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"Dwl?KN}Ȧ{n!*-(tgqbhTFyg2 ៘Š03)ecw,# ]JX f{jՊ:D0 { x*T7iCFAm@xuFPKܪU*X5w;fFmPWo'NXdT&b;n{4m`W.ʡr]$vQO=xR$EUmTxEW=,+RqK}0 {:ȋ-*s4\5f%ҁ'tj+jO,iN*?ȯQ%UN#.M1Mizjs+U5kSZT @I^X,(;PtMSIr,z)Hhҳܲ)F6+Ἄ-ozkwUy€=oZZ3{{Q1%|Q7TƏ񻄯_PK!drs/downrev.xmlDMO0DHkQ VܖxXבmcqhFov@> .'iÍD;Ǥ`s\ҡH9*hcs)Cݒ0q=qv[)FjfLZ4Z龥z_}[7wmg?uח*.:?ַ " |=7WY6=_C$ %d rPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!-p-*drs/shapexml.xmlPK-!^drs/downrev.xmlPKf    ZPlato s View of Aesthetics from the Republic0. %c$ c$ . <  xxh0e0e?Rectangle 3  zr___PPT9TL     A turning point occurs in Cratylus whereby he focuses his questions about are on the concept of  mimesis (whose Greek senses include imitation, representation, and dramatic enactment). In essence, poetry, visual arts, & music can be treated as analogous in their representational relation to the world. This finds further discussion in the Republic, books 2-3, and 10.l0 P0 P0 P   tV]8Xx < nA ?? platoPicture 4platop@p$ < #  ? ___,,B̙f80___PPT10.Yn`:d"  @ ( V  @ @  xB0e0e?Rectangle 2"ZTPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!LvXdrs/shapexml.xmlTMo0 to4]:Eۀ;-'^dI|=IN0t2)Q#ś}-Ȗ[)e.sUTrЧgJc`BIvÍ[MpYڱN9=tl5JsR9fц[.sTNvjVI:+Mx) {!%9@'}i3ol LaAbJ1th[sVXUǢ4P N~`4ڋ^H:d8Ln8Db?Tԁe CZW oٌzJ2C1'l&sxMh %Q:踟Z37νFhE0Qky0`ۙus۠F"a](;IADy!, 2,<}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!C7drs/shapexml.xmlTMo0 t|4QhtAbAč,i&{6aVdRGWF 7V2}J,TYeJw'XdɄ<;n+XMpXDtNz=[xWRaYK57{ % dznToeJGSA^Rp2/a1Sv`ؿ) {Fop2@N5]!1F=8+F^x*c+v(]@x4>Ϻ^(:T㶷MX"_ :@2{J CYw ՌuA] cK~lm3U"Pd)-$*S hf2ӅwhcbMݫl4l3{H" )H,C 3P6 (,qуJPRjl1vћ5@n Grf}Zdg'qk,>2,<żpd| y _7_g۩0m5ox2^{X{noC, x]Mݨ:RSc1NQ#amS*O)SʂDɚ?_NlI?D߃p67JU^ЄTwD]@|mS*  Lv4>L'R4O'fw΢ o"nB~# }0 Z=PK!v>Fdrs/downrev.xmlDKO1&暸j f|t1w#LI[{<|'|uώ|g8FFZՙF~r;5$LseOc ( a9%~l2Rt WO {~e\cgB=$Տ0[vQU(ʭ,'`bH~)PJtrlT>.6_PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!C7*drs/shapexml.xmlPK-!v>F:drs/downrev.xmlPKA    O Books 2-4:  $  D  x0e0e?Rectangle 3   Plato refuses to allow the pursuit of art to be self-sufficient because of its power to  enter the soul and its ability to influence culture; the risk is too great to the city-state. Consider the following quotes:   t;p8Xx$ D #  ? ___,,B̙f80___PPT10.Yn`:d""   z H6 ( e Hv H  x40e0e?Rectangle 2"TNPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!wYzdrs/shapexml.xmlTn0 ?],mN6 (:ŎlˉY$9M{6aVdRGWZt2:᧟I˄?,nOrЅPF˄W.[ڏmW!q󕬅l԰"@u˞uKD@ZyқIfXU$zZH{/sX*GpL/` 'P+Lo"M^;gVRj@%,ve F`tlXc5a{cR3A@Kׂaܞ''PpF5Q] cKvlM=5*R#t σU:禶"tjsrja)e$! w&] +| b}AAiء$iQbtnˆpE.zZU) Y.D;zK17n-H&< Ewf;[;ot-Ê&L<>y _e_g͚rm5kx2;DZ}vzCb.uUmRTpOR!u9M5RДrP4Jt^t9i4j/GV h;cJ Ҵjs[)^vU'AHہs eAv鎦trlz(Sx5Sxc5!]]o_}_`ZՎ3?PK!c drs/downrev.xmlDN0EH5HJҺUC$vnIx٦M,Gwt=h{q Z qL˵D{ǤDVYӡH9*hbr)CՐ0qq[4 n{9˲i@ U]momo?uQ2*sL:ަӗo+H~6\PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!wYz*drs/shapexml.xmlPK-!c ;drs/downrev.xmlPKC    N Books 2-4:  $  H  x0e0e?Rectangle 3  V  Moreover, these stories [Greek myths & heroes, demons, Hades] are harmful to people who hear them, for everyone will be ready to excuse himself when he s bad& For that reason, we must put a stop to such stories, lest they produce in the youth a strong inclination to do bad things. 3.391-392. , ,  ,t;p8Xx$ H #  ? ___,,B̙f80___PPT10.Yn`:d"7 0LK( ,\  Lu L  x8C0e0e?Rectangle 2"SMPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!0քdrs/shapexml.xmlTn0 ?],mN6 (:ŎlˉY$9M{6aVdRGWZt2:᧟I˄?,nOrЅPF˄W.[ڏmW!q󕬅l԰"@u˞uKD@ZyқIfXU$tpE2l{_{Dk߁p P)r si%Eiy{TbW,,P*(Ɂ~`4_ Fg^(:V7M.8-h9{reߍp~hT3:;dS"5B爚<8Ze|nj+L6'W:۟YF"pgҕ2:"7-DZNRY%AjflQPP*]GQ%^⬐Bdc3}֑pdSZtgF2nm>Sx@ߑǍ,pz]u֬*FZ&?(Y؈.AdmlǛOm7$^M]j)E !