En el s. XVII se mantienen dos versiones rivales sobre el intelecto agente que tuvieron su inicio en el s. XIII: el tomismo y el escotismo. En este trabajo se estudia un representante español de cada una de ellas. Francisco Palanco (tomista) y Francisco Alonso Malpartida (escotista). Ambos sostienen la existencia del intelecto agente en el hombre y su papel abstractivo, y ambos niegan que en esta vida podamos conocer de modo natural al margen de la abstracción. Pero el (...) primero defiende la distinción real entre ambos intelectos, mientras que el segundo sólo admite una distinción formal. (shrink)

Scott Soames’s two volume work Philosophical Analysis in the Twentieth Century1 won the American 2003 Award for Best Professional/Scholarly Book in Philosophy. It has been said to be ‘a marvellous introduction to analytic philosophy’, to deliver much ‘solid information on this dense and difficult subject’, and it has been predicted to become the standard history of twentieth-century analytic philosophy.2 Professor Soames writes clearly and candidly. At the beginning of each volume he delineates his objectives and leitmotivs. He is concerned with (...) the development of analytic philosophy from 1900 to 1975. He aims ‘to explain what the most important analytic philosophers thought and why they thought it’ (I, xi). His method is ‘to provide clear, focused and intense critical examinations of some of the most important and representative works of each major philosopher discussed. ... to provide enough detail to allow one to understand and properly evaluate the main philosophical developments of the period’ (I, xvii). A book with such laudable objectives, which holds out such high promises, and which is predicted to become the standard history of modern analytic philosophy merits careful study and considered judgement. The questions that I shall pose are dictated by the author’s aims and methods. (i) Does Soames provide an illuminating overview of analytic philosophy from 1900 to 1975? (ii) Does he correctly explain what the most important analytic philosophers thought and why they thought it? (iii) Does he select ‘some of the most important and representative works of each major philosopher discussed’? (iv) Does he properly evaluate the main developments of the period? II The broad picture Soames paints is as follows. Analytic philosophy commenced with Moore’s defence of common sense, and was continued by Russell, whose theory of descriptions, conception of analysis, logicism and logical atomism are recounted. He was followed by Wittgenstein, who argued in the Tractatus that philosophical problems arise solely from misunderstandings of language and defended the view that all necessary truths are a priori, analytic, and hence true in virtue of the meanings of words.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dialectic and Gospel in the Development of Hegel’s Thinking by Stephen CritesLawrence S. StepelevichStephen Crites. Dialectic and Gospel in the Development of Hegel’s Thinking. University Park: Pennsylvania State University Press, 1998. Pp. xvii + 572. Cloth, $65.00Unlike either Wittgenstein or Heidegger, or his contemporary, Schelling, there is really no “Early” or “Later” Hegel. The fundamentals of his system were, if not always fully articulated, nevertheless present from (...) the very beginning of his career. There is, in Hegel, a remarkable consistency in the development of his thought, in which the elements that comprised his final system can be detected in his earliest efforts—and it is only in this sense that one can speak of an “Early” or a “Later” Hegel. That his final expression was indeed the result of an effort, a struggle to fuse and clarify seemingly disparate elements, is the thesis of Professor Crites. In this case, the specific disparate elements that are considered are those which confronted Hegel from his earliest days as a student of theology, those elements expressed in the “Christian Drama.” Crites sets out the eight revered acts of this drama: the creation, the fall, God’s covenant with Israel, the incarnation, the death and resurrection of Christ, the Holy Spirit, the mission of the Church, and the last judgment. It is his contention that Hegel “critically engaged the claims of this mythos and the social practices associated with it.” And so, the essence of Crites’s well-written and well-researched study is to set out how this drama served as a “template that affected the way he framed other topics in the ever-widening range of his philosophical inquiry.” It is to his credit that Crites does not consider his own explication of Hegel’s preoccupation with the gospels as some sort of a “secret” key that could unlock the full meaning of Hegel’s philosophy, but nevertheless, as he rightly stresses, this preoccupation cannot be ignored—for it ultimately exercised a crucial role in the formation of that which is now taken as Hegel’s mature thought.Unlike most studies of Hegel’s development—and there are more than a few—Crites avoids taking a retrospective posture, a concluding a priori stance which would allow him to point out where and why this or that particular element was rejected or retained by Hegel, His method is historical, intent upon following Hegel’s own sometimes tortured development, until, finally in this course, we reach a point where we suddenly see that Hegel “shows clear signs of becoming what we can only call a Hegelian—or better still, he shows