Esta deslumbrante biografía de Santo Tomás de Aquino perfila la vida y la obra del filósofo y fraile dominico del siglo XIII, cuyo pensamiento, después de más de siete siglos, continua vigente. Eudaldo Forment, uno de los grandes especialistas en la figura de Santo Tomás, recrea sus años de formación, sus viajes, la evolución de su pensamiento filosófico, su carrera académica, los grandes hitos de su vida... El autor ha estudiado las fuentes primarias y las biografías posteriores, para ofrecer un (...) completo retrato del pensador y santo napolitano, situándolo en el contexto religioso, político y cultural de su época.. El riguroso trabajo de documentación le ha permitido clarificar tres grandes misterios de la vida de fray Tomás: el del cese repentino, sin motivo confesado, de sus actividades académicas y literarias, el 6 de diciembre de 1273; el de su última enfermedad; y el de la causa de su muerte. Trabajando siempre sobre los datos documentados, tanto los referidos a hechos naturales como a los que no lo son, el autor deja al lector que se forme su propio juicio sobre Santo Tomás. Una biografía novedosa y admirablemente documentada de un personaje esencial en la historia de Europa. (shrink)

Papers delivered at the joint meeting of the Hegel Society of America and the Hegel Society of Great Britain held at Merton College, Oxford, Sept. 1-4, 1981, to mark the 150th anniversary of Hegel's death. Includes bibliographical references and index.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 121.2 (2000) 324-328 [Access article in PDF] Michael C. J. Putnam. Virgil's Epic Designs: Ekphrasis in the Aeneid. New Haven and London: Yale University Press, 1998. xii 1 257 pp. Cloth, $35. This is a book about ekphrasis, about the Aeneid, about ancient Greek and Latin literature, about poetry and poetics, and about the ways in which literature can affect the way we live our (...) lives. But most of all, it is a tremendous book on the Aeneid.The six chapters focus on notable points of ekphrasis: Dido's Murals, the Cloak of Cloanthus, Daedalus' Sculptures, Silvia's Stag, the Shield of Aeneas, and the Baldric of Pallas. The dominant figure characterizing ekphrasis in the Aeneid is synecdoche: that is, ekphrasis, Putnam shows us, serves as a mise en abîme in the Aeneid, in which the circularity of ekphrasis both interrupts and comments on the narrative linearity of epic (97, 204, passim). Ekphrasis and epic complement and analogize one another, and therein Virgil is teaching us about major themes of the Aeneid. The most abstract of these themes can perhaps be paraphrased as follows: epic poetry is linear, historical, teleological, and temporal; ekphrasis, something of a lyric mode within epic, is circular, repetitious, and atemporal. The linearity of history becomes a falsifying teleology, a deceptive myth of progress. This is counterbalanced by the ekphrases; their circularity, both in form and content, points to the circular, cyclical nature of history--there is, in the end, no progress (see, e.g., 31, 42, 46, 61, 154-55, 209).Most of what I think is important about ekphrasis is in this book; moreover, much that I had never considered before now seems obvious, after reading it. I cannot, however, summarize the book, and what follows is an exhortation, rather than an outline. The force of Putnam's analysis does not lend itself well to summary, even his own--it would be a mistake to read merely his introduction and conclusion. Reading Putnam I am reminded of William Blake's Assumption of Total Significance, as named and brought to us again by the linguist Háj Ross: this is the assumption that any and every aspect of a text (or other work of art) has the potential to be of the utmost importance. Putnam proves this by his own practice, tracing threads of meaning and resonance from the specific details of the language of the text, with interpretation both bold and securely grounded. In doing so, he shows and recommends a fruitful, almost Emersonian, faith in the individual passage as a microcosm (as synecdoche, as a mise en abîme), a faith borne out in spades by his analysis. At times, some readers will not accept his interpretations, but this is not a problem. Putnam invites [End Page 324] us to go with him on a slow, careful walk through the Aeneid; if we do not see what he sees, that is fine; but he tells us carefully, forcefully, and with great clarity why he himself sees it. Those who are rapid readers may thus not understand the significance of this book and may likely give it short shrift: the best of it cannot be skimmed. But then such rapid readers are very unlikely to understand or care about poetry, especially Virgilian poetry. The details of Virgil's language and the detail of Putnam's discussion are what will, in William Carlos Williams's phrase, "startle us anew."It is most useful, then, to give a sample, but it is not easy to choose. To my mind, the most compelling chapter is that on Daedalus. The association of Virgil and Daedalus is powerfully illustrated; Putnam argues that in Daedalus Virgil is giving us his own "spiritual and psychic" biography as an artist. Neither artist can idealize, neither can bring to completeness, neither can accept the tempting comfort of beauty, the "veneer of charm over terrible truths," and neither can help but see "nature's final pyrrhic triumph over art" (e.g., 84, 91, 94, 95). I quote an... (shrink)

