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In three different approaches to the work, an attempt is made to understand Plato's peculiar way of thinking. In Plato's Letter VII: The Unwritten Doctrines, the theses of Professor Terence H. Irwin are criticized. Irwin's theses on the letter and concludes that Plato not only had a theory of forms, but also mastered the structure that generates all forms. In Plato's public lecture on the good: failure or success?, facts and testimonies from tradition are articulated in an attempt to show that the contradictions involved in this episode can be overcome if the notion of esoteric teaching associated with the Academy is radicalized. In The Participation of the One in Being and the Participation of Being in Being, we take as our object the concept of participation in the Parmenides dialogue. However, by drawing on data from the Sophist, Letter VII and the Republic, we succeed not only in understanding the concept of participation, but also in revealing the creative structure intentionally camouflaged in the work. In order to be creative, this structure must also be cumulative, that is, contemplate participation; therefore, its concealment indicates that clarifying the concept of participation was not Plato's purpose in the dialog.
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In three different approaches to the work, an attempt is made to understand Plato's peculiar way of thinking. In Plato's Letter VII: The Unwritten Doctrines, the theses of Professor Terence H. Irwin are criticized. Irwin's theses on the letter and concludes that Plato not only had a theory of forms, but also mastered the structure that generates all forms. In Plato's public lecture on the good: failure or success?, facts and testimonies from tradition are articulated in an attempt to show that the contradictions involved in this episode can be overcome if the notion of esoteric teaching associated with the Academy is radicalized. In The Participation of the One in Being and the Participation of Being in Being, we take as our object the concept of participation in the Parmenides dialogue. However, by drawing on data from the Sophist, Letter VII and the Republic, we succeed not only in understanding the concept of participation, but also in revealing the creative structure intentionally camouflaged in the work. In order to be creative, this structure must also be cumulative, that is, contemplate participation; therefore, its concealment indicates that clarifying the concept of participation was not Plato's purpose in the dialog.