The Stoics identified thephantasiawith the impression (typos) in the soul, or the impressing process (typōsis). Alexander of Aphrodisias engages directly with this account atDe anima68.10–21, and argues against the applicability of the impression in a theory of perception inMantissa10, especially 133.25–134.23. I analyse Alexander’s polemic account atDe anima68.10–21, I demonstrate that it differs from Chrysippus’ criticism of Cleanthes (contrary to some commentators), and I show how it fits in the context of his argument. From this analysis it will emerge how (...) Alexander uses Stoic ideas to form his Aristotelian account. Then, I show that Alexander, by taking ‘typos’ metaphorically, not only prefers the term ‘enkataleimma’ over ‘typos’ in his theory ofphantasia, but he keeps the ‘typos’ terminology only to remain faithful to Aristotle’s use (contrary to some commentators). (shrink)

The version of the paradox of false judgement examined at Tht. 188c10–189b9 relies on the assumption that to judge falsehoods is to judge the things which are not. The presentation of the argument displays several syntactic ambiguities: at several points it allows the reader to adopt different syntactic connections between the components of sentences. For instance, when Socrates says that in a false judgement the cognizer is “he who judges the things which are not about anything whatsoever” (188d3–4), how should (...) the clause “about anything whatsoever” be construed? In common with “he who judges” and “the things which are not” (in which case the cognizer would be “he who judges about anything whatsoever the things which are not about it”), or exclusively with “he who judges” (in which case the cognizer would be “he who judges about anything whatsoever the things which are not”)? The most plausible answer is that both construals are envisaged. Accordingly, the argument has two branches corresponding to these two alternative construals. In particular, it attempts to show that in both cases the cognizer will address what does not exist – an impossibility. The idea that a false judgement is concerned with what is not about its reference has a clear echo in the Sophist. The way in which the problem is handled in the Theaetetus provides a hint that can help to find a solution for the hotly debated issue of the interpretation of the Sophist’s account of false statement. (shrink)

In his well-known essay, ‘What Is a Sign?’ (CP 2.281, 285) Peirce uses ‘likeness’ and ‘resemblance’ interchangeably in his definition of icon. The synonymity of the two words has rarely, if ever, been questioned. Curiously, a locus classicus of the pair, at least in F. M. Cornford’s English translation, can be found in a late dialogue of Plato, namely, the Sophist. In this dialogue on the myth and truth of the sophists’ profession, the mysterious ‘stranger’, who is most likely Socrates’ (...) persona, makes the famous distinction between eikon (likeness) and phantasma (semblance) (236a,b). For all his broad knowledge in ancient philosophy, Peirce never mentioned this parallel; nor has any Peircean scholar identified it. There seems to be little problem with eikon as likeness, but phantasma may give rise to a puzzle which this paper will attempt to solve. Plato uses two pairs of words: what eikon is to phantasma is eikastikén (the making of likeness [235d]) to phantastikén (semblance making [236c]). In other words, icons come into being because of the act of icon-making, which is none other than indexicality. Witness what Peirce says about the relationship between photographs and the objects they represent: “But this resemblance is due to the photographs having been produced under such circumstances that they were physically forced to correspond point by point to nature.” (Ibid.) Thus the iconicity which links the representamen (sign) and its object is made possible not only by an interpretant, but also by idexisation. Their possible etymological and epistemological links aside, the Peircean example of photographing and the Platonic discussion of painting and sculpturing in the Sophist, clearly show the physio-pragmatic aspect of iconicity. The paper will therefore reread the Peircean iconicity by closely analysing this relatively obscure Platonic text, and by so doing restore to the text its hidden semiotic dimension. (shrink)

The aim of this article is to reassess the conceptual link between politics and our capacity to create images. Although a lot has been written on what we can call the ‘politics of imagination’, much less has been done to critically assess the conceptual link between the two in a systematic way. This paper introduces the concept of imaginal, understood simply as what is made of images, to go beyond the current impasse of the opposition between theories of imagination as (...) an individual faculty, on the one hand, and theories of the imaginary as a social context, on the other. As such, I also argue that the concept of imaginal is the theoretical tool most adapted to capture the nature of the conceptual link between politics and our capacity to produce images. This analysis is finally applied to contemporary politics and it is shown to be able to bring light to many of its paradoxes, including that of a political world full of images, but deprived of imagination. (shrink)

this book concerns the debates on the functions of "imagination" (phantasia, imaginatio) in the arousal of passions in the Aristotelian and post-Aristotelian traditions till the XVIIth Century. The simple fact that often a mental representation is followed by pleasure or sorrow and that these emotions can cause actions, became progressively part of a wider theory of animal and human behaviour. In the case of human behaviour, the "force of imagination" became a kind of general justification of all kind of anomic (...) and irregular behaviour and beliefs, including true paranormal conditions of the body. The book recapitulates the main evolution of this way of seeing passions - from Aristotle to Avicenna and his Latin followers - till the age of the authors who see the inner work of "imagination" as a constant danger for human reason, and imagination itself as faculty to control with care for its propension to be the "advocate" of the "inferior part of the soul", such as Gianfrancesco Pico, Juan Luis Vivés, Pierre Charron, Blaise Pascal and a large part of the French Augustinian Moral Philosophers. (shrink)

A brief historical and conceptual account of the concept of imagination.