{_QZ$\#M)WIZ:@E[F{ToUр3$)M6RUmwQUA*|8P+/Ydhj(L'ǦǁR>Տ'*P3X7)ZCrߵߵ G ֩X0 z;PK! *Ndrs/downrev.xmlDMK@Eax;;i@J+8wk 3c{˹j28Ymtg-jeX-ThwUlDPBXH ٦nＡotLp3}N+ =BKPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!0ք*drs/shapexml.xmlPK-! *N;drs/downrev.xmlPKB    N Books 2-4:  $  L  xX0e0e?Rectangle 3  ` Then what s left is how to deal with stories about human beings, isn t it?... Because I think we ll say that what poets and prose-writers tell us about the most important matters concerning human beings is bad. They say that many unjust people are happy and many just ones are wretched, that injustice is profitable if it escapes detection, and that justice is another s good but one s own loss. I think we ll prohibit these stories and order the poets to compose the opposite kind of poetry and tell the opposite kind of tales. Don t you think so?... &10 P/ 1t;p8Xx$ L #  ? ___,,B̙f80___PPT10.Yn`:d"  . & @P (  [Intern Pv P  x0e0e?Rectangle 2"TNPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!$\drs/shapexml.xmlTn0 ?],mN6 (:ŎlˉY$9M{6aVdRGWZt2:᧟I˄?,nOrЅPF˄W.[ڏmW!q󕬅l԰"@u˞uKD@ZyқIfXU$l8rE2l{_{Dk߁p P)r si%Eiy{TbW,,P*(Ɂ~`4_ Fg^(:V7M.8-h9{reߍp~hT3:;dS"5B爚<8Ze|nj+L6'W:۟YF"pgҕ2:"7-DZNRY%AjflQPP*]GQ%^⬐Bdc3}֑pdSZtgF2nm>Sx@ߑǍ,pz]u֬*FZ&?(Y؈.AdmlǛOm7$^M]j)E !{_QZ$\#M)WIZ:@E[F{ToUр3$)M6RUmwQUA*|8P+/Ydhj(L'ǦǁR>Տ'*P3X7)ZCrߵߵ G ֩X0 z;PK!1)drs/downrev.xmlDQO0M5 :Tf*o-[ۥ0xrNotǎ|c8F1h4 ;kH<,Ws̔=I"T,BP@Bq˚4`rxp4Ić{zl-q:=J}~!e.ͰzhVnשp7MokD ~6_PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!$\*drs/shapexml.xmlPK-!1);drs/downrev.xmlPKC    N Books 2-4:  $ , P  x}0e0e?Rectangle 3  ` Then we ll agree about what stories should be told about human beings only when we ve discovered what sort of thing justice is and how by nature it profits the one who has it, whether he is believed to be just or not. & We should now, I think, investigate their style, for we ll then have fully investigated both what should be said and how it should be said. 3.392a-c.2v0 Pata vt;p8Xx$ P #  ? ___,,B̙f80___PPT10.Yn`:d" PT( tion 18  Tv T  xڼ0e0e?Rectangle 2"TNPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!Tdrs/shapexml.xmlTn0 ?],mN6 (:ŎlˉY$9M{6aVdRGWZt2:᧟I˄?,nOrЅPF˄W.[ڏmW!q󕬅l԰"@u˞uKD@ZyқIfXU$|8:=rE2l{_{Dk߁p P)r si%Eiy{TbW,,P*(Ɂ~ pt~1u[oDx)֣XMޘb7 D 7Qt8DCTg(ؒ[tSO#j8ki󹩭3ڜ\|Xl g`HnÝIW 63cߨDPCvh;IAdyoŲ!GAm@xtExUB yb;R[GrKu< OkѝGN#|˰" <l#O}}G7|{puYfbi͚t,ޢgc#cqo>ސ x]7uUǪ'\꓇c}9G],kykp4\#&gk>sz]NliMQ%UE.Θd4VJWFUmFhIv lB}dYbhhf0J)rT?@c)h c}~&>F6+X` PK! drs/downrev.xmlDMO0DHkQUA4ԭZ>$@)nKM6m8q47zh{q Z qL˵- IWgK̍;Ck rT8R!a흷S4 n{9˲i@ U]m,ݮ㦨k RJ]^;?v_ԳQ0_L O/!Wm2PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!T*drs/shapexml.xmlPK-! ;drs/downrev.xmlPKC    N Books 2-4:  $  T  xų0e0e?Rectangle 3    Above all, they must guard as carefully as they can against any innovation in music and poetry or in physical training that is counter to the established order. And they should dread to hear anyone say:  People care most for the song That is newest from the singer s lips. Someone might praise such a saying, thinking that the poet meant not new songs but new ways of singing. Such a thing shouldn t be praised, and the poet shouldn t be taken to have meant it, for the guardians must beware of changing to a new form of music, since it threatens the whole system. As Damon says, and I am convinced, the musical modes are never changed without change in the most important of a city s laws. 4.424b-c. @0 ZI   t;p8Xx$ T #  ? ___,,B̙f80___PPT10.Yn`:d" `X( - Romanc Xu X  x(l0e0e?Rectangle 2"SMPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!Edrs/shapexml.xmlTQO0~`uR`hTbT89ӆ:g;wN iyp|ﾳjS+WFq3sSTz1G_9AB(oWϟ.m-a;l|)kᏍҸZnѳNzHTޠ?