This Element defends a version of the classical theory of divine ideas, the containment exemplarist theory of divine ideas. The classical theory holds that God has ideas of all possible creatures, that these ideas partially explain why God's creation of the world is a rational and free personal action, and that God does not depend on anything external to himself for having the ideas he has. The containment exemplarist version of the classical theory (...) holds that God's own nature is the exemplar of all possible creatures, and therefore that God's ideas of possible creatures are in some sense ideas of himself. Containment exemplarism offers a monotheism fit for metaphysics, insofar as it is coherent, simple, and explanatorily powerful; and offers a metaphysics fit for monotheism, insofar as it leaves God truly worthy of the unconditional worship which Christians, along with Jews and Muslims, aspire to offer to God. (shrink)

In recent years, the doctrine of the divine ideas has garnered the interest of both historians of Christian thought and systematic theologians, particularly their theological basis in the thought of St. Augustine and their eventual decline in the late middle ages. Despite this rise of scholarly interest in what was a commonplace view for centuries, there remains several lacunae of study in its historical study.This absence of research might be due to the usual story of the divine (...) ideas tradition: the divine ideas theory dominated Christian thought on both the epistemological basis of humankind's certainty and the ontological ground of her being, reaching its crescendo in the thought of the great Franciscan doctor... (shrink)

Gregory T. Doolan provides here the first detailed consideration of the divine ideas as causal principles. He examines Thomas Aquinas's philosophical doctrine of the divine ideas and convincingly argues that it is an essential element of his metaphysics. According to Thomas, the ideas in the mind of God are not only principles of his knowledge, but they are productive principles as well. In this role, God's ideas act as exemplars for things that he creates. (...) As Doolan shows, this theory of exemplarism is an integral part of Thomas's account of the existence and order of the created universe. It also accounts in part for the freedom of God's creative act. The volume begins with an introduction to Thomas's doctrine of exemplarism and then addresses his arguments for the existence of exemplar ideas within the mind of God. Having established the existence of divine ideas, Doolan considers how Thomas reconciles their multiplicity with God's simplicity. The work identifies the various things for which Thomas posits divine ideas. As Doolan is careful to show, Thomas does not consider all of these ideas to be exemplars because not all of them act as causal principles. After identifying the ideas that do act in this way, Doolan considers how such exemplars can be causes of natural things without compromising the causality of natural agents. The volume culminates with a consideration of the role that the divine ideas play within the structure of Thomas's theory of participation. ABOUT THE AUTHOR: Gregory T. Doolan, assistant professor of philosophy at The Catholic University of America, is a contributor to Wisdom's Apprentice: Thomistic Essays in Honor of Lawrence Dewan, O.P., and Reassessing the Liberal State: Reading Maritain's Man and the State. This is his first book. (shrink)

The purpose of this review article is to offer a criticism of the interpretation of Duns Scotus’s conception of intelligible being that has been proposed by Michael Renemann in his book Gedanken als Wirkursachen. In the first place, the author shows that according to Scotus, for God “to produce a thing in intelligible being” and “to conceive a thing” amounts to altogether one and the same act. Esse intelligibile therefore does not have “priority of nature” with respect to “esse intellectum” (...) or “esse repraesentatum”, contrary to Renemann’s interpretation. The distinction between Scotus’s second and third “instants of nature” consists in something else, then: the relation of reason, of which Scotus says that it is produced in the third instant, is not the relation of being actually conceived (first, because actual intellection comes already in the second instant, and second, because divine intellection, being the measure of the conceived objects, is not relative bud absolute) but it is a relation of comparison, viz. of an image to its exemplar. Next, the author shows how a misreading of two passages of Scotus’s Ordinatio misled both the Vatican editors and Renemann to create the chimaera of “verum esse secundum quid”. By way of a conclusion the author argues that Scotus’s doctrine of “esse intelligibile” does not make him any less a direct realist than Suárez, his position being quite plausible even from the point of view of common sense. (shrink)

