Displaying: 101-120 of 383 documents

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101. Chôra: Volume > 2
Maurice-Ruben Hayoun Moïse de Narbonne (1300-1362) et l'averroïsme juif
102. Chôra: Volume > 2
Kristina Mitalaïté Les Latins face aux icônes (les Libri Carolini)
103. Chôra: Volume > 3/4
Barbara Obrist Le démoniaque dans l'iconographie cosmologique du XIIᵉ siècle
104. Chôra: Volume > 3/4
Christian Trottmann Le dépassement de toute représentation dans le De Icona
105. Chôra: Volume > 3/4
Jean Jolivet L'image selon les Chartrains
106. Chôra: Volume > 3/4
Jean-Luc Solère L'image comme philosophème
107. Chôra: Volume > 3/4
Anca Vasiliu Racines platoniciennes pour une philosophie de l'image
108. Chôra: Volume > 3/4
Irene Caiazzo Sur la distinction sénéchienne idea/idos au XIIᵉ siècle
109. Chôra: Volume > 3/4
Dominique Poirel Les statuts de l'image chez Hugues de Saint-Victor
110. Chôra: Volume > 3/4
Meryem Sebti Intellection, imagination et aperception de soi dans le Livre du résultat (Kitāb al-Taḥsῑl) de Bahmanyār Ibn al-Marzūbān
111. Chôra: Volume > 3/4
Annie Yacob Les incidences de la camera oscura sur la peinture de Léonard de Vinci
112. Chôra: Volume > 3/4
Gérard Sondag Jean de Damas et Jean Duns Scot sur l'infinité de l'essence divine
113. Chôra: Volume > 3/4
Graziella Federici-Vescovini Image et représentation optique: Blaise de Parme et Léon-Baptiste Alberti
114. Chôra: Volume > 3/4
Kim Sang Ong-Van-Cung Les raisons d'agir sont-elles des représentations? Thomas d'Aquin et la philosophie de l'action
115. Chôra: Volume > 3/4
Alexander Baumgarten Possibilité et passivité dans la théorie aristotélicienne de l.intellect
116. Chôra: Volume > 3/4
Christophe Grellard Sicut specula sine macula. La perception et son objet chez Nicolas d'Autrécourt
117. Chôra: Volume > 3/4
Max Lejbowicz Optique instrumentale et iconographie
118. Chôra: Volume > 5
Annick Charles-Saget Le Moi et son Visage. Visage et Lumière selon Plotin
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For Plotinus, the human face is that part of the body where the light of intelligibility can be shown through in the best way. It is why the face is beautiful, and, for this reason, it can be compared to the most beautiful things of the world. The stars, for example. But an issue raises immediately: when the face is compared to things of beauty, is not the actual meaning of the human face that could be lost? This question can be thought again in the Christian world, and also, thanks to Emmanuel Levinas, in the contemporary philosophy.
119. Chôra: Volume > 5
Andrei Cornea Paradoxe du Mal et «ressemblances de famille»
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Paradox of the Evil and "Family Ressemblances". The paper tackles the problem of Matter and evil in Plotinus. monistic metaphysics, especially in theperspective of the following aparent inconsistency: if there is no other principle but the Good, then the Good creates the Matter which is the absolute evil. Itfollows that the Good is bad, according to a certain axiom of Proclus, which states that the creator is to a higher degree all what the creature is. The authorshows that, despite what Proclus and then many modern critics believed, Plotinus is consistent within his system. He relies on the axiom that the creature is not all what the creator is, i.e. that the creator also gives what he has not. Therefore, the One gives the Intellect multiplicity and thought which He is deprived of and also gives the Matter the evil which He is also deprived of. The paper also shows that Plotinus developed a logic of ontological procession which is not Aristotelian. This logic does not work by formind classes, but chains of partially intransitive ressemblances. So, the Intellect ressembles the One (the Good), the Soul ressembles the Intellect and the Matter ressembles the Soul; yet the Matter resembles the One no more. Yet, the unity of the world is assured, because of the continuity of the chain. The extreme terms are contrary, though not in the Aristotelian sense of sharing in the same genus. A certain similarty with Wittgenstein's logic of "family resemblances" is striking, which means that not only Wittgenstein, but Plotinus also went beyond the Platonic-Aristotelian Vulgata, even while he was sticking to its linguage.
120. Chôra: Volume > 5
Patrizia Trovato La bacchetta magica di Hermes e il trono rovesciato. Il Plotino di Lev Šestov
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Plotinus represent a constant reference in all of Šestov's philosophy. For the Russian philosopher Plotinus is, on the one hand, the one who thought up thesynthesis of Greek philosophy, on the other, the one who first broke with that same tradition precisely when it was at its peak. However, Šestov does lift from the Enneadi certain passages which he marries - as if in a sort of contrapuntal rewriting exercise - to others in which Plotinus seems to contradict himself. What interests Šestov are precisely those discontinuities in the thought of the last great philosopher of old in an anti-Greek function. That of Šestov is once again a marked criticism of Rationalism as creator of an autonomous set of ethics that he judges according to an intellect which everything is subject to. Autonomousethics, affirms Šestov, is a fruit of Greek schools of thought to the extent that it shows distrust for what is mutable, unforeseen and arbitrary, of everything which, in short, is irrational, as it is not inserted in the One/All necessitating, justifying, regulating. In the alternative between Athens and Jerusalem, between the Rationalism and the Bible, Šestov opts to assume a stance, in no uncertain terms, on the side Jerusalem, taking with him the Plotinus of the awakening andheading towards a greater reality capable of overturning the throne occupied for too long by reason. That Plotinus who at a certain point was obliged to say thatin this other dimension "the intellect before God represents a reckless, ungodly apostate" (VI.9.5). That Plotinus, who ultimately, in one of those most particularmoments, realized that he was predestined for something loftier with respect to the world of evil and death.