բ|Pzڹ#)[1Cδ^P xk|;0_N<786J9AN3]"vQm ʇ4l4(1:T 7eCZ"P=B-g,D:zK17n-H&< Ewf;[;ot-Ê&L<>x _e_g͚rHk֤e(w%H}vzC"ij6OUK)*sS!wzXf5RДr P4Jt^t9i4j'GV h;cJ Ҵjs[)^vU'AHہs eA鎦trlz(Kt5S$R3Hrΐ7L/|>zm/VN-j PK!V[drs/downrev.xmlDMO0DHkQ!u pʅo(:M{,pb5AɇαYvFDǤHVӓXӾH*hc )Cݒ0s#qv[)Fgٵqzhq n7vӺlkKRJM;?f_ԳQUbt"y/&SPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!E*drs/shapexml.xmlPK-!V[:drs/downrev.xmlPKB    N Books 2-4:  $  X  xX0e0e?Rectangle 3    Aren t these the reasons, Glaucon, that education in music and poetry is most is most important? First, because rhythm and harmony permeates the inner part of the soul more than anything else, affecting it most strongly and bringing it grace, so that if someone is properly educated in music and poetry, it makes him graceful, but if not, then the opposite. Second, because anyone who has been properly educated in music and poetry will sense it acutely when something has been omitted from a thing and when it hasn t it been finely crafted or finely made by nature. And since has the right distastes, he ll praise fine things, be pleased by them, receive them into his soul, and being nurtured by them, become fine and good. He ll rightly object to what is shameful, hating it while he s still young and unable to grasp the reason, but, having been educated in this way, he will welcome reason when it comes and recognize it easily because of the its kinship with himself. 3.401-402.0 P V]8Xx$ X #  ? ___,,B̙f80___PPT10.Yn`:d" e]p\(  \ \  x0e0e?Rectangle 2"_YPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!YXLdrs/shapexml.xmlTO0~!ZkEۤ Uh8mc{SN0M#Νw综62jRv ]jW8UɥV"e;K3v&rcfb%>k#d `gpByAkx&3sKTqۤ.Svv6! ދI,HEpS0wHFTouj^W/z4o.ּ-xf6y50vzC|nяuL k}9G]Iqg2l#T: K}:-N\)ZMދ%eM .VhJM*:ouI*|mS*, Lu0䦣CBx>5'S3X7poo#~_\|uE|wC#4PK!@jdrs/downrev.xmlDN0EH5HluTDBݪ t7$jlG$;:z48 f ӭw/ 9K & ^]^,1nKEؐϤ UCdcvt R{"tr$`kcC==7To }z=:s7y??J΋m+u}5nA0 >$ > \  x80e0e?Rectangle 3    The modes and rhythms of music, and the guardians physical training, all aim at producing tough soldiers, experienced enough in intellectual culture not to treat the unarmed citizens savagely, but not so softened by sweet food and music as to become incapable of fighting the city s enemies. Education unites their aesthetic taste with their conscience& .For Plato, education begins with the inculcation of good habits& He may insist that drama corrupts the city by multiplying citizens tasks, but he seemed more moved by the claim that mimicry [imitation] establishes  habits and nature in the mimic. ` ` `V]8Xx$ \ #  ? ___,,B̙f80___PPT10.Yn`:d"S   `g ( le_Theme ` `  xh0e0e?Rectangle 2"_YPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!HDmLdrs/shapexml.xmlTMO1W| !P"6h+E("A=Vή7Y]78TUكwf+ډ#*_O N{=δAHb$NL|dĿ$S8 P b%kR5vb\5R\쒅E Jrdxwѿ.Zä z SlGb8$`t4v=;F8$~hTsq!2w(JtS:׌qc=9R502"܄{3] +X} `u# 'ʇiآa^tn D=B-g,gb>ݵ!iK17n-d.< EbLbj'>!n|ԧ.}q߁ƍ,`*._Z鼹UnΛC/=FT bz-@!N>ސS Eq5Nl2VxL#J:@EÉ+MIU;=hESM)M6wRiTӍ7*2BEOԁ{ ђeEܴtlz\(ȑЗHjJN E m]7د7WķO:@18(N;ܯ-ގPK!S{drs/downrev.xmlDMO0DHk!UACI{$jlG$G3zڌ'uV<Ariv"0Z` 3[ЩZD *hLP5d0]O6v rᦓi,Ƈ{zl:Fk^r^URiW^M8L_& Eh rPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!HDmL*drs/shapexml.xmlPK-!S{Fdrs/downrev.xmlPKN    zConsider this commentary on this section of Plato s Republic:> >$ >6 `  xY0e0e?Rectangle 3  j Plato s reader must not neglect this side of the pedagogical theory, for it underwrites an important aspect of his moral psychology. Perfect virtue might work from the inside out, with intellectual understanding of the good coordinating one s actions in service to the good, but virtue also works from the outside in, which is to say that copying fine habits helps to produce fine natures.  