There has been little discussion of the compatibility of Theistic Conceptual Realism with the doctrine of divine simplicity. On the one hand, if a plurality of universals is necessary to explain the character of particular things, there is reason to think this commits the proponent of TCR to the existence of a plurality of divine concepts. So the proponent of the DDS has aprima faciereason to reject TCR. On the other hand, many mediaeval philosophers accept both the existence (...) of divine ideas and the DDS. In this article I draw on mediaeval and contemporary accounts of properties and divine simplicity to argue that the two theories are not logically incompatible. (shrink)

This paper focuses on the theory of divine ideas of Walter Burley. The medieval common theory of divine ideas, developed by Augustine, was intended to provide an answer to the question of the order and intelligibility of the world. The world is rationally organized since God created it according to the models existing eternally in his mind. Augustine's theory, however, left open problems such as reconciling the principle of God's unity with the plurality of ideas, (...) the way in which ideas can or cannot be said to be eternal, their ontological status. Medieval authors discussed such questions until at least the late 14th century. By resorting to the semantic tool of connotation, Burley explains both in what way ‘idea' can signify the divine essence as much as the creatures, and in what sense we can say that God has thought them from eternity, without slipping into a necessitarian view that undermines the principle of divine freedom. Moreover, by envisaging the objective mode of being as the only mode of being of ideas, he explains in what way they truly differ from one another on the basis of their different conceptual contents. (shrink)

The author’s purpose is to understand the role divine ideas play as causal principles in Aquinas’s philosophy. His contention is that, although Thomas’s doctrine of ideas is perhaps not the key to an understanding of his metaphysics, it is certainly “ a key to such an understanding” .The book is divided into six chapters. The first chapter seeks to provide a general definition of divine ideas according to Aquinas. Divine ideas are exemplar causes (...) in the likeness of which God produces creatures. Ideas in the strict sense belong to God’s practical or actually practical knowledge. The causality exercised by exemplars is that of formal causality, but because they are productive of things, they entail efficient and final causality, as well. In chapter 2, Doolan examines Thomas’s arguments in favor of the existence of divine ideas. Chapter 3 deals with the question of the multiplicity of divine ideas. Doolan first establishes, against Gilson and others, that Aquinas did indeed hold that there was a multiplicity of divine ideas. He then shows how Aquinas was able to reconcile the diversity of ideas with God’s simplicity. The gist of the solution involves viewing ideas as nonbeings relative to God, who is, of course, ipsum esse. Now the only way non-beings can enter into God is in. (shrink)

According to Thomas Aquinas, the ideas in the mind of God serve two distinct although interrelated roles: (1) as epistemological principles accounting for God’s knowledge of things other than himself, and (2) as ontological or causal principles involved in God’s creative activity. This article examines the causal role of the divine ideas by focusing on their relation to natural agents. Given Thomas’s observation that from God’s intellect “forms flow forth (effluunt) into all creatures,” the article considers whether (...) the causality of the divine ideas excludes that of natural agents, or whether both modes of causality can somehow produce one and the same effect. (shrink)

The divine ideas tradition played a valuable but often unrecognized role in the history of Christian theology. This article investigates the possible loss to theology by examining how the divine ideas permitted a unified theology of creation and salvation, centred upon the contemplation of all things in Christ. Interpreting examples from Origen to Aquinas, the article demonstrates that leading theologians understood the full truth of all creatures to be known eternally by God in the procession of (...) the Word, by whose incarnation, death, and resurrection the creatures are redeemed. (shrink)

Traditional theism says that the goodness of everything comes from God. Moreover, the goodness of something intrinsically valuable can only come from what has it. Many conclude from these two claims that no creatures have intrinsic value if traditional theism is true. I argue that the exemplarist theory of the divine ideas gives the theist a way out. According to exemplarism, God creates everything according to ideas that are about himself, and so everything resembles God. Since God (...) is wholly good in every way, and since ethical supervenience is true, it follows that creatures have intrinsic value. (shrink)

