The present PhD dissertation aims to examine the relation between modality and change in Aristotle’s metaphysics. -/- On the one hand, Aristotle supports his modal realism (i.e., worldly objects have modal properties - potentialities and essences - that ground the ascriptions of possibility and necessity) by arguing that the rejection of modal realism makes change inexplicable, or, worse, banishes it from the realm of reality. On the other hand, the Stagirite analyses processes by means of modal notions (‘change is the (...) actuality of what is virtual insofar as it is virtual’). In other words: to grasp what change is, one has to resort to the modal idiom of potentialities, while the fact that there is change is indicative of the fact that nature is full of modal properties. -/- Aristotle’s modal and kinetic realism finds a negative in the figure of the Megaric Diodorus Kronus. The polemical situation of Greek philosophy has indeed the dialectical advantage of not opposing the Aristotelian position to a sui generis straw man. Both in its reduction of modal judgements to temporal quantifications and in its dissolution of the reality of the state-of-being-in-motion in favour of a cinematographic view of processes, the philosophical figure of reductionist antirealism embodied by Diodorus constitutes an alternative that takes the opposite view of Aristotle’s realism. -/- The present study is structured as a discussion between these two positions. In the face of Diodorus’ antirealist challenges, Aristotle articulates modal and kinetic considerations: the answers he gives to Diodorus’ puzzles thus provide valuable insight into his metaphysics. Moreover, the examination of Aristotle’s and Diodorus’ metaphysics, because of their insight and originality, will not fail to interest the philosopher concerned with the metaphysical foundations of modern physics, insofar as the entanglement between modalities and processes is nowadays at the core of mechanics (phase spaces, path integrals, etc.). (shrink)

Here I interpret a central passage in Plato's Sophist by focusing on understudied elements that provide insight into the fit of the dialogue's parts and the Sophist-Statesman diptych as a whole. I argue that the Eleatic Stranger's account of what the dialectician "adequately views" at Sophist 253d1-e3 involves both division and the communion of ontological kinds, not just one or the other as has been typically argued. I also consider other key passages and the turn throughout the dialogue from imagistic (...) opining toward noetic understanding. (shrink)

In this paper, I compare the Megarian thesis of Metaphysics IX 3 with other sources on the Megarians in order to clarify two questions: that of the unity and nature of the so-called Megarian school and that of Aristotle’s broader argument in IX 3. I first review the disputed issue of the status of the Megarian school and then examine two hypotheses regarding the identity behind Aristotle’s allusion in IX 3. Third, I explore the connection between Megarianism and Plato’s Euthydemus, (...) a task that helps us to contextualize Aristotle’s anti-Megarian polemic. Lastly, I build on the preceding argument in a re-examination of the Eleatic hypothesis with regard both to the Megarians as a whole and to the thesis that Aristotle transmits. (shrink)

Although most scholars agree that the lexicon of Sophist 232b1-236d4 is similar to that of Republic X, they leave undetermined whether they are theoretically compatible. Notably, both dialogues elucidate the art of imitation through the metaphor of the painter who deceives his pupils through φαντάσματα. I argue that Plato’s conception of imitation of the Republic is not only consistent with that presented in the Sophist, but also importantly integrates it.

The dialectic exhibited in Plato’s dialogues assumes different characters throughout the corpus. Nevertheless, it remains always linked to refutation. In this way, like dialectic, refutation assumes different characteristics. The aim of this work is to show how refutation takes a key role in the Sophist, even with unique features: far from facing an opponent of flesh and blood as in Socratic dialogues, the Eleatic Stranger faces hypotheses, and instead of examining consistence within the opponent’s beliefs, he draws upon a radical (...) mechanism that focuses in the conditions of possibility of the discourse. (shrink)

Various attempts have been made recently to bring Husserl into the contemporary analytic discussion on sensory illusion and hallucination. On the one hand, this has resulted in a renewed interest in what one might call a ‘phenomenology of sense-deception.’ On the other hand, it has generated contrasting—if not utterly incompatible—readings of Husserl’s own account of sense perception. The present study critically evaluates the contemporary discourse on illusion and hallucination, reassesses its proximity to Husserl’s reflection on sensory perception, and highlights the (...) philosophical limits and structural deficiencies of the current debate in light of some of Husserl’s insights. The analysis first provides a synopsis of the argumentative structures, aims, and assumptions informing the conjunctivism-disjunctivism debate. This assessment is then critically elaborated through the lens of Husserlian phenomenology in its historical and theoretical distance from the recent debate. Contrary to certain readings of Husserl, the reconstruction of some cardinal phenomenological themes provides all the elements necessary to dislocate his own account from the conjunctivism-disjunctivism dispute, by means of both a ‘global’ and a ‘local’ analysis, and both exegetically and theoretically. Most importantly, a ‘return’ to Husserl shows the philosophical untenability of the whole controversy as not only leaving untouched the core problem of perception but also altering some of its essential traits. This critique of the image of experience portrayed in the contemporary discussion is conducted through a phenomenological clarification of perception as a distinct ‘structure of rules’ of consciousness and, more specifically, by means of a descriptive analysis centered on the core notion of horizonal-intentionality. (shrink)