Nos ocuparemos de una noción clave en el pensamiento estético de Agustín: la de número (numerus), dado que sobre la misma articula el concepto de belleza (pulcritudum). Nos proponemos, de su mano, indagar acerca de la naturaleza de lo bello y su relación con el goce que surge en el sujeto cognoscente. Esto será ocasión para analizar su metafísica platónica de cuño cristiano y valorar su estética de la proporción. Veremos cómo ésta se edifica sobre la primera, y ambas (...) son atravesadas por una mirada religiosa. Por este camino, nuestro pensador descubre las huellas de lo Infinito en lo mudable y perecedero, sea en la naturaleza, en el arte o en el alma. La vía de la interioridad toma en Agustín tonos místicos, en una tensión que va de lo temporal a lo intemporal, donde el amor por la belleza sensible es el aguijón que impele a la búsqueda de Dios. (shrink)

Conocida esta enfermedad por el nombre de tisis, algunos países tenían registros de las muertes producidas por la tuberculosis, aunque después de la revolución industrial del siglo XVIII, se hicieron frecuentes los registros debido a la alta mortalidad. Las causas fueron varias: las malas condiciones de trabajo, las casas insalubres y atestadas de seres humanos, la dieta poco variada, entre otras. Se va a definir la imagen idealizada de la tuberculosis por el estudio de diversos poemas de autores que plasmaron (...) el pensamiento general de esa época, un muestreo de una enfermedad que se sigue manifestando, pero sin el concepto añadido de belleza romántica. (shrink)

El mito griego atribuye al a diosa de la belleza un cinturón que posee la virtud de otorgar gracia a quien lo lleva, y procurarle amor. Esta misma deidad va acompañada de las Gracias. Los griegos distinguían de la belleza, pues, la gracia y las Gracias, puesto que representaban a éstas por atributos que podían ser separados de la diosa de la belleza. Toda gracia es bella, ya que el cinturón de los encantos es propiedad de la (...) diosa de Cnido; pero no todo lo bello es gracia: aun sin ese cinturón sigue siendo Venus lo que es. (shrink)

Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...) vinculada al no–ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. (shrink)

Sanskrit text, with Sanskrit commentary of Anantaśaktipāda and English explanation on Śaivism, and Hindu philosophy.

Critical and comparative analysis on the philosophical thoughts of ʻAlī Sharīʻatī and Sir Muhammad Iqbal, 19th and 20th centuries Muslim philosophers.

Study on the contributions of Vācaspatimiśra, fl. 976-1000 and Vijñānabhikṣu, 16th cent., commentrators and philosophers to Sankhya and Yoga philosophy.

Islamic ethics -- Early works to 1800. ; Kāshifī, Ḥusayn Vāʻiẓ, -1504 or 150; Akhlāq-i Muḥsinī.

In lieu of an abstract, here is a brief excerpt of the content:Priestly Renewal, Eucharistic Revival:The Place of the Corpus Christi Liturgy in Aquinas's Sacramental TheologyJose Isidro BellezaIntroductionAmong many well-catechized Catholics, the following two points—at first seemingly unrelated—have become common knowledge: first, that Christ instituted the sacramental priesthood at the Last Supper; and second, that St. Thomas Aquinas authored the Office hymns and Mass sequence for the Solemnity of Corpus Christi.The magisterial sources for the first point are clear. The Catechism (...) of the Catholic Church notes: "In order to leave them a pledge of this love, in order never to depart from his own and to make them sharers in his Passover, [Christ] instituted the Eucharist as the memorial of his death and Resurrection, and commanded his apostles to celebrate it until his return; 'thereby he constituted them priests of the New Testament'" (§1337). This recent formulation positively reworks a famous Tridentine canon: "If any one should say that by the words, 'Do this in memory of me,' Christ did not establish the apostles as priests, or that he did not ordain them and others as priests to offer his Body and Blood, let him be anathema."1 That the Council of Trent found it necessary to clarify this doctrine by anathematizing the contrary certainly testifies to the controversial nature of this Catholic position in wake of the Reformation; yet, the Council Fathers' [End Page 723] position—as is so often the case with dogmatic pronouncements—is not a simple articulation of an uncontroversial yet implicit belief held within the Catholic communion.With regard to the second point: after some decades of scholarly doubt,2 Aquinas's composition of Corpus Christi's poetic texts seems to be better appreciated by laity and scholars alike,3 many of whom find in the beloved hymns commonly sung at adoration and Eucharistic processions a beautiful and edifying distillation of St. Thomas's teaching on the Blessed Sacrament. However, the place of the Corpus Christi liturgy within the historical development of Aquinas's own thoughts on the priesthood and Eucharist is perhaps less acknowledged.4 The aesthetic and spiritual appeal of the hymns, [End Page 724] compounded by their frequent usage, may tend to obscure the importance of the historical context which informs Aquinas's unique compositional, poetic, and doctrinal directions. Hidden behind the impressiveness of the saint's artistic execution, I argue, lies a parallel to the well-developed doctrinal synthesis of priesthood and Eucharist articulated in Summa contra gentiles [SCG] IV. In what follows, I examine excerpts from the sequence for Mass Lauda Sion Salvatorem and matutinal hymn Sacris solemniis to show how, already in the Orvieto period (1261–1265), Aquinas laid the foundations for sacramental doctrines expressed with more precision not only in the two Summae, but in the dogmatic teaching of the Council of Trent on the relationship between the Eucharist and Holy Orders. I will also highlight the unique and even innovative nature of Aquinas's positions by way of contrast with St. Bonaventure's sacramentology.5 I will conclude by offering some reflections, drawn from Aquinas's synthetic treatment of Eucharist and Holy Orders, on the inseparability of priestly renewal and Eucharistic revival.From the Sentences Commentary to the Summa theologiaeIn his commentary on the Sentences of Peter Lombard (the Scriptum), Aquinas, like his contemporaries, follows the broad tradition in locating the institution of the Eucharist at the Last Supper.6 This point is rightfully uncontroversial on account of its clear biblical background,7 and is repeated by the Angelic Doctor in Summa theologiae [ST] III.8 However, in the Scriptum, Aquinas links the institution of the Eucharist with the institution of the priesthood, saying that Christ "gave priestly power with regard to its principal act before the Passion at the Last Supper, when he said, in Matthew 26:26, 'take and eat,' to which Luke 22:19 adds 'Do this in commemoration of me.' But after the resurrection, he gave the disciples priestly power with regard to its secondary act, which is to bind and loose."9 Thus, in his early work, Aquinas already suggests—although not with the same precision or emphasis seen in later works—a nuanced... (shrink)