Priscian's _Institutiones Grammaticae_, which rely on Stoic and Neoplatonic sources, constituted an important, although quite neglected, link in the chain of transmission of ancient philosophy in the Middle Ages. There is, in particular, a passage where Priscian discusses the vexed claim that common names can be proper names of the universal species and where he talks about the ideas existing in the divine mind. At the beginning of the 12th century, the anonymous _Glosulae super Priscianum_ and the _Notae (...) Dunelmenses_, which heavily quote William of Champeaux, interpret the passage in the context of a growing interest in the problem of universals, raising semantic as well as ontological questions, and introducing a Platonic view on universals in the discussions on the signification of the noun. Moreover, this same passage will be used by Abelard to elaborate one of his opinions about the signification of universal or common names—that they signify "mental conceptions". (shrink)

Berkeley's doctrine of archetypes explains how God perceives and can have the same ideas as finite minds. His appeal of Christian neo-Platonism opens up a way to understand how the relation of mind, ideas, and their union is modeled on the Cappadocian church fathers' account of the persons of the trinity. This way of understanding Berkeley indicates why he, in contrast to Descartes or Locke, thinks that mind (spiritual substance) and ideas (the object of mind) cannot exist (...) or be thought of apart from one another. It also hints at why Gregory of Nyssa's immaterialism sounds so much like Berkeley's. (shrink)

According to the most prominent principle of early modern rationalists, the Principle of Sufficient Reason [PSR], there are no brute facts, hence, there are no facts without any explanation. Contrary to the PSR, some philosophers have argued that divine ideas are brute facts within Leibniz’s metaphysics. In this paper, I argue against brute-fact-theories of divine ideas, especially represented by Samuel Newlands in Leibniz and the Ground of Possibility, and elaborate an alternative Leibnizian theory of divine (...) ideas. (shrink)

THERE are several answers in Aquinas to the question, what is the ground of the world's intelligibility. The fullest- answer is contained by the account of creation and expressed in the doctrine of divine Ideas. I would like to trace the lines of that doctrine in Aquinas's corpus as a means of showing how an account of creation at once clarifies and inverts the analysis of natural intelligibility.

Berkeley seems to be committed to the view that human sensible ideas are identical to certain divine ideas. However, this interpretation is subject to three objections. I argue that Berkeley holds that human sensible ideas are qualitatively identical to certain divine ideas, and I argue that objections to this view can be satisfactorily answered.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham by Carl A. VaterBenjamin R. DeSpainVATER, Carl A. God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham. Washington, D.C.: The Catholic University of America Press, 2022. xi + 294 pp. Cloth, $75.00Carl Vater skillfully blends historical and constructive concerns in his study of medieval theories (...) of the divine ideas. The book, first, makes a significant contribution to the body of scholarly resources on medieval philosophy by systematically mapping out the complex intellectual history of the divine ideas between the years 1250 and 1325. Throughout the work Vater displays a staggering command of the relevant literature, figures, and ideas from this period of philosophical development. Second, he provides a robust defense and promotion of John Duns Scotus’s theory of the divine ideas, which he regularly insists is the best theory. Through careful analysis of the often subtle differences in medieval articulations of the divine ideas to answer the questions of how God knows and produces creatures, Vater makes the case that Scotus avoided certain pitfalls in earlier theories that rely on a flawed understanding of relations influenced, principally, by Avicenna’s notion of essence.The book itself is divided into five parts with each systematically detailing a particular theory, beginning with the “imitability theory” represented by Thomas Aquinas, Henry of Ghent, and Bonaventure—the one figure, in Vater’s narrative, capable of escaping Scotus’s subsequent critiques. According to Vater, the imitability theory is defined by several notable characteristics, including that the divine ideas are “secondary objects of the divine intellect when it knows the divine essence,” that they perform both cognitive and causal roles, that they are relations, and that there are many of them. The “infinite intellect theory” critiques the imitability theory for depending on a notion of relations that is mistaken for supposing that relations can be known before the terms of the relation are themselves known. In this section, Vater examines the works of Peter John Olivi and his student Petrus de Trabibus. The third part considers what Vater calls the “objectum cognitum theory” developed by James of Viterbo. Here, according to Vater, we encounter the first signs, following Olivi and de Trabibus’s critique of the imitability theory, of the shift away from identifying the divine ideas with relations to defining them as creatures themselves. This shift culminates in the “creatura intellecta theory” introduced by Richard of Mediavilla, but it is not properly developed until Scotus, who concludes that “God knows relations because he knows possible creatures.” The section ends with an analysis of Scotus’s influence on the theories of early Thomists and Scotists, including John of Paris, Thomas of Sutton, and Henry of Harclary. In the fifth part, Vater turns to the “nominalist theory” of Peter Auriol and [End Page 373] William of Ockham. Although both Auriol and Ockham offer accounts of the divine ideas, these are, as Vater says, little more than nods to the Augustinian tradition that ultimately amount to a rejection of the divine ideas.Vater’s approach to these medieval theories has many strengths. By not only classifying the prominent theories during this period but also systematically organizing his interpretation of each respective author, he is able to create a comparative framework for assessing the central issues at play in the divine ideas, such as their status, definition, cognitive and causal roles, plurality and unity, exemplarity, and the question of nonexistent possibles, and he traces variations in each area to identify where change, development, and critique are actually occurring within this seventy-five years of intellectual history. He also is attentive to figures often overlooked in larger narrations of medieval philosophy, and he locates their contributions to the varied development of the divine ideas. More importantly, however, Vater is able to maintain coherence in his evaluation of these complex, intertwining layers of medieval philosophical reflection by constantly returning to the overarching theme of relations in the movement from identifying the divine ideas with relations to approaching them as creatures themselves. Vater is correct when he notes that the divine ideas form a... (shrink)

