This project envisages a study of Eric Voegelin (1901-1985) and of the role played by metaxy in his vision of political philosophy. Metaxy already defined by Plato as the "in-between" matrix of the human condition is for Voegelin a powerful notion that symbolizes the intermediate state in which man experiences diverse and opposing tensions such as the ones between immanence and transcendence or mortality and immortality. The metaxy constitutes the realm of the divine-human mutual participation (methexis), and (...) its locus resides in human consciousness (nous), there where the divine reality manifests itself as the origin of being. Being the field of intermediation between opposing forces, man has to keep the balance of consciousness in order to differentiate the noetic and pneumatic dimensions and so attune his life to the divine ground of being. This project claims that for Voegelin metaxy shapes the possibility of the philosophical, historical, political and religious orientation in life. Indeed, Voegelin's approach deserves recognition as an option adequate for addressing the intellectual challenges engendered by modern and postmodern philosophies. (shrink)

El artículo examina dos concepciones de la imagen de la filosofía clásica, para ensayar una relectura de la aparición digital o “imagen-pixel”. De Platón se considera la idea de imagen como symploké de ser y no ser: la imagen, como una piel diáfana que acompaña a las cosas, se desprende, cual fina película, de las cosas mismas y puede ser inscrita sobre una superficie. De Aristóteles se examina el concepto de lo diáfano, una potencia común a todos los cuerpos, la (...) que opera como instancia intermediaria para la emergencia de lo visible. Ambas concepciones ayudan a comprender la radicalidad de la imagen digital, entendida como una modalidad inmanente del ‘aparecer’ que no se inscribe sobre ninguna superficie ni medio, llevándonos a pensar en la figura de un nuevo diáfano hipermedial. This article examines two conceptions around the image of classical philosophy, in order to rehearse a re-reading of the digital appearance or “image-pixel”. From Plato, we consider the idea of the image as symploke of being and not being: the image, as a translucent skin that accompanies all things, comes off, like a fine film, from those same things, and can be inscribed on a surface. From Aristotle, the concept of the diaphanous is examined, a common potency to everything, which operates as an intermediary instance for the emergence of the visible things. Both concepts help to understand the radical nature of the digital image, understood as an immanent modality of the ‘appearance’ that is not inscribed on any surface or support, leading us to think of the figure of a hyper-medial new diaphaneity. (shrink)

In this paper I intend to examine the notion of intermediate in Plato´s dialogues, especially Theaetetus and Symposium. In the first section, I investigate previously in Theaetetus the notion of to metaxy as the result of mixture between percipient and perceived, by which the realm of phenomenon can be explained by the third genre, identified as to metaxy, born from a certain kind of dynamis. In the second section, I examine the mentioned notion s Symposium, expressed by Diotima (...) of Mantineia on her encomium of Eros as daimon. My purpose in this last section is to demonstrate that the apprehension of Form of Beauty itself requires a new hermeneutic approach, which I call cultual hermeneutic, by which Plato conceives an inherent link between mythical and rational conceptions of Ideas. (shrink)

Resumen: Mientras que en Banquete Platón presenta a Éros como un daímon metaxý, i.e. como una divinidad intermedia e intermediaria entre dioses y hombres, en Fedro lo caracteriza, en cambio, como un theós -un dios. Procuraremos mostrar aquí que esto no implica, sin embargo, un cambio doctrinal substancial sino que se trata de dos aproximaciones distintas pero complementarias respecto a la verdadera naturaleza de Éros. Según el Fedro, si bien éros puede permanecer en una expresión puramente física, sin desarrollar su (...) aspecto divino, es posible también que, debido al intenso deseo sexual por el bello muchachito, el amante recuerde la Forma de la belleza y crezcan en él las alas del Éros divino. Pero únicamente los dioses nunca pierden las alas de sus almas y están regularmente en pleno contacto con las Formas. Las almas humanas deben adquirirlas, y aun así, con riesgo a perderlas, quedando entonces en un lugar “intermedio” -metaxý- como el Éros de Banquete.: Although in the Symposium Plato describes Erôs as a daimôn-metaxy, i.e. as an intermediate and intermediary divinity between gods and men, in the Phaedrus it is said that Erôs is a theos -a god. I will try to show that these different descriptions do not imply a substantial change of mind but work as two complementary views about the true nature of Erôs. According to the Phaedrus, although erôs can remain just at a physical level and not develop its divine power, it is also possible that, thanks to the same intense, sexual desire for the beautiful boy, the lover recollects the Form of beauty and so grows divine Erôs`s wings. However, only the gods never lose their wings and so are in regular, full contact with the Forms. The human souls need to acquire the wings and even so take the risk of losing them; they are then in an intermediate state -metaxy- like Erôs in the Symposium. (shrink)

