Martin Heidegger devotes extensive discussion to medieval philosophers, particularly to their treatment of Truth and Being. On both these topics, Heidegger accuses them of forgetting the question of Being and of being responsible for subjugating truth to the modern crusade for certainty: ‘truth is denied its own mode of being’ and is subordinated ‘to an intellect that judges correctly’. Though there are some studies that discuss Heidegger’s debt to and criticism of medieval thought, particularly that of Thomas Aquinas, there is (...) no constructive reply to his assertions. As a result, Heidegger’s critique had an unprecedented effect on the credibility of medieval philosophy, whereby great portions of the philosophical community dismiss it altogether as an illegitimate Onto‐Theology. It is the aim of this study to offer a constructive reply that will fundamentally grapple with these allegations. By constructive reply we mean not only a reply that avoids the problems Heidegger raises regarding existence, essence and truth, but more importantly, one that uses Heidegger’s criticism in order to present a more insightful account of these notions. The present study is composed of two parts where the second serves as a sort of addendum. The first part, the core of this study, is an attempt to develop an understanding of the distinction between essence and existence that, on the one hand, accords with Heidegger’s criticism while on the other hand advances our understanding of how we think and understand reality. After presenting Heidegger’s depiction of Aquinas’s distinction between essence and existence (esse) as a real distinction, the study will present several views propounded by scholars of Aquinas regarding the status of this distinction. It will be argued that it is not clear whether the distinction is real, formal or conceptual, and that different types of distinction are applied in different places, particularly in regard to the phantasm that Aquinas considers essential to the human act of thinking. The second part diverges from the first part and focuses on Heidegger’s criticism of Aquinas’s conception of truth as adequation, i.e., what it is that grounds the possibility of truth as adequation. This divergence is necessary in order to present a full metaphysical response to Heidegger’s criticism. Since the aim of the present study is to argue that Aquinas’s philosophical system can contend with Heidegger’s criticism, a partial reply would greatly diminish its effectiveness. (shrink)

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

ABSTRACT It is fruitless to interpret Constant's modern liberty from the binary perspective of either the negative/positive freedom opposition or the liberal/republican freedom opposition. Both oppositional perspectives reduce the relationally complex nature of modern liberty to one or another component of the relation. Such reduction inevitably results in an incomplete and, therefore, inadequate interpretation of Constant's modern liberty. Consequently, either of these binary frames of interpretation obscures rather than illuminates the full nature of Constant's modern liberty. Boxed into their irreconcilably (...) opposed alternatives, both binary perspectives fail to appreciate that Constant's conception of modern liberty is a complex achievement irreducible without loss to either liberal negative liberty as non-interference or republican freedom as non-domination. Nor does combining liberal negative freedom and positive freedom (in the sense of ancient liberty), as Holmes well establishes, adequately tells the whole story of Constant's modern liberty. As a complex achievement, Constant's conception of modern liberty, I shall argue, blends negative freedom as associated with neo-Roman republican freedom as non-subjection to arbitrary power, negative freedom as non-interference, associated with the liberal tradition, positive freedom in the sense of inner self-development, and positive freedom as collective self-government or civic republican freedom. (shrink)

In her Al-Ghazali, Averroes and the Interpretation of the Qur'an, Avital Wohlman tries to draw a map of the area of relations between reason and revelation based on Ghazali's and Averroes' thoughts.

Maimonides’ Latin translation of Moreh Nevukhim | Guide for the Perplexed, was the most influential Jewish work in the last millennia (Di Segni, 2019; Rubio, 2006; Wohlman, 1988, 1995; Kohler, 2017). It marked the beginning of scholasticism, a daughter of Judaism raised by Jewish thinkers, according to historian Heinrich Graetz (Geschichte der Juden, L. 6, Leipzig 1861, p. xii). Printed by Gutenberg's first mechanical press, its influence in the West went as far as the Fifth Lateran Council (1512 — (...) 1517) "where scholars were encouraged to remove the difficulties which seemed to divide the whole of theology and philosophy (Leibniz, Théodicée, 11)." For centuries, the Guide revolutionized the curriculum of school instruction by reintegrating the natural laws of thought in the sphere of faith (the fourth of which became Leibniz’ Principle of sufficient reason). This complete collection of notes expounds the ideas of the Guide and features all the passages selected and rewritten by Leibniz. This first complete annotated bilingual translation of the original manuscripts in Latin serves as an entry point to the faith in conformity with Reason. This complete collection of notes expounds the ideas of the Guide as selected and rewritten by Leibniz, the famous mathematician inventor of computer arithmetic, considered the last universal genius. The first complete bilingual translation in three centuries features on the front cover Rembrandt's Philosopher in meditation, and a recommendation from Leibniz's himself on the back: "Rabbi Maimonides' excellent book, A Guide for the Perplexed, is more philosophical than I imagined and worthy of careful reading." According to Malbim’s translator, Noah Rosenbloom, the book’s epigraph indicates that nineteenth-century Rabbi Leibush ben Yehiel Michel Wisser, also known as Malbim, was familiar with Leibniz’ Theodicy. In Leibniz’ anthology of the Guide, the reader can get a detailed glimpse of Leibniz' impressions of Maimonides. The Foreword by Leibniz' translator Lloyd Strickland suggests that there were sympathies and perhaps even overlaps between the thoughts of both universal luminaries. -/- . (shrink)