In this article I engage with Sergei Bulgakov's “sophiological” critique of Aquinas's account of creatio ex nihilo and the divine ideas. Bulgakov claims that Aquinas's account is insufficiently Trinitarian, too influenced by pagan philosophy, and as such separates the divine will and intellect in such a way as to introduce arbitrariness and instrumentality into the relationship between the divine ideas and creation. I argue that it is inaccurate to characterise Aquinas's account of creation and the (...) divine ideas as pagan or non‐Trinitarian; instead, following Augustine, Aquinas understands the divine ideas as essential to a thoroughly Trinitarian understanding of creation which is necessary to avoid reducing creation to impersonal necessary emanation on the one hand, or an arbitrary act of will on the other. However, I concede that, at times, Aquinas's account of the ideas of things which are never created may have opened the door to later more voluntarist and possibilist views. (shrink)

The problem of Divine Ideas is one of the most consequential in the entire history of Western Thought, and effects of the Medieval debate on exempla-rism can still be found in Early Modern and Modern metaphysics. Speaking of the Middle Ages, such a topic provides a vivid example of the prominent role played by Platonism in the tradition of the Schools in the 13th and the 14th century, often associated with the sole authority of Aristotle. Among the different (...) traditions animating the Schools at this stage, the Franciscan is surely one of the most sensitive to this topic, both because of the relevance attributed to Augustine as a fundamental authority of the Order, and of the turning point brought about by Bonaventure. These are just a few of the reasons why the collective volume Divine Ideas in Franciscan Thought (XIIIth-XIVth Century), edited by Jacopo Francesco Falà and Irene Zavattero, should be welcomed. The book is published within the series of medieval studies Flumen Sapientiae, directed by Irene Zavattero. It collects chapters in English and Italian, all dealing with Medieval Franciscan thought in the 13th to the 14th centuries, authored by a team made up of experienced and younger scholars. Five precious textual appendixes in Latin (Olivi, Trabibus, Novocastro, Caracciolus, Mayronis) accompany the essays, providing very useful study materials. (shrink)

Reseñado por RAFAEL RAMIS BARCELÓUniversitat de les Illes Balears – IEHM, Palma, [email protected].

In the late English Renaissance, writers as varied as Shakespeare, Hooker, Bacon, and Hobbes problematically engaged the traditional idea of order and helped define a new, secular one. In this intellectual history, Collins treats the idea of order as a dynamic concept which incorporates changing views of self, society, and the relationship between private and public during these years. He sees this as a process of meaning redefinition that simultaneously heightens and comes to terms with the dissolution of the old (...) idea of order; the self-consciously articulated concept of the representative sovereign state replaces the vision of the divine cosmos as the medium for identity and social order. Collins draws on a wide range of political, literary, and other contemporary writings to chart this process--now associated with secularization --providing a provocative analysis of social and intellectual change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to (...) gods. In ancient Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)