V]8Xx$ ` #  ? ___,,B̙f80___PPT10.Yn`:d"  d ( wztd@ d d  x0e0e?Rectangle 2"_YPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!FLdrs/shapexml.xmlTMO1W| !Dl VPDz]ok7$78TUكwf<Zt2:']ΤMQeG_9AB(ewOv-#Uv|%kᏍҸZnٱNzTNtjQi>+٩#*LiQ#̑RIV/11ڷɈIp Ƀi͡47+DWΙkjJ ;,C~~o{ó0ikEj-  ¸gΞ@Yw#S?4huLJ7FEh5yp%&}nj+DlNTu>̷?H $Vʨ 6C& ȉavhAADIJAGBmptAPK*Y!˹X̞[ 퐴kFhzע[1Lh&1FpV7m>S8w@Zuj^/zt(7FXE/FT bz-F@>N>ސc Ea5N-l2x"Z:@EÉ+MIU{d oUт3$RSNmn+ҨoTUe6 a{%lC3-L iPJ#/ L1@$;Ao_=+oo/ҟtb$pQ5v_[ PK!=&drs/downrev.xmlDMO0DHkP*(!)nKMvd/M8q47z`Zq$g\NdK[)=OAFu`<=Y`]os:\!E5sJʚ nAWR{#ܴ*If`cC=To`9Z9J2SlX?`su1_ԫVp{w}3|s L^APK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!FL*drs/shapexml.xmlPK-!=&Fdrs/downrev.xmlPKN    zConsider this commentary on this section of Plato s Republic:> >$ > d  xM0e0e?Rectangle 3  . Painting, furniture-making, architecture, and the other crafts can issue an either graceful or malformed productions (401a). The beautiful productions dispose a soul toward virtue-reason and the virtues themselves being beautiful-before that soul even has the capacity to follow. ~ Routledge Philosophy Guidebook to Plato and the Republic, 2nd edition by Nicholas Pappas (London: Routledge, 1995), 72.X 8   < V]8Xx$ d #  ? ___,,B̙f80___PPT10.Yn`:d"k   h (  hq h  xº0e0e?Rectangle 2"SMPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!sdrs/shapexml.xmlTMo1W|R%_(K "%1zk`fv3oތjHZek.k*Jdt+tiF\Vnd2ތz=Ǘa6BVi0.z 'gՊJs3Aw%uѓog@XB 2/]a1|:0_=78-J9FN=Y"V?/+]pUjbo PKA~bxqz68.&oDx-֡Xr;d Dh2~Ppr}T'g(RZTL05[J2q0?U5Tc/f "%3":@oT!t>[ |4J 5Nc נ<ԪĠG^՜c>퓷`SucWJ+̅^ᵨΌ+a&1VqO @w qO,~q@߁Ǎpz]u֢H;DZ6߽(Eڈ.l6䇶7FT'JQqF:zȱDxUHWxJQd%,؇? ÉO*&Yďe\ͬU4©m-eiYc*l>BR&)KTٞv:cB/ӑl$;`;w]m׏#/5t'8 iF љPK!drs/downrev.xmlDAO1&fLIW+YD9lm vVX=y/{Ӳ38+a#[9Z~ ,D [gI,9]lIgk 6(@圇J0t7S5W/ nZ>ʲ 7ش$z{:_ڿXoU!mz[hWvJtl/ߨC$/ ]m2PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!s*drs/shapexml.xmlPK-!;drs/downrev.xmlPKB    JBook 10:    h  xxڼ0e0e?Rectangle 3 ^V___PPT980 0But then in Republic 10, Plato impugns aesthetics with the problem of  mirror making or  art qua mimesis , the creation of mere appearances that fall short of even sensible reality, thus  twice removed from transcendent truth (the plane of the forms). Poetry, once again, has bewitching power to arouse emotions that are contrary to virtue. Therefore, aesthetics must be placed under  political control. * Z^8  V]8Xx$ h #  ? ___,,B̙f80___PPT10.o۾" rjl&(  run in  lr l  x0e0e?Rectangle 2"TNPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!<"ddrs/shapexml.xmlTN1W?XVH4h+E(bzD^7Y]|} UUrpfv3oތjHZe.k%3U2V8z5Ҍ!dtz/Eܱ6BVi0.z 'g럜V+:F(߭geFφ_Jk^pXHA+ 8\ ҲgTQE)ȩ'Kd` *@ X̒J_{)(o2:𬻘Xc5~s Dׂz펒gP2 pB5Q]CKqhQm32RGԌro)IC}TP75$`HlΗ̈SQMD o4(1:0;eC\"PE&xURTsV从OނMՍ]Er+uR0zע:3Z>1,3|=YЧsyxWN|Ra5z'~D5-mfINok)Ө/N˺ #Ua :7qO7^4SԆ0J8}id#Ko~L ~᭡8yhN3o ΌPK!01Ydrs/downrev.xmlDN1E&CHIGTdDu1ō10m'mm\ޜ3_c'uV$Fv#*% \X(wdlXPc_pjMdSwp`L7\y<'4f`kӃƞ66*&cY֥a,[iWvJC~;\|* l)PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!<"d*drs/shapexml.xmlPK-!01Y;drs/downrev.xmlPKC    JBook 10:   t l  xx0e0e?Rectangle 3  L Like a painter, he [poet] produces works that is inferior with respect to truth and that appeals to a part of the soul that is similarly inferior rather than to the best part. So we were right not to admit him into a city that is to be well-governed, for he arouses, nourishes, and strengthens this part of the soul and so destroys the rational one, in just the way that someone destroys the better sort of citizens when he strengthens the vicious ones and surrenders the city to them. Similarly, we ll say that an imitative poet puts a bad constitution in the soul of each individual by making images that are far removed from the truth and by gratifying the irrational part, which cannot distinguish the large and the small but believes that the same things are large at one time and small at another& ' P' ' V]8Xx$ l #  ? ___,,B̙f80___PPT10.o۾"& ~p:( dniwboih pp p  x|0e0e?Rectangle 2"RLPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!h*drs/shapexml.xmlTMO1W|  D[)B#zlo p33yf<F*>%Bq]j7JgdR+g 3qrѵf9 s[m/OBDs(j9[`Vta bCt}y5 דMy15M,[4Tٝ9Q{.9HCM_zSl6MO/ߪ C$/ %d |PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!h**drs/shapexml.xmlPK-!