Comprehensive analysis of fundaentals of Sankhya philosophy with reference to Vedic literature and Śaṅkarācārya.

This article delineates the core concerns and motivations of the ontological work of Gilles Deleuze, and is intended as a programmatic statement for a general philosophical audience. The article consists of two main parts. In the first, two early writings by Deleuze are analysed in order to clarify his understanding of ontology broadly, and to specify the precise aim of his understanding of being in terms of difference. The second part of the article looks at the work of Heidegger and (...) Derrida in order to distinguish Deleuze's conceptions of ontology and difference from theirs. A final section clarifies Deleuze's efforts to undertake the construction of an ontology divergent from the dominant tradition and in contrast to the emphasis on the closure of metaphysics in the thought of Heidegger and Derrida. (shrink)

Śaṅkarācārya's commentary with supercommentary on Catuḥsūtra of Brahmasūtra.

While Weber’s distinction between ‘ideal’ and ‘material’ interests is one of the most enduring aspects of his theoretical legacy, it has been subjected to little critical commentary. In this article, we revisit the theoretical legacy of interest-based explanation in social theory, with an eye to clarifying Weber’s place in this tradition. We then reconsider extant critical commentary on the ideal/material interest distinction, noting the primarily Parsonian rendering of Weber and the unproductive allegiance to ‘generic need’ readings of Weber’s action theory. (...) We reconstruct the basis of the ideal/material interest distinction in the work of Rudolph von Ihering and provide a sounder basis for its analytic role in Weber’s ‘grand’ project. (shrink)

On the philosophy of death in Hindu traditions; study based on Mr̥tyupurāṇa of Svāmī Mr̥tyujayānanda.

