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1

The Connection between Neoplatonism and Plato's 'agrapha dogmata'

100%
Woszczyk A.
Przegląd Filozoficzny. Nowa Seria
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2005
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vol. 14
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issue 2(54)
53-66
EN
The 'Enneads' contains a principle of plurality (matter-dyad) which can be viewed as a necessary condition of the constitution and gradation of beings. This principle is amenable to a new interpretation of Plotinus's philosophy in which emanation as a transition from what is the highest to what is the lowest, is no longer regarded as a gradual deterioration of the Unity to matter, or the absolute 'steresis'. On the contrary, the process that leads to the emergence of new hyposthases can be viewed as a result of a cooperation between the Unity and the matter-dyad in which every new ontic level of being can be identified as a new form of the Unity whose power is gradually dissipated and diminished until it is entirely used up, which permits the Matter-dyad to show its a preponderance.
2

PLOTINUS' 'ENNEADS': CRITICISM OF PLATO'S CONCEPTION

100%
Fattal M.
Przegląd Filozoficzno-Literacki
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2008
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vol. 6
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issue 2-3(20)
387-402
EN
AAccording to Plato, the poetry and the painting belong to 'mimetic arts'. A painter does not represent the Idea, the essence of objects. A bed that was painted is only imitation of imitation and that is why this bed pictured by a painter 'is as many as three steps away from nature'. Today, it is believed that an artist - like God - creates a new world deriving it from his own imagination. In contrary, in Plato's conception only God is a real creator. On the other hand, Plotinus claims that the arts cannot be disregarded or condemned only because they imitate nature, which itself is imperfect. He completely inverts Plato's schema. In his opinion, art is superior to nature. Plotinus, criticizing Plato's criticism of mimetic arts, admits that the artist is able to reach to divine and intelligible causes and to make visible the very patterns of things. The figurative art of Fayum Portraits no less than the Byzantine art would be mirrored in the metaphysics of Plotinus whereas the abstract art would reflect his metanoetics that sets forth the theory of One without any form and would give value to unconscious acts of artistic creation.
3

PLATO'S PARMENIDES AND REPUBLIC AS THE ORIGINS OF PLOTINUS' THEORY OF THE 'ONE'

100%
Labuda P.
Filozofia (Philosophy)
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2007
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vol. 62
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issue 1
1-13
EN
The subject of the paper is Plotinus' theory of the 'One'. The motif to work on the issue was the need of a systematic treatment of this problem, still missing in the writings of Slovak historians of philosophy. The intention of the paper is the presentation, analysis and critical interpretation of the remarkable origins of Plotinus' theory. The paper deals further with the question of the sources of Plotinus' theory of the 'One' in Plato. The introductory general theoretical reflections on the origins of Plotinus' theory (the first part of the paper) is followed by a detailed text analysis of the books 6 and 7 of Plato's Republic (the second part) and by the analysis of the first and second hypotheses of the second part of the dialogue Parmenides (the third part of the paper).
4

PLOTINOVA KONCEPCIA JEDNA A JEJ JAZYK

100%
Labuda P.
Filozofia (Philosophy)
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2007
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vol. 62
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issue 2
91-109
EN
The subject of the paper is situated on the intersection of a systematic investigation and a text analysis and interpretation belong to the area of the history of philosophy. The main motif to work on this issue was the absence of a systematic analysis of the specificity of Plotinus' philosophical theory and its unique mode of expression. The aim of the study is the presentation, analysis and critical evaluation of the forms of expression, fundamental statements and the consequences of Plotinus' concept of the One. The structure of the text resulted from discussing of the general character of Plotinus' language (the first part) to the presentation and criticism of its own statements and philosophical consequences of the theory of the One (the second part).
5