Bakhsh-i avval. Akhlāq-i Islāmī -- Bakhsh-i duvvum. Ādāb-i ijtimāʻī.

While the story of Thomas Aquinas and Bonaventure of Bagnoregio engaging in a friendly contest, at the behest of Pope Urban IV, to compose the Mass and Office of Corpus Christi is likely a pious fiction, one can still ponder the fascinating hypothetical scenario: had such a contest taken place, who might have won? To consider that question, this paper embarks on a close reading of Bonaventure's hymns in his Office of the Passion, comparing his poetic approaches to those of (...) Aquinas in the hymns for Corpus Christi. After an introductory historical examination into the supposed involvement of both friars in the composition of the Corpus Christi liturgy, this article proceeds in three sections. First, a look into select excerpts from Bonaventure's Office of the Passion will establish his general poetic technique. In the transitional second section, a direct comparison between Bonaventure and Aquinas on the composition of the final doxological verses of their respective hymns will place their different poetic styles into greater relief. Third, a broader reading of Aquinas's Eucharistic hymns will highlight the unique qualities of his versified praises. Finally, in light of the foregoing analyses, a prospective winner of the hypothetical contest will be suggested. (shrink)

Study on Upanishads, Hindu philosophical classics, Bhāgavatapurāṇa, mythological text, and Brahmasūtra, Vedanta classic, by Bādarāyaṇa.

A comparison of the political ideas of the 18th-century Vietnamese poet, encyclopedist, and government official Lê Quý Đôn and the younger Korean agronomist, philosopher and poet Chŏng Yag-yong as expressed in their commentaries on the Shu jing.

In addition to thin concepts like the good, the bad and the ugly, our evaluative thought and talk appeals to thick concepts like the lewd and the rude, the selfish and the cruel, the courageous and the kind -- concepts that somehow combine evaluation and non-evaluative description. Thick concepts are almost universally assumed to be inherently evaluative in content, and many philosophers claimed them to have deep and distinctive significance in ethics and metaethics. In this first book-length treatment of thick (...) concepts, Pekka Väyrynen argues that all this is mistaken. Through detailed attention to the language of thick concepts, he defends a novel theory on which the relationship between thick words and evaluation is best explained by general conversational and pragmatic norms. Drawing on general principles in philosophy of language, he argues that many prominent features of thick words and concepts can be explained by general factors that have nothing in particular to do with being evaluative. If evaluation is not essential to the sort of thinking we do with thick concepts, claims for the deep and distinctive significance of the thick are undermined. The Lewd, the Rude and the Nasty is a fresh and innovative treatment of an important topic in moral philosophy and sets a new agenda for future work. It will be essential reading to anyone interested in the analysis and the broader philosophical significance of evaluative and normative language. (shrink)

jild 1. Majmūʻah-i maqālāt-i iraʼah shudah -- jild 2. Majmūʻah-i maqālāt-i rasīdah.

This paper advances a provisional case denying the attribution of the medieval liturgical sequence Sanctitatis nova signa, written in honor of Saint Francis of Assisi, to Thomas of Celano (died c. 1260), who is best known for writing the earliest biography of the saint. The Conventual Franciscan friar and bishop, Pietro Ridolfi, provides the oldest extant attribution of this sequence to Celano. Luke Wadding (died 1657) echoes this point in his Annales Minorum; several recent critical editions of early Franciscan texts, (...) as well as countless secondary sources, cite Wadding for the attribution to Celano. This identification remains problematic, not only due to the lateness of the Ridolfi-Wadding claim; the sequence's use of Dionysian mystical motifs and details unique to Bonaventure's Legenda Major (completed 1262) should exclude the possibility of Celano's authorship. Consequently this study tentatively dates the sequence to the latter part of the thirteenth century. Unlike the earlier sequences for Saint Francis attributed to Pope Gregory IX (died 1241) and Thomas of Capua (died 1243), Sanctitatis depicts Francis as a model Dionysian mystic. This mystical exemplarity becomes the image of unity advanced by the Franciscans to heal the internal crises plaguing the order in the later thirteenth century. (shrink)

This paper defends doubts about the existence of genuine moral perception, understood as the claim that at least some moral properties figure in the contents of perceptual experience. Standard examples of moral perception are better explained as transitions in thought whose degree of psychological immediacy varies with how readily non-moral perceptual inputs, jointly with the subject's background moral beliefs, training, and habituation, trigger the kinds of phenomenological responses that moral agents are normally disposed to have when they represent things as (...) being morally a certain way. (shrink)

Cosmology and the development of human society.

Life and work of George Edward Moore, 1873-1958, philosopher.