Il lavoro consiste in una particolare rilettura del testo cusaniano, nella quale si cerca di evidenziare, tra le altre fonti, soprattutto la presenza di Meister Eckhart. La (...) “discesa” nel fondo dell'anima è presentata come il culmine teoretico di quel cammino di visione a cui e-duca l'aegnima dell'icona. Per queste ragioni l'articolo punta sull'influsso della mistica speculativa in campo teoretico e di quella dottrina che M. Eckhart chiama “Generazione del Logos nell'anima”. Tale trattazione apre poi il senso dell'ampia sezione dedicata alla filosofia negativa e ai “nomi divini” del Deus Trinitas, stavolta sulla scia di Dionigi: Infinito, Non-Aliud e Padre. Centrale è la figura del Cristo, unica vera condizione di possibilità della visione “di” Dio in quanto unico mediatore tra il finito e l'infinito; in Cristo si realizza quella paradossale unione delle due nature ed offre così all'umanità la chiave tanto desiderata per avvicinare l'Infinito. (shrink)
According to common sense cultural history is propelled by grand ideas. Contrary to this view a material history will be defended. Artists have always taken the lead (...) in the exploration of new technologies that mediate human perception. The modern worldview has been instigated by the artistic domestication of the camera obscura and its successors: the photocamera and tv. These technologies produced the spectator who was enthroned by Descartes as the modern autonomous subject. Contemporary digital technologies call for the overthrow of the obsolete paradigm of autonomy. Art paves the way for new subject-productions. (shrink)
In this article I propose to understand inertia in art as a “disposition to meaning”. I compare inertia in art with that of a face of a (...) person recently deceased. To acquaintances, i.e. to family and friends, it holds a promise of memories (of the deceased); to all the others the corpse offers the possibility of a projection of meanings. Art is made of plain, or extra-ordinary stuff, which is turned into artistic material. The artist is to bring the inert potency of stuff to artistic life, and to turn it into something that is expressive. If she is successful, then the work will offer its audience a concentrated, absorbing experience. Art is autonomous in that the aimed for experience is morally neutral. In the view of many contemporary artists, such experiences fail art’s deeper significance: absorbing experiences are, simply, too easy. If artists want to really move the audience (to emotion), or so they feel, they should also move the audience into action. Wanting to achieve this is not just difficult; it is a paradox. (shrink)
Comparisons between international integration and integrative processes on lower social levels or in other social sectors have rather been neglected in the recent development of integration theory. (...) However, they might have taught something more about the dynamics of integrative processes in general. International integration here, is compared with the creation and development of multi-purpose or all-purpose interest groups. Both are viewed as dynamic social processes of increasing interdependence and interaction, which start from the recognition that individual interests might better be served by turning them info group-interests, through a process of successive compromises. Such social processes are accompanied by the creation of proper structures and by a shift of loyalty to the group or community-level. (shrink)
On Carlos Moya's Reply to the Argument from Luck Resumen: Esta nota crítica se centra en el argumento de Carlos Moya a favor de la conclusión (...) class='Hi'>de que el Argumento de la Suerte representa en realidad un problema mayor para los compatibilistas que para los libertaristas. La Sección 1 introduce brevemente el Argumento de la Suerte. La Sección 2 discute la distinción de Moya entre dos concepciones de deliberación práctica, y propone una manera alternativa a la de Moya de entender la crítica al libertarismo que se basa en la condición de que cualquier decisión libre debe tener una explicación contrastiva. Finalmente, la Sección 3 resume la respuesta libertarista de Moya al Argumento de la Suerte, y sugiere un modelo alternativo de determinismo que Moya podría considerar para completar su argumento. Palabras clave: libre albedrío, Argumento de la Suerte, libertarismo, compatibilismo, explicación contrastiva, determinismo.: This review focuses on Carlos Moya’s argument for the conclusion that the Argument from Luck actually represents a greater problem for compatibilism than for libertarianism. Section 1 briefly introduces the Argument from Luck. Section 2 discusses Moya’s distinction between two conceptions of practical deliberation, and suggests a justification that Moya does not consider for the condition that any free decision must have a contrastive explanation. Finally, Section 3 summarizes Moya’s libertarian response to the Argument from Luck, and suggests an alternative model of determinism that Moya might consider to complete his argument. Keywords: free will, Argument from Luck, libertarianism compatibilism, contrastive explanation, determinism. (shrink)
"Al-Farabi of Baghdad (c. 870-950) is the first major representative of the medieval Arabic Aristotelianism which came to influence the Christian West so profoundly. In the (...) class='Hi'> Islamic world his writings on logic set the pattern for the future and virtually created Islamic philosophy. He is also important as a witness to the study of Aristotle in late antiquity, demonstrating a knowledge of Galen and the exegetical tradition of Porphyry. This translation is based on a fresh study of the Arabic manuscripts. An introduction and notes make this intriguing document accessible to all for whom it contains important matter.Classicists, historians of philosophy and logic, medievalists, Arabists, students of Islamic thought."--. (shrink)
