Self-knowledge and the Sciences in Augustine's Early Thinking
ABSTRACT: The idea of a firm connection of the seven artes liberales came first into being in Augustine's early concept of education (I. Hadot). Whereas this idea has been analyzed primarily in view of its philosophical sources, this paper is supposed to clarify its internal logic. The main feature of Augustine's concept is the distinction between the two projects of a critique of reason and of a metaphysics, and the coordination of these projects within a treatise on theodicy. Augustine systematizes the disciplinae in the perspective of reason's self-recognition. Reason manifests itself in culture and nature. Through the sciences, reason is led to a reflection upon its own products and, finally, to an understanding of them as reason's self-manifestations. Thus, reason becomes able to comprehend itself. Augustine distinguishes language-based disciplinae (grammar, dialectic, rhetoric) from number-oriented ones (music, geometry, astronomy, philosophy). The first group (with dialectic as its top-disciplina) leads to a critical reflection upon the conditions of knowledge and into the insight to reason's power of creating sciences. The second group helps carry out a metaphysical ascent from the material to the intelligible world. In philosophy, reason comprehends its ability to constitute knowledge as a synthetic capacity that points to a transnumerical unity as the main ontological feature of the intelligible world. The insight into this kind of unity reveals the meaningful interwovenness of all beings and events and, thus, leads to a refutation of all objections against divine providence.
Augustine's early dialogues are works of a special sort. Written soon after ...
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...unt of Augustine's understanding of dialectic, cf. Pépin, J., Saint Augustin et la Dialectique (The Saint Augustine Lecture 1972), Villanova 1976. Cf. also my article: The Decline of Dialectic in Augustine's Early Dialogues, in: Studia Patristica (Proceedings of the XIII. International Conference on Patristic Studies), forthcoming.
(7) Illa igitur ratio perfecta dispositaque grammatica admonita est quaerere atque attendere hanc ipsam vim, qua peperit artem; nam eam definiendo distribuendo colligendo non solum digesserat atque ordinarat verum ab omni etiam falsitatis inreptione defenderat. (De ordine 2.13.38)
(8) [...] in hac se ipsa ratio demonstrat atque aperit, quae sit, quid velit, quid valeat. (De ordine 2.13.38)
(9) Postremo quando istum virum movebunt aut ulla onera aut ulla pericula aut ulla fastidia aut ulla blandimenta fortunae? (De ordine 2.19.51)
Bram Stoker’s Dracula is a classic piece of literature that has survived through the ages. Dracula has become a famous villain in countless movies and has been the inspiration for many others. What many people may miss about this book first written in 1897 is the purpose and symbolism behind this famous vampire. To begin to understand the symbolism and theme in the text, first you must understand a little background of the Victorian era in which Stoker lived. Named after Queen Victoria from 1837-190, this era was a time of “…sexual moralism, domestic propriety, and imperialist ambition” (“Dracula & the Fears of Victorian England”). Through these ideals and a declining economy, tensions were on the rise in the working class. Things such as sexual deviance or being improper was seen as a threat to proper Victorian society. Dracula and his mini...
In society, the significance of social status and role is observable with both genders. This includes the acceptable behaviors and responsibilities for both men and women within one’s culture. It is a constant struggle to follow these established guidelines in order to preserve a good reputation and not possess a low social status. In Bram Stoker’s novel, Dracula, the different characters each represent a different stand in the transformation from “True Woman” to the “New Woman” that surfaced in the late nineteenth century. This new idea made women more independent, with their lives no longer revolving around their husbands, and most importantly created a big change in social expectations. The characters Lucy, Mina, and the three brides of Dracula play a part in revealing Stoker’s belief that social status is changed for the worse with this change in women’s roles.
Conclusively, while Bram Stokers novel Dracula is seen as a gothic and horror story, I argue that it is a novel that seeks to address female sexuality directly. Seen through numerous passages, Stoker confronts and battles the views between sexuality during the Victorian era though his genius of characterization of characters present within the novel. As it seems highly intentional to me, I respect the way in which he criticizes and critiques upon female sexuality by bringing into light new ideas regarding female desires. When contrasting his text upon today’s culture, the differences to how one perceived the vampire has changed significantly.
This essay will attempt to discuss the two gothic tales ‘Carmilla’ and ‘Dracula’ in relation to cultural contexts in which they exist as being presented to the reader through the gender behaviour and sexuality that is portrayed through the texts. Vampire stories always seem to involve some aspect of sexuality and power.
Stoker uses phenomenal imagery to produce a late nineteenth century setting, located somewhere within eastern Europe. Transylvania, the infamous home to Dracula himself, is described in great detail in Harker’s journal. There, Stoker purposely and meticulously outlines Dracula’s castle and the surrounding town. Stoker manages to do this with a very gothic tone, immediately lowering the societal status of women. In conjunction with Dracula’s gothic tone comes the understanding of male and female traditional roles of the era. The reader sees that there is no hesitation differentiating between the two, as Stoker “ cast[s] men as rational, strong, protective and decisive…[and] women as emotional (irrational), weak, nurturing and submissive.” (Tyson, 82).
