The Duality of phantasia in Plotinus: Two Faculties, or Two Representations?

2016 ◽  
Vol 19 (1) ◽  
pp. 212-234
Author(s):  
Eleni Perdikouri

This paper argues that the duality of phantasia consists not in its being divided between two faculties, but in its being the meeting point of two representations. First it is argued that Plotinus’ theory, according to which the representation is a judgement, rests on his reading of Theaetetus 184c–187a and its criticism in De Anima III, 2–3. Second, it is argued that the ‘image’ in which the Plotinian representation consists follows the perceptual judgement instead of preceding it. Third, it is argued that there is neither a sub-sensitive faculty of phantasia nor a sub-sensitive representation. Then, the exteriority of the objects of representation with respect to the soul is discussed. Finally, an interpretation is proposed concerning the necessity for Plotinus to posit two representations of the same object.

2019 ◽  
Vol 1 (1) ◽  
pp. 84-107
Author(s):  
Robert C. Koons

In De Anima Book III, Aristotle subscribed to a theory of formal identity between the human mind and the extra-mental objects of our understanding. This has been one of the most controversial features of Aristotelian metaphysics of the mind. I offer here a defense of the Formal Identity Thesis, based on specifically epistemological arguments about our knowledge of necessary or essential truths.


2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.


Pallas ◽  
1990 ◽  
Vol 36 (1) ◽  
pp. 19-51
Author(s):  
Noël Aujoulat
Keyword(s):  

2014 ◽  
Vol 73 (1) ◽  
pp. 7-33
Author(s):  
Paul Janssenswillen ◽  
Wil Meeus

De vernederlandsing van het middelbaar onderwijs in Vlaanderen was een moeizaam proces dat zich over een lange periode uitstrekte. De nu vijftig jaar oude taalwet van 1963 wordt als eindpunt van dit proces beschouwd. Het tempo van de vernederlandsing verschilde van school tot school naargelang van hun ligging en leiding.Het bisschoppelijke Sint-Hubertuscollege in Neerpelt is het eerste Vlaams college. Daar werd in 1910 volledig Nederlandstalig gestart zowel tijdens de klasuren als erbuiten in de ontspanningstijd en het godsdienstig verenigingsleven. Gunstige factoren waren in dit verband de ligging van de school, ver weg van de taalgrens of een verfranste stad, met vrijwel geen Waalse leerlingen én de gebrekkige Franse taalkennis van de leerlingen die zich in 1910 aanboden. Ook de onvolledige humanioracyclus en het ontbreken van een concurrerende rijksschool speelden daarbij mee. Deze gunstige omgevingsfactoren en het feit dat in naburige katholieke colleges zoals die van Peer en Maaseik het vernederlandsingsproces in een stroomversnelling zat, werden door de koppige directeur Jaak Peuskens aangegrepen om het Nederlands in zijn college in te voeren. Het bisdom dat hem hiervoor op de vingers tikte, liet uiteindelijk betijen na een goede uitslag in de jaarlijkse staatsprijskamp.Met de inrichting van een internaat en de volledige humanioracyclus en de faam als eerste Vlaams college vergrootte de school haar rekruteringsgebied. Dat gebeurde onder impuls van de ondernemende directeur Gerard Nulens die contacten onderhield in Vlaamsgezinde milieus van diverse strekking. Neerpelt dat via het spoor gemakkelijk bereikbaar was, werd zo een flamingantisch trefpunt. Onder meer de zonen van Frans Van Cauwelaert, August Borms en Emiel Wildiers zaten er op de schoolbanken. Ook nadat het bisdom onverwacht en zonder duidelijke motivering de hoogste twee klassen van de klassieke humaniora afschafte, bleef het college van Neerpelt aantrekkingskracht uitoefenen op zonen van leidinggevende Vlaamsgezinden.________The Sint-Hubertuscollege (St Hubert’s secondary School) in Neerpelt: the first Flemish secondary school?A micro-investigation of the Dutchification of secondary education.The Dutchification of secondary education in Flanders was a laborious process that took a very long time. The now fifty year old law on the use of language of 1963 is considered as the finishing point of this process. The speed of the Dutchification differed from school to school according to its location and administration.The Episcopal Sint-Hubertuscollege in Neerpelt was the first Flemish secondary school. In 1910 it became an entirely Dutch speaking school, where Dutch was used during classes as well as elsewhere during leisure time and at religious associations. This was favoured by factors such as the location of the school, far away from the language border or a Frenchified city, the fact that there were hardly any Walloon pupils as well as the deficient knowledge of French of the pupils who applied in 1910. In addition, the incomplete cycle of coursework in humanities and the lack of a competing state school played a role. The stubborn director Jaak Peuskens took advantage of these favourable environmental factors and the fact that in neighbouring Catholic secondary schools like the ones in Peer and Maaseik the Dutchification process was rapidly gaining speed in order to introduce Dutch in his secondary school. The diocese that rapped him over the knuckles for this, in the end condoned it after the school obtained a good result in the annual state competition.After the setting up of the boarding school, the introduction of the complete humanities cycle and the resulting fame of being the first Flemish secondary school, the school enlarged its catchment area for recruitment. This happened at the instigation of the enterprising director Gerard Nulens who had contacts in pro-Flemish circles of various tendencies. Thus Neerpelt, which was so easily accessible by rail, became a Pro-Flemish meeting point. Pupils who attended the school included among others the sons of Frans Van Cauwelaert, August Borms and Emiel Wildiers. Even after the diocese unexpectedly and without clear motivation cancelled the two highest classes of the classical humanities cycle, the secondary school of Neerpelt continued to attract the sons of pro-Flemish leaders.


2020 ◽  
pp. 101-120
Author(s):  
Mildred Castillo Cadenas

Este artículo analiza dos momentos en la novela De Ánima (1984) de Juan García Ponce, en los cuales se utiliza el recurso de la ecfrasis y el apropiacionismo. Me aproximaré a estas estrategias con el objetivo de observar su funcionamiento en la estructura narrativa, además del efecto de sentido que producen en una lectura que los considere. También pretendo detallar algunas cuestiones de la relación pintura-escritura para observar el tratamiento intermedial establecido por el autor. El primer momento revisa la relación de una obra del pintor Lucas Cranach el Viejo y el procedimiento narrativo utilizado por García Ponce para articular a Paloma, protagonista femenina. El segundo momento contempla el análisis de dos ecfrasis, cuyo origen es Le Déjeuner sur l'Herbe de Édouard Manet, desde dos perspectivas de la misma representación visual. Asimismo, prestaré atención al tratamiento apropiacionista y su efecto de sentido derivado. El artículo se apoya en la noción de ecfrasis de Luz Aurora Pimentel, Irene Artigas y James Heffernan; la estructura abismada de Helena Beristáin; el apropiacionismo de Juan Martín Prada; y el concepto ánima-animus de Carl Jung. Para las imágenes se hace referencia al Cranach Digital Archive.


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