La traducción al latín de la obra de Maimónides Moreh Nevukhim | Guía para Perplejos, ha sido la obra judía más influyente en los últimos milenios (Di Segni, 2019; Rubio, 2006; Wohlman, 1988, 1995; Kohler, 2017). Ésta marcó el comienzo de la escolástica, «hija del judaísmo nutrida por pensadores judíos, » según el historiador Heinrich Graetz (Geschichte der Juden, L. 6, Leipzig 1861, p. xii). Impresa por la primera imprenta mecánica de Gutenberg, su influencia en Occidente se extendió hasta (...) el Quinto Concilio de Letrán (1512-1517) « donde se instó a los eruditos a eliminar las dificultades que parecían dividir el conjunto de la teología y la filosofía (Leibniz, Teodicea, 11 ). » Durante siglos, la Guía revolucionó el currículo de estudios de la instrucción escolar al reintegrar en el ámbito de la fe las leyes del pensamiento (la cuarta de las cuales se convirtió en el principio de la razón suficiente de Leibniz). La colección completa de las notas que exponen las ideas de la Guía incluye todos los pasajes seleccionados y reescritos por Leibniz. Esta primera traducción bilingüe completa y anotada de los manuscritos originales en latín sirve como una puerta de entrada a la fe conforme a la Razón. -/- « El excelente libro del rabino Moisés Maimónides, Guía para perplejos, es más filosófico de lo que había imaginado y merece una lectura atenta. El autor, distinguido por su inteligencia filosófica, fue versado en matemáticas, en el arte de la medicina, y también en el conocimiento de las Sagradas Escrituras. » — GW LEIBNIZ, 1685. Antología de Leibniz de la Guía de Maimónides, Capítulo III. (shrink)

La traduction latine du livre de Maïmonide Moreh Nevukhim | Guide des égarés, a été l'ouvrage juif le plus influent des derniers millénaires (Di Segni, 2019 ; Rubio, 2006 ; Wohlman, 1988, 1995 ; Kohler, 2017). Elle marqua le début de la scolastique, fille du judaïsme élevée par des penseurs juifs, selon l'historien Heinrich Graetz (Geschichte der Juden, L. 6, Leipzig 1861, p. xii). Imprimée par la première presse mécanique de Gutenberg, son influence en Occident s'étendit jusqu'au Vème concile (...) du Latran (1512-1517) « où les savants furent encouragés à lever les difficultés qui semblaient diviser l'ensemble de la théologie et de la philosophie — (Leibniz, Théodicée, 11 ) ». Pendant des siècles, le Guide a révolutionné le programme d'instruction scolaire en réintégrant dans le domaine de la foi les lois de la pensée (dont la quatrième est devenue le principe de la raison suffisante de Leibniz). Cette collection complète de notes qui expose les idées du Guide fournit tous les passages sélectionnés et réécrits par Leibniz. Cette première traduction complète bilingue annotée des manuscrits originaux en latin sert de porte d'entrée à la foi conforme à la Raison. -/- « L'excellent livre du Rabbin Moïse Maïmonide, le Guide des égarés, est plus philosophique que je ne l'avais imaginé et mérite une lecture attentive. L'auteur, distingué par son intelligence en philosophie, était versé dans les mathématiques, l'art médical, et aussi dans la connaissance de Saintes Écritures. » — G. W. LEIBNIZ, 1685, Anthologie de Leibniz du Guide de Maïmonide, Chapitre III. (shrink)