AKO NAZERAŤ NA TO, ČO JE VNÍMATEĽNÉ? HÁDES AKO METAFORA ZMYSLOVÉHO SVETA U PLOTINA

88%
Karul R.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 9
894-902
EN
Among others, when considering the sensible world, Plotinus makes use of the image of Hades and the concept of matter. The aim of the paper is to positively re-interpret his negative metaphor of Hades as well as the negative concept of matter. The question is, whether after having accepted the delusional character of the sensible world we can still claim a plausible similarity between the sensible and the intelligible. Is a valuable relationship to things and the others still to be found in such a world?
6

Unitas Multiplex as the Basis of Plotinus’ Conception of Beauty

88%
Gal O.
Estetika: The Central European Journal of Aesthetics
|
2011
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vol. 48
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issue 2
172-198
EN
The essay first succinctly points out shortcomings in previous interpretations of Plotinus' notion of beauty. Beauty is to be connected primarily with Intellect, which is to be understood as a special unity in diversity. The section of the essay devoted to aesthetics is therefore preceded by a short analysis of Intellect's unity and diversity. The hypothesis about the primary relation of beauty to the Intellect is then corroborated by a reading of Ennead V.8 and further developed. The emphasis is on three basic aspects of beauty: its being a unity of a mixture whose character is shared by all ontological levels; its function of referring to what is above it; and its fundamental accessibility. Though Plotinus opposes the Stoic notion of beauty as symmetry and stresses beauty's simplicity, it follows for him that beauty has the character of unitas multiplex, albeit a special one.
7

FICINO’S DOCTRINE OF LOVE AND BEAUTY AND ITS PLOTINIAN BACKGROUND

88%
Weiss S.
Filozofia (Philosophy)
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2022
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vol. 77
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issue 1
20 – 35
EN
This article analyses and compares the doctrines of love and beauty in the relevant works of Plotinus and Ficino, focusing on their allegorical use of the mythology of Aphrodite/Venus and Eros/Amor in their treatises On Love. As a translator and commentator of the collected works of his admired predecessors, Plato and Plotinus, Ficino did not hesitate to slightly bend, or even circumvent, some of their doctrines in his quest for the unification of the Platonic philosophy. Analysing the relevant passages from the Enneads, this article will demonstrate how Plotinus’ emanation theory, as well as his doctrines of love and intelligible beauty, have influenced Ficino’s interpretation of Plato’s doctrine of love, as well as his own exegesis of God’s love and creation.
8

PLÓTINOVI CHLAPCI, MENÓNOV OTROK A ETICKÉ DILEMY

75%
Porubjak M.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 6
526 – 535
EN
The paper tries to answer the question why contemporary (Slovak) undergraduate students have difficulty with moral dilemmas. According to the author the reason is the lack of classical moral stories in their education. First, he takes as an example the Plotinus’ One (En. 3,2,8) and shows how his moral story, trivial at first glance, is carefully structured and leads to a non-trivial inference. Then author turns to famous Plato’s “slave boy passage” from Menoś dialogue (82b-86c) to point out how our understanding works. Finally the author tries to figure out how important the classical moral stories can be in developing our interpretation and decision making skills, and argues that student’s low ability of moral dilemmas of understanding is a consequence of the absence of clever moral stories in previous education.
9

ĽUDSKÁ DUŠA A MIMOĽUDSKÝ INTELEKT

75%
Karul R.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 7
613 – 622
EN
In the contribution two Plotinus´ treatises are scrutinized in order to unveil the possible self-givens of soul on one side and intellect on the other. Plotinus´ concept of soul borders on the definition of a human being (whose constitution depends on the soul descending into him), while the intellect is divine, non-human. In Plotinus self-givens means self-knowledge, self-reflection or self-awareness. The question is, whether self-knowledge as the highest knowledge is related to the soul, or to the intellect alone. Even though the author outlines what could be regarded as the self-knowledge of soul, he questions the independent existence of this self of soul. Soul is not self-given in knowledge, it is rather self-given by intellect. This, strangely enough, corresponds with M. Henry’s conception of the relationship between the Self (i.e. soul in Plotinus) and Life (i.e. Intellect in Plotinus).
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