|h:drs/downrev.xmlPKA    JBook 10:    p  x8߼0e0e?Rectangle 3  b However, we haven t yet brought about the most serious charge against imitation, namely, that with a few rare exceptions it is able to corrupt even decent people, for that s surely an altogether terrible thing& . An in the case of sex, anger, and all the desires, pleasures, and pains that we say accompany all our actions, poetic imitation has the very same effect on us. It nurtures and waters them and establishes them as rulers in us when they ought to wither and be ruled, for that way we ll become better and happier rather than worse and more wretched.2 P2 2 V]8Xx$ p #  ? ___,,B̙f80___PPT10.o۾" t( .pdfBS) K tp t  xhϻ0e0e?Rectangle 2"RLPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!-drs/shapexml.xmlQo0';X~Z(@ UmPCqHqlv(ZڇiZy0ww]^mI6ºZ)Vˌ>,nOQ4{g,{gkM|<>>[CwyhV3>L LPK! +drs/downrev.xmlDn0Dk+VRKox#b;]_r|9ɇYqlTk'`!U9K`ͱPb+:ذ@:ƾ<Ԛ ɦoxIpi`kӃƞ61ӡ3_êl~'cY}ԥX![ε/PJ@>ͦooߪ C$/ %d | PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!-*drs/shapexml.xmlPK-! +:drs/downrev.xmlPKA    JBook 10:     t  x@0e0e?Rectangle 3  @& .If you admit the pleasure-giving Muse, whether in lyric or epic poetry, pleasure and pain will be kings in your city instead of law or the thing that everyone has always believed to be best, namely, reason& . Nonetheless, if the poetry that aims at pleasure and imitation has any argument to bring forward that proves it ought to have a place in a well-governed city, we at least would be glad to admit it, for we are well aware of the charm it exercises& .Therefore, isn t is just that such poetry should return from exile when it has successfully defended itself, whether in lyric or any other meter? Republic X 605-607.s Ps s V]8Xx$ t #  ? ___,,B̙f80___PPT10.o۾"  x ( ersion.mp3[- xq x  x@0e0e?Rectangle 2"SMPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!2$drs/shapexml.xmlTn1W?XV ZP(AJ[ E(Kczavm/!|}%!9TUg޼宑d+i.k%3U2prӅ8CpY{3_SmҶa]N(<57GՊNJmsAۅ%u`8QXwJ 2/]a1|:0_=78-J9CN=[#V?+]Ujb?.x8}ϻ^u(:Vw׺|^IZQ"Sdr[fNTf|6>*(R[T̴05[J2q0?W5Tc/f ";53":@oT!t>hIAdhjDz!EAnAxUA"+*II)%+}|`'on"V*^) kQWLbjlYS?܁#kQ=E;vmoPƋr]<+RlmoM^7mS7N urc =L-(l3"l)[oΣDFX@TXMދQ |:,h[X hRSZ4Ӳ.HU|]S*, \u4!L'ǦDžR1@_C3Dwwį_xk.NpL3?PK!drs/downrev.xmlDJ1Ef,tڴ2VMwd$NB{93_g' NFs#i# \\_ͱj:Բ qD &<6,ƉŔchxpiQns@φ֛㮷qUcRU77j,јF7-ALvx|N /fSPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!2$*drs/shapexml.xmlPK-!;drs/downrev.xmlPKB    JBook 10:    x  x0e0e?Rectangle 3~ ZR___PPT94, NAfter his discussion of injustice in the soul and the city he returns to his critique of poetry. Pappas commentary states that every issue in Book 10 reflects back on the Republic s psychological theory in Book 4 and on the vindication of a life in which reason rules in Books 8-9. Therefore, given the fact that Plato defends  the life of reason, it becomes clearer why he now returns to his discussion on aesthetics.Hc  D cD  V]8Xx$ x #  ? ___,,B̙f80___PPT10.xpНy"  s k |' ( Kant_Mor |p |  x0e0e?Rectangle 2"RLPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!pdrs/shapexml.xmlTN1W?XVH4h+E(bzD^7Y]|} UUrpfv3oތjHZe.k%3U2V8z5Ҍ!dtz/Eܱ6BVi0.z 'g럜V+:F(߭geFϿ@XB ҧ/]a1|:0_=78-J9EN=Y"V?