signs of being Hegel!”The source of this inner development begins, and is traced from, Hegel’s initial appearance as “The Model Pupil of Stuttgart” to that moment in when he stands revealed as embodying that Absolute Knowledge which concludes the Phenomenology. This path from Stuttgart to Jena, which Hegel himself might have had in mind when he spoke of the philosophical “highway of despair” is detailed by Crites with a sure hand. Every stumbling block is noted, and every new resolution ıs marked, from those first essays composed during the bitter days as Hauslehrer, through the steady advances [End Page 540] of “the Jena ‘Philosophy’ ” until the passage completes itself in the Phenomenology and its termination in the “Recollection and the Golgotha of Absolute Spirit.”More than half of Crites’ extensive study is devoted to explicating how the subject of religion is dealtwith in the course of the Phenomenology. In this survey of Hegel’s most well-known work, its fundamental leitmotif emerges clearly into focus: the identification of the “portentous power of the negative” with the Death of God. This death, which is philosophically reflected in dialectical negativity, is the central moment of the gospel drama. In this act, Absolute Spirit must itself suffer and die, for “Not only the Christian God incarnate, but the absolute spirit suffers, suffers its Golgotha and dies.” It is only from this sacrifice that new life can arise—for out of it comes “the resurrection of a new human-divine totality.” What Hegel has retained of the gospel... (shrink)

Voltaire’s creativity ismultifaceted, covering the problems of philosophical knowledge, the assertion of a deistic worldview, the implementation of the principles of human free will, a comprehensive critique of religion and the church, the beginning of the political concept of “educated absolutism.” The thinker became one of the greatest authorities of the French Enlightenment, being highly gifted, universally educated, owning the principles of critical thinking. The aimof this article is to determine the basic principles of the philosophical principle of deism in (...) Voltaire’s creativity and its influence on the formation of the philosophical-historical concept. The tasks of this article are perform an analysis the formation of the deistic worldview of the French thinker, the influences of the philosophy of sensualism and rationalism on the formation of the general foundations of social philosophy of the enlightener. Research methods are principles of unity of historical and logical, dialectical unity of analysis and synthesis, convergence from abstract to concrete, principles of objectivity and systematization. Research results: philosophical worldview of the XVII ‒ early XVIII centuries. had a one-sided character: on the one hand ‒ the philosophy of empiricism, based on knowledge of scientific facts using experimental methods of scientific research, and on the other ‒ rationalist philosophy, which took as primary the original theoretical generalizations. The integral system of philosophical knowledge in the first half of the eighteenth century was absent. Conclusion. The deistic foundations of Voltaire’s philosophical worldview determine not only the ontological and epistemological aspects, but undoubtedly forming the general principles of his philosophy of history, which have an abstract, mostly narrative character. However, the possibilities of a deistic worldview direct the thinker to search for an objective pattern of development of historical knowledge. They usually have a general theoretical value, as well as their practical implementation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Second Copy Thesis in Hume? George S. Pappas The copy thesis which applies to simple ideas andimpressionsin Hume is well known; every simple idea is supposed to be a copy of, that is, to exactly resemble, some simple impression. Or very nearly so, at any rate, for there is the famous missing shade ofblue to take into account. There seems to be another copy thesis in Hume, however, (...) and one on which Hume places a great deal ofweight. We find it expressed early on in the Treatise, incorporated into Hume's discussion of space and time. He says: Wherever ideas are adequate representations of objects, the relations, contradictions and agreements of the ideas are all applicable to the objects; and this we may in general observe to be the foundation of all human knowledge. But our ideas are adequate representations of the most minute parts of extension; and thro' whatever divisions and subdivisions we may suppose these parts to be arriv'd at, they can never become inferior to some ideas, which we form. The plain consequence is, that whatever appears impossible and contradictory upon the comparison of these ideas, must be really impossible and contradictory, without any farther FogeUn has recently described this as a "remarkable passage," one which is "a match for anything found in the writings of the rationalists."2 Perhaps it is such a match, perhaps not, but Fogelin is certainly right to regard this as a remarkable passage, at least for Hume. After all, Hume here seems to be endorsing some form of representationalism, a doctrine we typically do not associate with Hume's philosophy. Two important questions emerge from this passage:just what are these adequate ideas ofwhich Hume speaks; and, in what sense can it be true that they form the foundation ofall