The paper offers the first and the most comprehensive outline of perichronosophy, i.e. a theory of timelessness and its practicing, which are to be taken as a theoretical(perichronology) and practical (atemporalistics) grounds of syncriticism. The fundamental concept of perichronosophy is perichrony expressed by the term perichronosopheme. This concept has been articulated in recent years by applying the syncritic method in the examination of various pre-temporal, intratemporal, and beyond-temporal units of timelessness, as well as their various timeless qualities, linkages and processes (...) taking place in various spheres of timelessness: in pretemporality, intra-temporality as well as between time and timelessness. Perichronosophy goes back mainly to Plato’s theory of timelessness oscillating around the notions of exaiphnes and metaxy. (shrink)

Along 19th and 20th centuries, art became a sort of new religion, sometimes coexisting peacefully with the institutional one, sometimes trying to provide what the institutional religion was not able to provide any more. Nowadays, art has adopted many of the solutions, topics and theories that theology has handled since it was born. Arthur C. Danto treats art as a reality whose history is over (and so, a escathological reality) and also as a metaxological (metaxy=between) reality dwelling between two (...) realms. Thus, we cannot decide by pure perceptive means whether something is art or not. This consideration has important consequences for art theory. (shrink)

The Stoics try to demonstrate, in a theoretical context, more than any other philosophy, the link unifying the parts with the whole, in all areas of existence; namely, from man to divine reason, from god to nature – a tautological link in some cases – from matter to logos or creative pneuma. This unifying bond – hexis or continuity – guarantees the attachment between bodies which are in a state of sympathy which also constitutes their existence. It remains to seek (...) the meaning of this notion; draw on its etymology: according to Bailly’s dictionary, the term hexis in Greek means among other meanings: action of possessing, possession. And according to the dictionary of L.‑S.‑J., hexis derives from the future of the verb ἕξω, from the verb ἔχω, ; in its intransitive form refers to a permanent condition, namely to an act, which results from practice.In order to make an attempt to define this concept or to orient its function, it seems appropriate for us to do some research – we could say historical –, consulting texts prior to Stoicism, examining its place and the nuances it takes in different contexts and finally, follow its interpretation where, according to philosophical approaches, it sometimes means disposition, habit, or situation. Nevertheless, the Stoics give this term an original meaning, different from the one that was granted to it until then. It is the hectic pneuma or the tension prevalent in the universe. In this perspective, we will try to define its function and compare it with the notion of hexis in Aristotle, where it acquires the meaning of metaxy, in his Metaphysics, Δ, 1022b12. (shrink)

Platons Lehre von der Weltseele.--Methexis und Metaxy bei Platon. --Der historische Ursprung des Satzes vom Widerspruch.

Throughout his philosophical career, Eric Voegelin had much to say about literature in both his published work and his private letters. Many of his most trenchant comments regarding the analysis of literature appear in his correspondence with critic Robert Heilman, and, through his familiarity with that exchange, Charles Embry has gained extraordinary insight into Voegelin’s literary views. _The Philosopher and the Storyteller_ is the first book-length study of the literary dimensions of Voegelin’s philosophy—and the first to use his philosophy to (...) read specific novels. Bringing to bear a thorough familiarity with both Voegelin and great literature, Embry shows that novels—like myths, philosophy, and religious texts—participate in the human search for the truth of existence, and that reading literature within a Voegelinian framework exposes the existential and philosophical dimensions of those works. Embry focuses on two key elements of Voegelin’s philosophy as important for reading literature: metaxy, the in-between of human consciousness, and metalepsis, human participation in the community of being. He shows how Voegelin’s philosophy in general is rooted in literary-symbolic interpretation and, therefore, provides a foundation for the interpretation of literature. And finally he explores Voegelin’s insistence that the soundness of literary criticism lies in the consciousness of the reader. Embry then offers Voegelinian readings that vividly illustrate the principles of this approach. First he considers Graham Swift’s _Waterland_ as an example of the human search for meaning in the modern world, then he explores the deformation and recovery of reality in Heimito von Doderer’s long and complex novel _The Demons,_ and finally he examines how Flannery O’Connor’s _The Violent Bear It Away_ mythically expresses the flux of divine presence in what Voegelin calls the Time of the Tale. _The Philosopher and the Storyteller_ unites fiction and philosophy in the common quest to understand our nature, our world, and our cosmos. A groundbreaking exploration of the connection between Voegelin and twentieth-century literature, this book opens a new window on the philosopher’s thought and will motivate readers to study other novels in light of this approach. (shrink)

The Euthyphro problem and the natural law : an investigation of some aspects of the medieval debate on natural law -- Aristotle : natural law and man in the "metaxy" -- St. Thomas Aquinas : the "lex naturalis" -- Thomas Hobbes : The state of nature and natural rights -- John Locke : natural law, natural rights and God -- Concluding remarks and a heavenly dialogue.