/+]pUjbo PKA~A8_g:]nǗlT$btԃmw<[Y? Gepvчb-šEDH SQ3ʽ$)n S\C5:?b֐ !w:_2#[OF5HsE?H G P4 > r CJ z\UIJJQY:>y 6U7vɭJ\^̸fS;kGİ tLdBN/;{߽Z+ZiHke(wXų"}(u6uD)*ΨPG9Ԃ"6 )– P4{g,{gkM1y||$8h :3PK!|drs/downrev.xmlDAO1&fHI5X(̊&aovnضm<͛|/b5ɇYqlTk)*%W Z,Pb+:ذ@:ƾ<Ԛ ɦoxIp,˹֦==kOm}gu٨݇e^B܍X!?o&E),_ߪ C$/ ]m2PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!p*drs/shapexml.xmlPK-!|:drs/downrev.xmlPKA    JBook 10:   w |  xx0e0e?Rectangle 3r NF___PPT9(  U According to Pappas the general argument against poetry is evident: Poetry imitates appearance (595b-602c); Poetry appeals to the worst parts of the soul (602c-606d). Poetry should be banned from the good city (606e-608b).2E  " E V]8Xx$ | #  ? ___,,B̙f80___PPT10.xpНy" ?7( 09-3.doc q   xͻ0e0e?Rectangle 2"SMPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!pdrs/shapexml.xmlTMO1W|  YAR"6Gxlo p33yf<F*>%Bq]j7JgdR+g 9CpYtz=עaT`mjW=c3D ^jE' ܒl0DidH{_€cu`ؿ)-{Bop[2@N=]#V?+]Ujb?.x4>:u7"Ptu<` Dh2~Px0>*C(ز׍a~ ÃkX_D0$vVkfDt`ۙcߨ&"B|4(1:0;eC܂"PE&WxURT ,mkVZxe\^̸fS;oGİ tL9dBy\ _W_g]SiH-/ xQn6gk8 ,u6uD)*ΩP'Ԃe9mNR-e E( p I{#oYmsuMp*}SKF5}qZe O{ UEv6P*Kx"}h&{g,{gkM yxx 8Mv@PK!;7drs/downrev.xmlDN1E&CHI)̈$bwc:aN ۰ͽ97gLNC묀$Fv#*% \nX(wdlXPc_pjMdSwp`L7\y<'}`kӃƞ^4Gc<7}gU٨wjWB܎3HCo:򯼢J@>{΀.߾UH^@KPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!p*drs/shapexml.xmlPK-!;7;drs/downrev.xmlPKB    JBook 10:   B   x(0e0e?Rectangle 3  vPappas offers this insight into Book 10:  Despite his conclusion, Plato s interest lies not in censorship but in the new discoveries he has made about poetic imitation. He gives no argument for the steps from [2] to (3), considering it obvious that if he can show poetry to yield deleterious effects, he will have made the case for its abolition. (Free speech for views known to be harmful has no value for Plato- if anything, it reminds him of the licentiousness of democracy.). The work consists in showing where those effects come from. So he will first argue that poetry is a phantom [1], then use [1] to expose its psychological effects [2]. P V]8Xx$  #  ? ___,,B̙f80___PPT10.xpНy": N( aul Shoc r   x10e0e?Rectangle 2"TNPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!JaEdrs/shapexml.xmlTQo0~`uj 5T-RIB +'q ű=ۡg;Ӵ`r;նdÍLi. Ur҇7JcdBIjӥN&,mSrN'-VaTi.aij=m1D ^jI'%7/w!u+K =/b)8^0bm;0_=78T J9CN5]!6F=8+UǢW4P N~`<_ ƣbFb-ո*wKu B=%φ,eOjg!Z2] cK~lm3U"Pd)-$*S hf2ӅwhcbMݩl4l3{H" )H,C 3P6 (,1AdbW%()y`ylLޘu R]+9Wx-3㊟ILGclS܁#^=ry;f moQƋr\cY67Ēxuԍz#8\Bb6)ƋWفv&;ZCBX@_|3Y;gPwv7_7!?]7NՓ?PK!Kidrs/downrev.xmlDAO1$fLIW \(̊&anvnضm}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!_ydrs/shapexml.xmlTMO1W|@BAD[)"6Gzmk{{!CEKכ\\Ŷ茟p&uaZ2~=™BB-3(=|ta2k?_`ǽ/ֲXqW׈խzI/u럜 {5vH*f۹culLad$VJ>ud"%#ޓLɃiաS47kDWΙZ1bϹjJ5 Y:(ɑ>h0GgaBáXc5amɅ/_ :@qO@YW+S5huŽYmscTF^3^YRnt"Lun R52܇۩DklTDG |Kt5Mc<ԺĠGQ^⬔B,yb;$S}6pMSZtw IL'M9y[̋tB8wZVba?^U/v(GZm"ޢe!A,SlɧNK}tc Ŗi37xQl#Сh8qi5I~*jZpnHԔ6RiTӉ7.0REOԁ{ Aɪ"{ꎦtrlz\((Тng3cwլ2X$VAhR{„=<}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!n+drs/shapexml.xmlTO0~RhDۤ Uhq6Ա=)>;)i˝|WZ*>%Bq]Tj҇%3U0Hpj˥I!\bR$kQ3wPC GZWJ)Bmf6Hn*R:FidH{_{\SX J(ezF6qm~^ Vy{ԀŬ1@+/]JGh2>Nκ7"Ptnt2dIDh2~7Pd0\=3-#5LqDM)Vyum1 ٚv| 7-!t>/h'IAdlDz!GAnAxTA"+*II!%˳}|`۷ނՍDrKu3zע:3.eX&g{eOsRhXρEy+7C g4oߪ C$/ ]m2PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!n+*drs/shapexml.xmlPK-!;drs/downrev.xmlPKA    JBook 10:   <   xٻ0e0e?Rectangle 3 P~ ZR___PPT94, Poets have a tendency to imitate the soul s worse impulses instead of its better ones (603c-605c). Poetic imitation appeals to and encourages the irrational impulses in the soul as witnessed in the dramatic depictions of passions instead of the sobering calculating agency of reason that reins in those passions (604e-605a).Bc   c F t;8Xx$  #  ? ___,,B̙f80___PPT10.yp@<"    @ ( rtation     xؗ0e0e?Rectangle 2"c]PK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!eMEydrs/shapexml.xmlTn1}BD RJ,Q-^۵ܾgKBP ˌ}vf<7Jt4:_I ?]sйPF˄緣ϟn[c6JV1VjU"@u뤗:@N%JGp79fX'Ǚ> I<+z<&&[6dr'ML#M9g+)rOLjۉ sHr+Y2(ɑ.