ofour knowledge? I believe that a correct answer to each of these questions has some strong imphcations for our understanding ofHume's philosophy. I. Humean Adequate Ideas So far as I can discover, the above-quoted passage is the Only place where Hume talks about adequate ideas. The only text which I have Volume XVII Number 1 51 GEORGE S. PAPPAS found which even suggests the same sentiments occurs in "Of the Passions" where Hume discusses ideas and truth (T 448-49), but no mention is made there of adequate ideas. So I think we have to concentrate on the passage from the Treatise in the attempt to understand what Hume is telling us. Hume seems to refer to adequacy as a feature ofindividual ideas, and also to groups or systems ofideas. The latter is suggested by his reference to relations, contradictions, and agreements between ideas, while the former is indicated by the first clause ofthe quoted passage, where Hume mentions adequacy but makes no reference to relations between ideas. Instead, adequacy in the relationsbetween ideas seems to be a consequence of adequacy of individual ideas. Moreover, that individual ideas are supposed to be adequate is made clear from the argument Hume immediately gives regarding the alleged infinite divisibility of space. He writes: I first take the least idea I can form ofa part ofextension, and beingcertainthatthereis nothingmoreminute than thisidea, I conclude, that whatever I discover by its means must be a real quality ofextension. (T 29) Hume's reasoning here can be interpreted in two different ways, but both rest on the adequacy of individual ideas. He might be read as saying that one starts with a least-sized idea, and infers that there are bits of extension which are the same size as the least-sized idea. The inference from the feature of the idea to the feature of the bit of extension rests on the claimed adequacy ofthe idea. The other reading of Hume's reasoning is that one starts with the least-sized idea and then infers that there is (a) a bit ofextended matter that small, and (b) that there is no smaller bit of extended matter. Ofthese two readings, I think the second is the right way to understand Hume here, for only it supports the argument's conclusion that space is not infinitely divisible.3 But notice that this second version ofHume... (shrink)

First published in 1848, Christian Discourses is a quartet of pieces written and arranged in contrasting styles. Parts One and Three, "The Cares of the Pagans" and "Thoughts That Wound from Behind--for Upbuilding," serve as a polemical overture to Kierkegaard's collision with the established order of Christendom. Yet Parts Two and Four, "Joyful Notes in the Strife of Suffering" and "Discourses at the Communion on Fridays," are reassuring affirmations of the joy and blessedness of Christian life in a world of (...) adversity and suffering. Written in ordinary language, the work combines simplicity and inwardness with reflection and presents crucial Christian concepts and presuppositions with unusual clarity. Kierkegaard continued in the pattern that he began with his first pseudonymous esthetic work, Either/Or, by pairing Christian Discourses with The Crisis, an unsigned esthetic essay on contemporary Danish actress Joanne Luise Heiberg. (shrink)

Before proceeding to consider certain passages of Silius in detail I should like to enter a protest against the undue disparagement which has been meted out to this poet. The letter of Pliny , containing reflexions suggested by the voluntary death by which with stoical fortitude he sought release from the agony of an incurable tumour, presents to us a character which if not great was attractive; the character of a wealthy and kindly noble, who had made no enemies; one (...) whose house was the resort of men of letters; a devotee of poetry, who worshipped Vergil with almost religious veneration; a lover of the beautiful, who found his pleasure according to the accepted Roman fashion in amassing works of art and tasteful country mansions. Pliny's terse criticism of his poem ‘scribebat carmina maiore cura quam ingenio’ is more just than that of modern critics. Though Silius is not a great poet, a poet he is, with merits distinctly his own. His Punica is hardly an epic proper, but is rather a chronicle in verse: as such its author displays considerable skill in the clearness with which he marshals the mass of events, and in the realistic force of his descriptions, especially that of the plague , and those of the numerous battles, and particularly of the sea-fights ; and in the elaboration of geographical detail, where the vividness of the topographical presentation shows a well-trained eye and no common literary power The numerous episodes which enliven the poem, such as the legend of Pyrene , the killing of the monster serpent , the pretty description of Pan , are executed with much imaginative fancy which recalls the manner of Ovid's Metamorphoses. Again there is a dignity and sustained elevation of language which results not unfrequently in vigorous, well-turned phrases of no ordinary merit. Such are the expression for an echo xiv. 365 ‘clamat scopulis clamoris imago,’ or for breaking through the ranks of the treacherous Greeks xvii. 425 ‘periuria Graia resignat,’ or again the fine line describing the sobbing sound made by water rushing into a wrecked ship's hull and out again xiv. 550 ‘mox sua ponto | singultante anima propulsa refunditur unda.’. (shrink)