@article{Casertano_2016, title={Soul, death and immortality}, url={https://periodicos.unb.br/index.php/archai/article/view/8683}, DOI={10.14195/1984-249X_17_6}, abstractNote={<p>Plato’s dialogues are great theatrical performances. These representations put into the scene something that none of the Greek tragedians or comedians dared to treat before Plato: philosophy. Each dialogue is therefore a play that deals with a topic, or many topics of philosophy, which makes Plato responsible for “philosophy” first meaning and connotation. The <em>Phaedo </em>was, of course, interpreted in many different ways. In the <em>Phaedo</em>,<em> </em>we do find a set of ideas opposed to a pure and simple empiricism; we do find the theory of the immortality of the soul; we do find logical and argumentative inconsistencies. However, in order to make sense of all that, we must stop seeing <em>Phaedo </em>as treatise on philosophy. Thus, <em>Phaedo</em> must be read as a theatrical work that brings into play a unique situation ”“ the last day of Socrates’ life ”“ with unique characters discussing philosophy, or, in other words, <em>what is philosophy for them</em>. And they argue ”“ and this is really what Plato puts into play ”“ with all the complexity of feelings that they sometimes experience: pleasure and pain, tears, smiles and laughter, groans and commotion. In this last day, in Socrates’ cell, a synthesis of all these men’s lives is shown<strong>.</strong></p>}, number={17}, journal={Revista Archai}, author={Casertano, Giovanni}, year={2016}, month={Apr.}, pages={137} }