Peters, Sarah L. "Repulsive to Romantic: The Evolution of Bram Stoker’s Dracula." Henderson State University. N.p., Mar. 2002. Web. 14 Apr. 2014.
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
Bowman, N., & Denson, N. (2012). What's Past is Prologue: How Precollege Exposure to Racial Diversity Shapes the Impact of College Interracial Interactions. Research In Higher Education, 53(4), 406-425. doi:10.1007/s11162-011-9235-2
Vampires have been a popular figure in literary works for almost 200 years; from John Polidori’s The Vampyre (1819) to Stephenie Meyer’s Twilight (2005), the figure of the vampire has changed and developed over time but still remains popular and recognisable throughout literary history. The figure of the vampire is often used to represent ‘the other’, or as a manifestation of social anxieties at the time of writing. This is why it is interesting to study the how the tropes found within vampire fiction differ between texts, and the reasons behind these differences or transformations in the figure of the vampire. I will look at a range of texts to study how sexuality
In the Confessions, Augustine wrote about his struggle with understanding how evil exists in a world created by God. He questioned how it was possible and why God allows evil in his creations because God is supremely good. After delving into finding a solution, Augustine concluded that evil does not exist, and the things deemed as evil are caused by free will. This paper will argue that Augustine has successfully proven that evil does not exist by explaining his earlier explanation of the origin of evil taught by the Manicheans, explaining Augustine’s teachings, and finally, using the textual descriptions of Augustine’s unwillingness to convert as support for his conclusion.
A foundational belief in Christianity is the idea that God is perfectly good. God is unable to do anything evil and all his actions are motives are completely pure. This principle, however, leads to many questions concerning the apparent suffering and wrong-doing that is prevalent in the world that this perfect being created. Where did evil come from? Also, how can evil exist when the only eternal entity is the perfect, sinless, ultimately good God? This question with the principle of God's sovereignty leads to even more difficult problems, including human responsibility and free will. These problems are not limited to our setting, as church fathers and Christian philosophers are the ones who proposed some of the solutions people believe today. As Christianity begins to spread and establish itself across Europe in the centuries after Jesus' resurrection, Augustine and Boethius provide answers, although wordy and complex, to this problem of evil and exactly how humans are responsible in the midst of God's sovereignty and Providence.
Throughout the history of metaphysics the question, What is? has always been answered in an incomplete,unsatisfactory or complicated manner, but Spinoza tried to answer this question in an exceptional way simply by describing God and His essence. Based on Spinoza’s views, God’s qualities can be referred to as attributes and modes are merely affections of a substance. This paper will provide a detailed view of Spinoza’s key ontological definition of God as the only substance, his attributes, and their co-relations. The study goes further to explore the major scholarly argument between Spinoza and Descartes, in regard to their view of substance, and its attributes. Descartes and Spinoza appear to hold different perceptions in regard to the existence of substance.
Pope John Paul II once said, “Faith and reason are like two wings on which the human spirit rises to the contemplation of truth; and God has placed in the human heart a desire to know the truth – in a word, to know himself – so that, by knowing and loving God, men and women may also come to the fullness of truth about themselves.” (Fallible Blogma) Based on this significant and powerful quote, one can infer that faith and reason are directly associated and related. It can also be implied that the combination of faith and reason allows one to seek information and knowledge about truth and God; based on various class discussions and past academic teachings, it is understood that both faith and reason are the instruments that diverse parties are supposed to use on this search for truth and God. There are many stances and viewpoints on the issues of faith and reason. Some believe that both of these ideas cannot and should not be combined; these parties deem that faith and reason must be taken as merely separate entities. However, this writer does not understand why both entities cannot be combined; both terms are so closely compatible that it would make sense to combine the two for a common task. Based on various class discussions and readings, there are many philosophers and theologians who have certain opinions regarding faith, reason and their compatibility; these philosophers include Hildegard of Bingen, Ibn Rushd, Moses Maimonides, and St. Thomas Aquinas. The following essay will examine each of the previously stated philosopher’s viewpoints on faith and reason, and will essentially try to determine whether or not faith and reason are ultimately one in the same.
It therefore appears evident that God must be the root of all evil, as He created all things. However, Augustine delves deeper in search for a true answer. This paper will follow ...
In the beginning, God created the world. He created the earth, air, stars, trees and mortal animals, heaven above, the angels, every spiritual being. God looked at these things and said that they were good. However, if all that God created was good, from where does un-good come? How did evil creep into the universal picture? In Book VII of his Confessions, St. Augustine reflects on the existence of evil and the theological problem it poses. For evil to exist, the Creator God must have granted it existence. This fundamentally contradicts the Christian confession that God is Good. Logically, this leads one to conclude evil does not exist in a created sense. Augustine arrives at the conclusion that evil itself is not a formal thing, but the result of corruption away from the Supreme Good. (Augustine, Confessions 7.12.1.) This shift in understanding offers a solution to the problem of evil, but is not fully defended within Augustine’s text. This essay will illustrate how Augustine’s solution might stand up to other arguments within the context of Christian theology.