In lieu of an abstract, here is a brief excerpt of the content:167. ON McRAE' S HUME Professor McRae's interesting paper may be rather naturally divided into two parts. In the first part he explains what he takes Hume's account of time to be; in the second he advances the bold thesis that Hume's account of time, or perhaps of duration, provides a basis or foundation for his more widely discussed remarks on identity, substance, the self, the necessary connections. In (...) what follows I first reconstruct Professor McRae' s paper, and then I raise some problems, perhaps puzzles, about Hume's view on duration, time and fictions. According to McRae, some philosophers (Descartes, Spinoza, Leibniz) distinguish between time and duration, both of which are taken to be perfectly legitimate notions. Hume, by contrast, takes time and duration to be the same, viz., a succession of moments. What philosophers and the vulgar call 'duration' is something quite different, namely a single unbroken stretch of time which is not composed of successive parts. Of duration taken in this latter way, McRae says, Hume has four things to say, all of them negative: (1) we have no idea of duration; (2) no object has duration; (3) there is no such thing as duration; and (4) duration is a fiction. Properly understood as a succession of moments, however, time certainly exists and is thus not a fiction. Moreover, we have the or at least an idea of time, despite the fact that it is obtained without derivation from a precedent impression. And, while no object can be said to have time, Hume will nonetheless allow that objects exist at certain times and perhaps across a time span. In the second part of his paper, Professor McRae distinguishes two types of Humean fictions. The first arises when one idea is confused with another and mis-applied to some object. The second arises when the imagination creates an "idea" in the attempt to resolve a 168. contradiction which comes up when the first fiction is applied to an object. What I have called McRae' s "bold thesis" in the second part of his paper can now be stated. Duration, or the putative idea thereof, is a fiction of the first type, one that is attributed to what Hume calls "steadfast objects." However, such an object can be considered in two ways. One might consider the object at two stages of this duration and, McRae says, "...this will give us the idea of number" (p. 126); or, one might consider in turn a series of objects, each of them supposedly "steadfast," all along supposing that though time is changing, the objects are not, and "...in this way- we get the idea of unity" (Ibid.). But no object is both a unity and a multiplicity. So, to reconcile these conflicting considerations, the "idea" or fiction of identity is invented. As McRae says: "The idea of identity is a pure product of the imagination invented to mediate between unity and number" (Ibid. ). This invented "idea" is then mis-applied (a fiction of type one) to interrupted appearances of an object. To reconcile the supposed identity of an object with successive appearances of it, the fiction of substance is invented. Quoting both McRae and Hume, In order to reconcile the contradiction between identity and diversity, the imagination is apt to feign something unknown and invisible, which it supposes to continue the same under all these variations ; 2 and this unintelligible something it calls a substance... (p. 128). Related needs to resolve contradictions, on McRae' s account, lead to the fictions of the self (p. 128) and of necessary connections (p. 130), though the latter fiction is of type one. Hence, McRae' s "bold thesis" amounts to this: Duration is a fiction. In the attempt to apply this fiction, one is led to, logically led to, most, if not all, of the other famous Humean fictions. And, if we allow that there are mental acts, for Hume, as well as impressions and ideas, "...then a fictitious duration will be attributed to 169. objects and by a progressive compounding of fictitious mental actions will give the world the ontological structure which it has for the vulgar belief we all share. It... (shrink)

Plato's Sophist provides a careful translation of the Sophist, one of Plato's most complex and difficult dialogues, and includes materials designed to facilitate its usefulness as a text in college courses. The translation employs a minimum of interpretative paraphrasing while being presented in clear, readable English. Special attention has been given to consistency in translating key Greek terms. The book presents a special list of these terms and discusses them in the endnotes. The result is a translation that enables the (...) reader who lacks a knowledge of Greek to get much closer than usual to the original text. Cobb's introduction contains a detailed summary of the entire dialogue, clarifying the main themes and the general structure. He offers a fresh interpretation of the dialogue that shows how each theme contributes to the exploration of the nature of, and the relation between, philosophy and sophistry. The introduction is particularly useful to first readers of the Sophist. (shrink)

Time and narratice technique compared. Two novelists, Heliodorus, 3rd century author of the novel Aethiopica and Sigrid Combüchen, contemporary Swedish novelist using a dystopian Europe around 2050 as a scenic setting. In both stories girls and women are captured and killed by soldiers. Both narrators are external to the story being told, presented in the past tense. But Combüchen´s narrator adopts it as a confession, and a turning point in his career as a commanding general, characterized by"double-bind".

v. 1. Indii︠a︡ -- v. 2. Blizhniĭ i Sredniĭ Vostok -- v. 3. Kitaĭ.

Gottfried Martin has recently reminded us of a useful distinction between two possible ways of doing metaphysics. We may proceed by framing a “theory of principles” or by proposing a “theory of being”. Aristotle explicitly formulates both possibilities as the task of metaphysics, formulating a theory of principles in his doctrine of the four types of causal explanation in the first book of the Metaphysics, while exploring the theory of being in a number of other passages, such as Book I, (...) chapters 6 and 9; Book X, chapter 2; and Book XIII. These passages do not elaborate principles whereby we can analyze the structure of certain entities, be they causes, substances or forms, but rather concern themselves with the ontological status of these entities—in what sense can they be said to be? In Plato this distinction is more implicit, but we may contrast the theory of forms developed in the Phaedo and the Republic with the subsequent probing investigation of the being of these forms in the Parmenides and the Sophist. Kant “explicitly claims to have discovered and presented a complete and necessary system of the basic concepts and principles. The proof of the completeness and necessity of this system is the aim of the middle part of the Critique of Pure Reason, the Transcendental Analytic.” Yet. (shrink)