Como continuación a estudios anteriores sobre la recepción de las Rasā’il Ijwān al-Ṣafā’ en al-Andalus, en este artículo se sostiene que entre los estudiosos andalusíes (...) de la Edad Media era una creencia generalizada considerar al astrónomo Maslama al-Maŷrīṭī como el autor no solo de la Rutbat al-ḥakīm y la Gāyat al-ḥakīm – hoy ambas correctamente atribuidas a Maslama Ibn Qasīm al-Qurṭubī – sino también de todo el corpus enciclopédico de las Rasā’il. La primera parte del artículo trata de explicar a través de qué serie de sucesivas confusiones estas tres obras llegaron a ser identificadas como los tres escalones de una escalera filosófica y cómo esta trilogía acabó siendo después asignada al científico Maslama al-Maŷrīṭī. La otra parte se centra en dos anotaciones de carácter biográfico que aparecen en las portadas de dos manuscritos de la Rutbat al-ḥakīm, aún inédita. Además de proporcionarnos evidencias adicionales sobre la difusión de esta concepción entre los eruditos medievales, esos documentos también nos ofrecen información interesante y a veces sin igual sobre los dos Maslamas, sus respectivos escritos y seguidores, así como sobre la amplia circulación de las Rasā’il por toda la Península. La edición, traducción y comentario de estas dos anotaciones biográficas son ofrecidas aquí por primera vez. (shrink)
El artículo viene a completar las anteriores investigaciones del autor sobre las fuentes de la antropología agustiniana. Entre éstas se ha subrayado el influjo del modelo antropológico (...) de Antíoco de Ascalón, conocido a través de Varrón y Cicerón. Este ensayo rastrea las huellas del "De philosophia" de Varrón en los escritos de Agustín anteriores a "De ciuitate Dei", para evaluar la medida y el peso de esta presencia. (shrink)
El objetivo de este estudio se plantea, en términos de filosofía jurídica, la siguiente cuestión: ¿como debería reaccionar nuestro sistema judicial ante la presencia de otros sistemas (...) regulativos obligatorios para grupos sociales distintos de la mayoria? Previamente el articulo erige un concepto viable de pluralismo cultural evitando los reduccionismos subyacentes: el reduccionismo que identifica pluralismo cultural con el impacto de corrientes migratorias en la unión europea; el reduccionismo que deriva del mantenimiento de la imposibilidad de existencia de derechos de grupo; el reduccionismo que considera patológica la diversidad; el reduccionismo que equipara el pluralismo cultural con el pluralismo de valores; etc. Se llega así a la conclusión de que, en primer lugar, la cultura es conflicto, de juicio, y en segundo lugar, que la búsqueda de "una identidad cultural propia" es un proyecto sin pretensiones. La parte final de este análisis explicita el problema en la unión europea y enfrenta las relaciones entre pluralismo y relativismo desde el punto de vista de la teoría de los derechos humanos. (shrink)
In this paper I will show some contributions from Averroes around some issues related to psychology and medicine. My intention is to establish some relations between the (...) commentaries on De anima and the medical treatises. The itinerary is the following: a) I will show that, like Aristotle, Averroes conceives the soul as a set of biological capacities; b) De anima is a biological treatise, so there we can find some considerations that must be understood from a medical point of view, specially, from the Arabic contributions on Anatomy. It is necessary, then, to point out the importance of the nerves and the brain to understand the narrow relation between the De anima and the Book of Medicine. We will find that Averroes does not understand the soul as a 'spiritual principle' but like something generated that makes possible several biological functions, from the vegetative and the sensitive to the intellectual ones. So, Averroes denies the Neoplatonic conception of the soul as something separated from the body. Averroes explains that the soul is the concretion of the biological process denominated "life". KEY WORDS – Averroes. Aristotle. De anima. Neoplatonism. Biology. Life. (shrink)
Following Hegel's remark that art is a “thousand-eyed Argos,” one can formulate the assumption that under contemporary conditions art and surveillance state do not necessarily exclude (...) class='Hi'>, but reflect each other. The film minority report as popular art offers a visual self-reflection on this proposition. The central question is whether and to what extend this film performs a legitimization or delegitimization of the normative order. German Hegels Beobachtung von der Kunst als tausendäugigem Argus folgend lässt sich unter zeitgenössischen Bedingungen die These aufstellen, dass Kunst und Überwachungsstaat sich nicht zwingend gegenseitig ausschließen, sondern ineinander spiegeln. Der Film minority report bietet dazu als populäres Kunstwerk anschauliche Selbstreflexion. Die leitende Frage ist, ob und inwiefern dieser Film eine Legitimierung oder Delegitimierung der normativen Ordnung leistet. (shrink)
John of Scythopolis, the first scholiast of the Corpus Dionysiacum, played a role in the debates that took place after the Council of Chalcedon in 451 and (...) contributed in an original way to the development of Christological dogma in preparation for the Council of Constantinople II in 553. In particular, he uses the theopaschite formula both in its so-called “Alexandrian” version as well as in that attributed to the Scythian monks. Several instances of the formula occur in three of his Scholia on Dionysius’s De divinis nominibus and show both his concentration upon the hypostasis of the Word as well as his identification of Christ with the Lovgoç. In this way, he looks for a new via media within Christological doctrine that truly can be called “Neo-chalcedonian.”. (shrink)
El Comentario Anónimo al Tetrabiblos de Tolomeo contiene un horóscopo que puede datarse el 25 de junio de 448, en el bajo Egipto. Otras noticias de carácter (...) astronómico ofrecidas por el maestro del comentarista anónimo en el escolio a Ptol. Tetr. 2.10 permiten fijar la composición de Anon. in Ptol. entre 467 y 575ca. Por otro lado, esta datación entre los siglos V-VI, así como la localización del horóscopo a mitad del s. V en Alejandría y su entorno, son congruentes con los estrechos paralelismos estilísticos y estructurales que cualquier lector de Anon. in Ptol. puede percibir entre esta obra y los comentarios a Platón y Aristóteles compuestos por Amonio y sus discípulos en la escuela neoplatónica de Alejandría desde 470ca. hasta 570ca. En este artículo, presentamos varios indicios que apuntan con verosimilitud a la hipótesis de que el maestro del comentarista anónimo, cuyo relato en el libro 2 nos ha permitido establecer la cronología de Anon. in Ptol., no sea sino Heliodoro de Alejandría, hermano menor del filósofo neoplatónico Amonio. (shrink)