ޠ? .Z z {G7b?hZ";pue_pHN}רfp!*wz{J^ued A[ʕk|@#\rq7Lڋ)\E P!VяlO&vG4]åKOd5&>(i>?Zlz:5Feȋ:aX 4owUz+PRxN߮߮@N@PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!eMEy*drs/shapexml.xmlPK-!';Kdrs/downrev.xmlPKR    w+Book 10.602-607a: The Arousal of Unreason:, ,c ,   x80e0e?Rectangle 3 vn___PPT9PH ! lImitative arts produce objects of low metaphysical status. Aesthetic imitations are a concern for Plato because they seduce people away from using their powers of calculation unlike other objects. Something about the artistic image keep people from asking rational questions. Products of artistic imitation lure the audience with its intoxicating enchantment. For example, the charm of poetry is its rhythm, meter, and harmony.z<     <    t;8Xx$  #  ? ___,,B̙f80___PPT10.yp@<" e]P( clogeS }   xI0e0e?Rectangle 2"VPPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!8L drs/shapexml.xmlTO0~-]5"EPmR*RI6Ա=)m}S(NQb%Jϟtb5N9zXSRaYK57/z %Õdzf%8Afl@jYbJPRjl!vQ5n &9Wx-$v#slSaߑ-`*_:iNoy_;cmk0 $u6u)*N)'<6!2P,P/pJ$=X QOMHJuW G5X%_$vmÞB}oxUa`hn::4=,HKt"o&K8{', NPخ&dX?:'*iPK!&drs/downrev.xmlDN0EH5HC uC-%enI؎!I,չ:d:1 .g ӭ|/nAFs)jyzL4\!C sI nAR{#t*IRiQ0::9Z*WlZ߁`َû+Q/ZA:Oo@쟏_& Eh rPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!8L *drs/shapexml.xmlPK-!&=drs/downrev.xmlPKE    SBook 10.605c-607a  \   x0e0e?Rectangle 3 Pz VN___PPT90(" 2Poetry leads it audience to privilege those parts of the souls that ought to be kept in a subservient position (605c-607a). Why? Desires lack awareness of their own insignificance; Impulses that don t flow from reason will always make mistakes. Subject desires to scrutiny, weighing each non-rational motivation against a philosophical evaluation of its worth and meaning. Playwrights and actors shy away from perfect characters; they thrive on imperfection (pg. 185).H Z ZT ZT  t;Xx$  #  ? ___,,B̙f80___PPT10.yp@<"\ `p(  p   x0e0e?Rectangle 2"RLPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!"cdrs/shapexml.xmlTn1W?XV)D RJ(BY#^|}%!9TUg޼նd#>%Bq]jӇ7JgdR+ӝpjӥɜ!\frd+0U`mj=c3D ^jE6 ̒E k^pXJA+ 8] ҲgTQE)ȩ'+d` *@ X̊J_{)(os:謻Xc5~{e Dׂz힒gP2 pB5Q] cآfe)9R\7* co1kH;]сmb}Aߡ$iQbtavˆpEV%=L.$%lQ;>y 6U7vɭʂ+ՙq%$v*a3Ɇ>/;{߃Z+κh'ηE[_[amD,qCbY:mF?ՉRTSN !s<ۜ*[k}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!fF'drs/shapexml.xmlTO0~-U4"EPmR*RG8N؞픶>;)i˝z[KUZOP\ZqqwrILLj%R^O~23KLJWޛs|%jN Rۚyv3V8@ǖآze))R*S 3\C7:b֐ !:[1#̜F"g~? g `fvۆDR=L.$%(,mz 6Sv-7J\ Euf\ 37#| psɆy܊ ߬7_g͛m5ox6^{Yr'?KsBS*c50"oqgRaKjGt%J}:0j^j[VaEj]9&U8lG⴬1B6 -~{%C3SLMɑPJQзD@&K`5p]Gmt7鉄q@N6Dg&PK!v|drs/downrev.xmlDQO0M5M:dDIzvi}<9'7a90L)Tp%fSWE) ChS}YF?-؝bt/$\2ƖV5[ ,FEVḡ/[u+QRh2=;Gd>m4>PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!fF'*drs/shapexml.xmlPK-!v|>drs/downrev.xmlPKF    ZConcluding Observations:     xѼ0e0e?Rectangle 3~ ZR___PPT94,#$ FAt the beginning of our study poetry that is mimetic is to be excluded but by Book 10 all poetry is indeed mimetic; only  hymns to the gods and eulogies to good people Republic, 607a) are retained. So, except for above, he banishes poetry from his ideal society. If poetry can satisfy philosophy by producing an argument that is beneficial to the community to the well-ordered society, then it can reclaim its place.N  P P P   V]8Xx$  #  ? ___,,B̙f80___PPT10.p`n"   x 4 (     xhݼ0e0e?Rectangle 2"WQPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!ab'drs/shapexml.xmlTMo1W|"MYePD=F ^۵}PU 33sym$jrzvڧD(Z-s0=FLLj%r^?43LNWޛs|%N Jۆyv3V8*{lY[TL05[J2q0?U5tc/f "[3":oT!t;PAPY>%C 6( *1QdrW%))E5gb![nWZTgƕ0Y8'e; qO6,8wFT}nj_:뢝H;FXmoƋr]<[$Y4bY:mF? RtSN !s<ۜ*[k@~{% C;ULmɑP*QЗD@&{g,{gண&|<~U||$m dљPK!z5drs/downrev.xmlDQO0M%M: N A2"&nul kuO>-zݰW%ȔV*S ܿLFbc 8|p5Tړɩ+B"!)