摘要
The argument involved in the development of the agonistic debate in Plato＇s Ion is set by the requirement of determining the specific status of poetry in relation with the cognitive faculties which make possible the poetic creation as well as the rhapsodist＇s performance. This discussion, established in the dialogue in theoretical terms, is the philosophic answer to the historical problem implied in the ancient criticism to the traditional paideia. According to the new epistemological criteria of philosophy, a genuine knowledge must appear as a discursive instance that could transmit abilities subject to exposition by means of rational arguments and, at the same time, capable of pointing out its universal principles. Our purpose is to demonstrate that the theoretical competence of the rhapsodist is reformulated by Socrates so as to be placed in an aesthetic register, the foundation of which cannot be subsumed under the epistemic regime with which the issue of the technai is dealt with. Thus, the version exposed in Plato＇s Ion regarding the nature of the rhapsodist＇s singing does not contradict the Homeric tradition, inasmuch as for Homer, the instance that integrates the memory of the community with that of the aoidos is his disposition to immediately manifest the exemplary images, for the audience to experiment a visual reception where the discursive dimension is consumed as the element in which the concrete representation of memory is expressed