This article argues that we must abandon the still predominant view of modernity as based upon a separation between the secular and the religious - a “separation” which is allegedly now brought into question again in “postsecularity”. It is more meaningful to start from the premise that religion and politics have always co-existed in various fields of tension and will continue to do so. The question then concerns the natures and modalities of this tension, and how one can articulate a (...) publically grounded reason with reference to it. It will first be argued that this question cannot be articulated, let alone fully answered, from the position developed by John Rawls. A different approach will then be developed, building on the writings of Eric Voegelin. This involves a much more serious engagement with the classical tradition in thought and philosophy than found in Rawls. It also implies much more than a “pragmatic” recognition of religion as a possible source for overlapping consensus, since for Voegelin a true, balanced rationality can only depart from an experientially grounded encounter with the transcendent. (shrink)

My paper picks up a long ignored suggestion of Sheldon Wolin - that we use Thomas Kuhn''s analysis of scientific revolutions to examine the crisis of "normal" political science. This approach allows us to see the connection between the state of the discipline and the larger crisis of meaning afflicting modernity. I then use Eric Voegelin''s notion of a multicivilizational "truth quest" - or search for meaning - to make a case for institutionalizing "extraordinary" or "revolutionary" political science. I attempt (...) such a discipline by following Voegelin - reflecting on "the full amplitude of human experience." Such a meditation takes place within the "first reality of existence" - Plato''s metaxy or the "in-between" - the experience of human existence between the sacred and the mundane. I bring to Voegelin''s exploration of the metaxy the realm of experience which is most radically "other" for modernity - the primal political order of paleolithic and contemporary hunting gathering societies. I argue that shamanic "Urreligion" and Socratic discussion share a boundary crossing logic which provides a basis for a discipline of "extraordinary political science." Finally I suggest that such a discipline is both the quest for, and, in a sense, a realization of, the Good Life - a source of order for the individual and society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Search of the ClassicEdward E. FosterIn Search of the Classic, by Steven Shankman; xvi & 331 pp. University Park: Pennsylvania State University Press, 1995, $55.00 cloth, $18.95 paper.“In search of” in the title of a book is often a code warning of lukewarm conviction or academic disingenuousness. In Shankman’s title, however, the phrase is literally appropriate because he forthrightly argues that the classic is, of its nature, (...) something that always exists in quest and tension. The classic is not to be located merely in classical antiquity or in the tastes of a privileged class. Though Shankman grants that these often are associated with the literary classic, he finds the nature of the classic rather in the nature of literature as a state of metaxis or “in-betweenness.” His examinations of classical, neo-classical, and modern works define various aspects of this “in-betweenness,” the state of tension that exists in the truly classic at any point in the history of literature.Although Shankman dismisses Derrida, Foucault, de Man, and others for having mistaken their own destruction of Enlightenment rationalism for a demonstration that rationality is impossible, he is not wildly original. He uses Habermas’s notion of classic literature as enduring and independent of time and Vogelin’s concept of metaxis as foundational for his sprawling, yet lucid, inquiry into the idea of the classic in Homer, Plato, Aristotle, Pindar, Virgil, Dryden, Defoe, Swift, Valery, and others, and in the traditions of the epic, ode, pastoral, and lyric.Fundamental is the view that classic literature has the greatest power to represent human experience. To avoid the hermeneutical conundrum of the subject-object dilemma, Shankman asserts literature to be in “a middle place” from Plato and Aristotle on. He sees a basic agreement between them on how literature stands between the One and the Many. Put negatively, literature is not sparks from the One or compilations of the Many. Rather it is a mediator between these polarities: classic literature accommodates the propositional purity of philosophy to the indeterminacy of thing-reality. Literature is neither an abstract kernelization of truth nor an anthology of the things of experience [End Page 256] but an analogical conjunction of the two extremes—therefore tension, therefore continual quest.Using Plato, especially the Cratylus and the Symposium, and Aristotle, especially the Metaphysics and the Poetics, Shankman describes a rationality that exists in literature that is clearly identified in his chapter on Swift’s Gulliver’s Travels by emphasizing the idea of man as an animal capax rationis. This in itself places man’s literary enterprise in a middle place and Shankman explores its various implications in a variety of works. From this perspective, it is argued that literature must be about something that matters; that pure poetry or reflexive poetry cannot achieve the ambiguity of analogy as the central core that the classic requires. Thus, Plato never rejected poetry—only the debasement of poetry into either the fantastical or literal (or the confusion of the two.)The true classic walks a line between ignorance and knowledge, rhetoric and philosophy, literalism and fantasy, “thing-reality” and “the ideal.” The Aeneid makes a good test case. It is at once a piece of propaganda and a statement of an ideal that is complicated by the duplicity of Aeneas’ abandonment of Dido, the brutality of his killing of Turnus, and his emergence in Book VI from the underworld by the Gate of Ivory (false dreams). Such tension is exemplary of what Shankman sinuously argues is at the heart of “the classic” in a variety of other works.The argument is persuasive and attractive, even if not compelling, in a world where many critics would have us believe that all of literature, canonical or not, is disappearing into nontext. That about half of the chapters are adaptations of previously published articles risks a discontinuity that is largely avoided by recapitulations of where we are in the exposition of our struggle in a continuing and intrinsic state of rational metaxis. I like the idea, but I must reserve judgment on a thesis that attends to the poetry of Yvor Winters and E. V. Cunningham... (shrink)