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La critique du critère de vérité épicurien chez Sextus Empiricus: un scepticisme sur le monde extérieur?

In Stéphane Marchand & Francesco Verde, Épicurisme Et Scepticisme. Roma: Università la Sapienza. pp. 105-127 (2013)

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  1. Pyrrhonism Past and Present: Inquiry, Disagreement, Self-Knowledge, and Rationality.Diego E. Machuca - 2022 - Cham: Springer.
    This book explores the nature and significance of Pyrrhonism, the most prominent and influential form of skepticism in Western philosophy. Not only did Pyrrhonism play an important part in the philosophical scene of the Hellenistic and Imperial age, but it also had a tremendous impact on Renaissance and modern philosophy and continues to be a topic of lively discussion among both scholars of ancient philosophy and epistemologists. The focus and inspiration of the book is the brand of Pyrrhonism expounded in (...)
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  • Qui capite ipse sua in statuit uestigia sese. Lucrezio e lo scetticismo nel libro IV del De rerum natura.Michele Corradi - 2021 - Elenchos: Rivista di Studi Sul Pensiero Antico 42 (2):291-319.
    In his refutation of skepticism in book IV of De rerum natura, Lucretius uses argumentative methods typical of Epicurus: the περιτροπή is in many ways similar to that used by the philosopher in book XXV of Περὶ φύσεως, the same book where, in a passage dedicated to the criticism against determinists, can be found a reference to the criterion of the πρόληψις, that Lucretius exploits in his refutation. Moreover, Lucretius develops a strong demonstration concerning the irrefutability of αἴσθησις as a (...)
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  • (1 other version)Images and Truth.Stefano Maso - 2015 - In Stefano Maso Francesca G. Masi, Epicurus on eidola. Peri Phuseos Book II. Update, Proposals, and Discussions. Hakkert. pp. 67-92.
    The new edition of the papiri of the second book of 'Peri Phuseos' allows for a detailed reconstruction of the mechanisms of vision. Some of the characteristic features of images according to Epicurus are presented here for the first time. One of the problems is the congruence between the representation and the object from which it originates: i.e. the truth of the image.
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