierarchical idea of knowledge, formed by the philosopher, is being investigated. The world of ideas, which forms the basis of Plato's philosophy, is assessed as a world where there is the truth and the unity, the true is separated from its shadow. In addition to the above, Plato's ways of achieving the metaphysical truth are being discussed. The article emphasizes that Plato was the first representative of the oldest theory in history, the theory of correspondence of the truth. Key words: Plato, aletheia, episteme, doxa, idea, knowledge, the divided line
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Peter W. Martens. "Revisiting the Allegory/Typology Distinction: The Case of Origen." Journal of Early Christian Studies 16, no. 3 (2008): 283–317. http://dx.doi.org/10.1353/earl.0.0193.

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Blenkinsop, Sean, and Chris Beeman. "The Experienced Idea." American Association of Philosophy Teachers Studies in Pedagogy 4 (2018): 61–77. http://dx.doi.org/10.5840/aaptstudies201913034.

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The central focus of this article is to share several experiential activities we have designed in our teaching careers that we use to help education students, primarily undergraduates and teacher candidates, access philosophical ideas and enter philosophical discussions. The examples shared below come from our attempts to help students reach key concepts and abstract ideas in some well-known educational philosophical discussions, through engaging in experiences relating to them. They are based on Plato’s Allegory of the Cave, John Dewey’s scientific method, and Martin Buber’s philosophy of dialogue. The focus for this article is not so much on the specific content or philosophical interpretation of these works but instead on the activities themselves as a means towards better understanding the concept of experiential learning itself. The three examples we present serve to show ways in which well-designed and thoroughly-considered experiences can serve as a bridge to difficult and abstract material while also honoring a more expansive range of learning styles.
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Page, Timothy J., Jane M. Hughes, Kathryn M. Real, Mark I. Stevens, Rachael A. King, and William F. Humphreys. "Allegory of a cave crustacean: systematic and biogeographic reality of Halosbaena (Peracarida: Thermosbaenacea) sought with molecular data at multiple scales." Marine Biodiversity 48, no. 2 (2016): 1185–202. http://dx.doi.org/10.1007/s12526-016-0565-3.

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Ottobrini, Tiziano F. "Intorno al teologhema della שכינה e all’antiallegorismo dello ἱλαστήριον presso Filone Alessandrino". Chôra 18 (2020): 547–78. http://dx.doi.org/10.5840/chora2020/202118/1924.

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This essay analyses the use of the term/concept hilasterion (‘propitiatorium’, i.e. the cover of Ark of Covenant) in the hypomnematic corpus by Philo of Alexandria. This subject needs to be examined in relationship with the Greek translation of the Septuagint and the exegesis of the Hebrew kapporeth ; so it will be argued that here Philo deals with semitic thought more than with the categories of Greek philosophy, since the real and bodily presence of God on hilasterion differs ontologically from any allegoric interpretation : only a sound Hebrew contextualisation of the theme as šekhînâ might take away this concern. As a result it means that, speculatively, there does not exist Philo Gracus only but this coexists with a sort of often neglected Philo Hebraicus too, when Greek allegory and allegorism fail to make sense, just as in the case of the special point of view of hilasterion, due to its semitic nature not totally compressible into Greek forma mentis.
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