羬IٖLi 1K KQPcKc<>Y%wE2z/cmEmxr?vX9@N@PK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!ab'*drs/shapexml.xmlPK-!z5>drs/downrev.xmlPKF    ZConcluding Observations:  o   x8ܼ0e0e?Rectangle 3 vn___PPT9PH%&' %_Mimetic poetry has its greatest force on the human psyche, appealing to the non-rational aspect of people. Even the individual who attains the Platonic ideal and is governed by the noble, rational, good-seeking part of the soul, is powerfully affective by the experience of myths and stories (Republic 605c). We begin to value responses that appeal to our feelings and this will no doubt corrode our quest for the good in real life. Mimetic art falsely pretends to be knowledge but is detrimental to the human mind; it enchantment to arouse the non-rational is a huge concern because it displaces reason.6 P P| P P P6|   ` V]8Xx$  #  ? ___,,B̙f80___PPT10.p`n"  l d  ( y    x8/0e0e?Rectangle 2"WQPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!Bh'drs/shapexml.xmlTQo0~`uꠔ5T-RIB +'q ű=ۡg;Ӵ`r;նdÍL>%\2ۓoXdɄ<;nKXMpYDtNz=[xWRaYK57/z % dznTmeJGg3A{^Rp2/^a1Sv`ؿ) {FoprjB6~mz^qVZy{TEit6x8 ZqU&,"_ :@2{J CYw ՌOC2< cK~lm3U"Pd)-$*S hf2ӅwhcbMݩl4l3{H" )H,C 3P6 (,1AdbW%()y`ylLޘu R]+9Wx-3㊟ILGclS܁#^=ry;f moQƋr\cY67Ēxuԍz#8\Bb6)ƋWفv&;ZCBX@_|3Y;gPwv7_7!y{6N7N Փ?PK!tbdrs/downrev.xmlDN0DHHܨ(UIp[mb5#ۤ߳Yћ/GۉB4)d ^(>\܀ ;RpsJ`9*hSs)cݒ8=9v>XLC#um'ZZ4ZiRhk.:?Ww }=drs/downrev.xmlPKF    ZConcluding Observations:  [   xX 0e0e?Rectangle 3 ~___PPT9`X()*+ ! We begin to value responses that appeal to our feelings and this will no doubt corrode our quest for the good in real life. Mimetic art falsely pretends to be knowledge but is detrimental to the human mind. Therefore, except for hymns to the gods and eulogies, poetry is to be banished. P| P PS P PP P|S  P " V]8Xx$  #  ? ___,,B̙f80___PPT10.p`n"i }( heology     x70e0e?Rectangle 2"UOPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!9S)drs/shapexml.xmlTo0~B-#jZnP=Nq ű=ۡ~>L s.v$[a]UNNuYUN'_)qIDNWϟ.M r{zEܩ6BAVi0֮z 'gՊNJm 3w۹%uh5{/8XIA%i 6S7vd\^0 3}BXCN9dBs4nD^WuIT.ºl y2^;2e@>N~h{xC,KpݴM:As*C50bpgSaKzGt)J6}:0Ra5z/G6-lnR*JRQM7N˺ I𻸧P-QUXdڙ`jM b }iOd`%wu _?!G¯!8х&;$LPK! [drs/downrev.xmlDN0EH5HS$V,vO~۴cνgwa:@mmY?]݁",#8rq~6BPV$ !t1PmvT nβ[i;nAxޯَUu,DW35/U!7y^NW!%d rPK-! [Content_Types].xmlPK-!1_a /_rels/.relsPK-!9S)*drs/shapexml.xmlPK-! [=drs/downrev.xmlPKD    \Appendix: What is beauty?     x40e0e?Rectangle 3 ___PPT9,,,---./ Plato s concept of beauty finds its greatest expression in the Symposium. Platonic metaphysical distinction between the beauty of things and properties as they occur in the sensible world and BEAUTY ITSELF-the eternal, unchanging, and divine FORM of BEAUTY, accessible only to the intellect, not the senses (Symposium 211d). Form of Beauty is itself beautiful (211a). J Z Z Z Z+ Z Z Z@   +  $$(( t V]8Xx$  #  ? ___,,B̙f80___PPT10.p0 "z ( mVF    x(b0e0e?      #$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijkmnoRectangle 2"ÒPK! [Content_Types].xmlQN0 #QI!v:`|mDDq(n쀄8~ZQ̘_˕*@ou2x cX=\7v=r9iMf H']Hd.S#wQ_6gȋl;}tt)eU-!lT/STOl<9R~Q&4@Dƨ*j"t3D q>}-^p>rr‘ܼlb!\}PPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!Iv' drs/shapexml.xmlTMo1W|o-R%VB T=Vî7lڮ%_g{~pXf<7xh%  >z;LRW/͛gΓHj% ~~uarg6+o7`ʭhɽF(jm[pXqQ+p8(>Qj2Kv >̆gZ\{'Je|.w'CB `w-nꇭʅe;*P \̖Kx)8 >iv~oLh𒬋IS~mfz2; Qcl6 ꔋg%4x h4~7LA"LLW:2.2G}v;PM~R|4liDufJZ[ΒsNuV]ooD!7vW^t2K ϗת|`m4PK-! 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