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Le Navire Night : le mélange des genres et des arts

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Ledwina A.

Quêtes littéraires

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2016

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issue 6

91-99

EN

The works of Marguerite Duras show visible hybridity, broadly understood as a mixture of genres, correspondence of the arts, or intertextuality. Her texts reflect, par excellence, this tendency because they keep departing from classical forms. Consequently, the same text can be interpreted as a novel, screenplay, or film. This transgression seemingly results from the versatility of changing artistic interests of Duras, who, while writing, was fascinated by film-making and all possibilities of experimentation. The transgression is confirmed by a kind of polyphony of voices in her works, which makes them both extremely suggestive and open. A prime example of this technique is Le Navire Night. According to the concept of poetical-novelistic or cinematic writing, it can be seen as a ‘hybrid’ work. Therefore, Le Navire Night is sometimes read as a poem as understood by Henri Meschonnic, referring to the creativity of the author, especially in the field of language

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Mixture and Transformation in Aristotle’s De generatione et corruptione

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Zarifian A.

Peitho. Examina Antiqua

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2018

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vol. 9

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issue 1

53-69

EN

In his works on natural sciences, primarily in the Physics, Aristotle focuses on different forms of metabolē and distinguishes movement in general from substantial change. The On generation and corruption deals with the latter. When reading this treatise, one should pay particular attention to the concept of mixture. Apart from being the subject of a specific chapter (I 10), the problem of mixture permeates the whole work. But what exactly is mixture? Is it a simple combination of small parts? Can a compound of water and wine be called mixture? If so, is this mixture and nothing more? In the course of the discussion, it is argued that the Aristotelian idea of mixis does not correspond to the concept that is usually associated with it. Rather, it is shown that mixis is fundamental for comprehending the physical world and constitutes not only the term per quem the first elements of all material bodies originate, but also plays a fundamental role in all natural sciences, particularly, in biology.

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Aristotle’s Mixture in its Medical and Philosophical Background: The Hippocratic De victu and the Aristotelian De generatione et corruptione

86%

Mirrone C.

Peitho. Examina Antiqua

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2021

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vol. 12

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issue 1

151-169

EN

Aristotle’s notion of qualitative interaction ruling both the process of mixture and the process of reciprocal elemental transmutation is based upon the idea of a physical contrariety endowed with two extremes and a wide central area where the opposite forces reach different equilibrium points (i.e., the so-called mixtures) or can be present to the fullest degree (in this case we do not have a mixture, but an element). Differently from previous scholarship which attributes this notion specifically to Aristotle, we have found, in a text which Aristotle seems to have been acquainted with, the Hippocratic De victu, an incipient structure of a contrariety endowed with extremes and a central area where opposite forces meet and yield respective equilibrium points, mixtures, which, as in Aristotle, give an account of the variety of beings existing in the world. In this article, we suggest the possibility that in the development of the Aristotelian thinking about elemental and qualitative dynamics, the Hippocratic De victu may have contributed to suggesting to Aristotle a way of envisioning the structure of his basic physical contrarieties.

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2 Peitho. Examina Antiqua

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1 Ledwina A.

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1 Zarifian A.

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Le Navire Night : le mélange des genres et des arts

Mixture and Transformation in Aristotle’s De generatione et corruptione

Aristotle’s Mixture in its Medical and Philosophical Background: The Hippocratic De victu and the Aristotelian De generatione et corruptione