This volume evaluates Thomas Bradwardine's view of time as a mathematical, philosophical and theological concept within the context of ancient and medieval ...

In part I of this paper I argue that on his theory of the mind as the idea of an actually existing body Spinoza is unable to account for the ability of the mind to have adequate knowledge, and I suggest that his theory of the eternity of the mind can be viewed as his solution to this problem. In part II I deal with the question of the meaning of ‘eternity’ in Spinoza, in regard both to God and the (...) human mind, and I sketch a line of thought which I believe may have provided him with further motivation for his theory that a part of the mind is eternal. (shrink)

A brilliant philosophical reflection on the meaning of life after 50.

No, it is not Averroistic. Read the paper to find out why.

Augustine’s account of time is often praised as unique among the philosophical doctrines found in late antiquity, but in the same laudatory breath, commentators almost always reject his ideas. This dual response finds popular voice in Bertrand Russell’s A History of Western Philosophy, in which he states that although he disagrees with Augustine’s conclusions, it is a “great advance on anything to be found on the subject in Greek philosophy.” According to this traditional interpretation, Augustine argues for a subjective idealism (...) regarding time wherein time is dependent on the human mind and is upheld by the mental attitudes of expectation, attention, and memory. Philosophers claim that a purely subjectivist conception of time, though intriguing, is unable to make sense of our best scientific theories. And theologians like Robert W. Jenson have even described Augustine’s account of time as a deeply confused artifact of his incompatible commitments to Neoplatonism and Christianity. -/- In contrast, I argue that Augustine’s view of time is both similar to our current scientific understanding of time and theologically useful. Once we understand Augustine’s approach, both in the context of his time and our own, I believe we can find insight about time as such and learn an important lesson about appropriate methodology for Christian philosophers and theologians. (shrink)

The book explores narratives of black: brings black into different contexts, compares it with white and other colours of spectrum, reflects on the underneath meanings hidden by black. It is a piece of art that is difficult to be classified by genre: it may be a collection of short stories, an autobiography, an essay. Belonging to both literary and philosophic contexts, this book is not “heavy”, both literally and metaphorically, but filled with unusual observations and reflections on meanings hidden behind (...) the colours. (shrink)

This article proposes a reconstitution of the philosophical tenor of al-Fb al-Mawdayyira). It is shown that this work is not only a response to book VI of John Philoponus' Contra Aristotelem, but that its real issues can only be grasped in the context of the author's metaphysical system. Although, for al-Fbī, genuine demonstrations proceed from the cause to the caused, thus following the order of being, it will be explained how he also admits a strictly physical proof of the simple (...) fact, independently of its cause, and that the physical demonstration of the eternity of the world pertains to this type of proof. This physical proof is specifically directed against the Kindian doctrine of creation. (shrink)

I raise these points because in 1941 I attempted to carry out a project of Wittgenstein’s and to show how all the so-called problems of Time arose out of a strange misunderstanding of the flexible ways of our language, so that we asked questions which could not be answered simply because they violated logical grammar. The concept of the Now of the Present is in ordinary usage infinitely flexible: it can be stretched to cover a decade or a century, or (...) narrowed down to cover what is over in a flash. We are, therefore, inclined to extend it till it covers the whole history of the universe, or to narrow it down till it becomes a mere limit, no sooner arrived at than departed from, and in which it is not significant to posit either a state or a change. In the latter case, we have, then, the problem of constituting Time out of such momentary nothings, which are, even qua nothings, not there all together or, alternatively, of wondering how anything can happen if, before it happens, something else must first happen, and before that again something else, and so on ad infinitum. We have, in short, all the difficulties with which Augustine and Zeno plagued the ancients, to which we may now add the difficulties with which McTaggart has worried the moderns, asking how the same event can be future, present, and past, when it must be these incompatible things at different successive times, and these times, in their turn, must be future, present, and past at different times, and so on ad infinitum. To all these celebrated difficulties the line that I took was plain: that they arose out of imposing a wrong exactness and a wrong generality on the flexible ways of our speech. Augustine and Zeno perplexed us since we failed to see that the present, though never of zero or infinite length, could be just as long or as short as we liked to make it, and McTaggart confused us since we failed to see that there were two distinct ways of talking about events and states, one which remained invariant wherever one was stationed in history, and one which changed according as one changed one’s historical position, and that there was nothing self-contradictory in either form of speech but only in the attempt to combine them. (shrink)

This is the introduction to the Question 10 (The Eternity of God) of St. Thomas Aquinas' "Summa Theologiae".

The following examines the concept of time in Gadamer’s work, looking specifically at the role of artwork and festival as focal points of his temporal analysis. It is argued that the usual way of understanding Gadamer’s reflections on time as either “empty” or “fulfilled,” while accurate, need to be supplemented by a third species of time which is neither “full” nor “empty,” pointing instead to the underappreciated role of eternity in his thought. Eternity in this instance is not the other (...) or the outside of time, as one finds in various traditional metaphysical determinations. It is rather intended as the vast and unending time of the cosmos, hinted at in the experience of artwork and festival. (shrink)

As early as 1916, Wittgenstein states that ethics and aesthetics are one, that only through aesthetics and art can what is truly important in human life be shown. This is the first book to clarify Wittgenstein’s ideas about ethics and aesthetics, and to illustrate how those ideas apply to art history and criticism. Tilghman shows how a study of Wittgenstein illuminates not only the relationship between ethics and aesthetics, but also the relationship between art and our lives. The result is (...) that we can better understand the human importance of abstract as well as traditional art. Chapter 1 surveys the development of the philosophy of art that has dominated aesthetics since mid-century. Chapter 2 provides a brief history of some of the ways that the relationship between ethics and aesthetics has been considered in the philosophy of art. Chapters 3 and 4 discuss Wittgenstein’s views on ethics and aesthetics at the time he wrote Tractatus, and chapter 5 examines the question of what it is to discern the humanity in a person, as reflected in Wittgenstein’s later viewpoints found in Philosophical Investigations. Chapters 6 and 7 investigate what it is to discern the art in a work of art, and what it is to discern the humanity in a work of art. These investigations, in turn, lead to some conclusions about the importance of art in people’s lives and the failure of much recent aesthetic theory to accommodate art’s human importance. (shrink)