Ma thèse montre la présence et le rôle de la métaphysique dans Vérité et méthode. Elle tente de démontrer que Gadamer s'inspire du néoplatonisme pour surmonter le subjectivisme de la modernité et propose une métaphysique à cette fin. Après avoir expliqué comment Gadamer se réapproprie l’héritage de la pensée grecque pour critiquer la modernité en situant son interprétation de Platon par rapport à celle de Heidegger, je montre que Gadamer s’approprie la conception de l’être de Plotin de façon telle qu’il peut s’y appuyer pour penser l’autoprésentation de l’être dans l’expérience herméneutique de la vérité. L’art va, pour ce faire, redevenir sous la conduite du néoplatonisme source de vérité. Gadamer redonne en effet une dignité ontologique à l’art grâce à la notion d’émanation, notion qui permet de penser qu’il y a une présence réelle du représenté dans sa représentation, celle-ci émanant du représenté sans l’amoindrir, mais lui apportant au contraire un surcroît d’être. La notion d’émanation permet ensuite à Gadamer d’affirmer le lien indissoluble qui unit les mots aux choses. En effet, la doctrine du verbe intérieur de Thomas d’Aquin implique ce lien que Platon avait occulté en réduisant le langage, comme la logique, à n’être qu’un instrument de domination du réel. L’utilisation de la notion néoplatonicienne d’émanation permet donc de dépasser la philosophie grecque du logos et de mieux rendre compte de l’être de la langue. Je montre ensuite comment Gadamer radicalise sa pensée en affirmant que l’être qui peut être compris est langage, ce qui veut dire que l’être, comme chez Plotin, est autoprésentation de soi-même. Pour ce faire, Gadamer rattache l’être du langage à la métaphysique néoplatonicienne de la lumière. Les dernières pages de Vérité et méthode rappellent en effet que la splendeur du beau est manifestation de la vérité de l’être. On rattachera alors le concept de vérité herméneutique à ses origines métaphysiques. La vérité est une manifestation de l’être dont on ne peut avoir part que si on se laisse submerger par sa lumière. Loin d’être affaire de contrôle méthodique, l’expérience de la vérité exige de se laisser posséder par ce qui est à comprendre. Je démontre ainsi que Gadamer a découvert dans le néoplatonisme des éléments permettant de s’opposer à la dictature du sujet moderne, dictature qui doit être renversée, car elle masque le réel rapport de l’homme à la vérité en faisant abstraction de la finitude de son existence concrète. La critique du subjectivisme moderne sous la conduite du néoplatonisme ouvre ainsi le chemin vers une métaphysique de la finitude. / My thesis shows the presence and role of metaphysics in Truth and Method. It attempts to show that Gadamer builds upon Neoplatonism to overcome the subjectivism of modernity and offers a metaphysics in this regard. It explains how Gadamer reclaims the legacy of Greek thought to criticize modernity, placing his interpretation of Plato compared to that of Heidegger, I argue that Gadamer appropriates Plotinus’ concept of being in such a way that it may lean to think of self-presentation of being in the hermeneutic experience of truth. In that sense, art is going to be a source of truth under the leadership of Neoplatonism. Gadamer gives an ontological dignity to art through the concept of emanation, a concept which suggests that there is a real presence of the represented in its representation, the latter derived from the represented without weakening it, providing it instead with more being. The concept of emanation then gives Gadamer an opportunity to affirm the indissoluble bond that unites words and things. Thomas Aquinas’ doctrine of the inner word indeed implies the link that Plato had covered up by making language, like logic, a mere domination instrument of the real. The use of the Neoplatonic concept of emanation makes it possible to overcome the logos of Greek philosophy and to better account for the being of language. I then show how Gadamer radicalized his thinking as he says that the being that can be understood is language, which means that being, as in Plotinus, is self-presentation. To this end, Gadamer links the being of language to Neoplatonic metaphysics of light. The last pages of Truth and Method recall indeed that the splendor of beauty is an expression for the truth of being. The concept of hermeneutic truth is then connected to its metaphysical origins. Truth is a display for the being in which we can partake only if one gets overwhelmed by its light. Far from being a matter of methodical control, the experience of truth requires to be possessed by what must be understood. In this way, I demonstrate that Gadamer found in Neoplatonism elements to challenge the dictatorship of the modern subject, which must be reversed because it hides the real relationship of man with truth by ignoring the finitude of its concrete existence. The criticism of modern subjectivism led by Neoplatonism opens the way to a metaphysics of finitude.

Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves. My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus. My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity. My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation. My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption. My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.

Made available in DSpace on 2014-12-17T15:12:08Z (GMT). No. of bitstreams: 1 LeilaMJS.pdf: 540140 bytes, checksum: 9f60cf08f4d7511ce348a5edb9ff925e (MD5) Previous issue date: 2007-10-09 / The aim of the present dissertation constitutes to analyse the way in how light assumes the meaning of universal bond in the cosmovision of Marsilio Ficino, especially from his works Quid sit lumen, De Sole, De Amore and De Vita. The influence of Marsilio Ficino (1433-1499) in the history of occidental thought is impressive. Besides having translated to Latin the important texts of the neoplatonic tradition, Ficino presided over the Academy of Careggi, congregating important humanists in the top of the Renaissance. His treatises on love, beauty, light, magic and immortality of the soul have influenced strongly the production of other thinkers. The subject of light is of fundamental importance among his works since it is deeply related with all the other aspects of his philosophy. For him, light is spiritual emanation that perpasses everything without staining itself. Originated how the divine goodness, the light blows up in beauty in multiplicity, setting fire on the soul that truily contemplates it and that identifies whith it. The starting point of this loving relation between man and deity is, therefore, the physical world, that occults in itself the metaphysical light. / O objetivo da presente disserta??o constitui analisar como a luz assume o sentido de v?nculo universal na cosmovis?o de Marsilio Ficino, especialmente a partir de suas obras Quid sit lumen, De Sole, De Amore e De Vita. A influ?ncia de Marsilio Ficino (1433-1499) na hist?ria do pensamento ocidental ? impressionante. Al?m de ter traduzido para o latim textos importantes da tradi??o neoplat?nica, Ficino presidiu a Academia de Careggi, reunindo importantes humanistas no auge do Renascimento. Os seus tratados sobre amor, beleza, luz, magia e imortalidade da alma influenciaram marcantemente a produ??o de outros pensadores. O tema da luz ? de import?ncia fundamental em sua obra, pois est? profundamente relacionado com todos os outros aspectos de sua filosofia. Para ele, a luz ? ema??o espiritual que a tudo perpassa, sem se macular. Originada da bondade divina, a luz explode em beleza na multiplicidade, incendiando de amor a alma que verdadeiramente a contempla e que com ela se identifica. O ponto de partida dessa rela??o amorosa entre homem e divindade. ?, portanto, o mundo f?sico, que oculta em si a luz metaf?sica.

This thesis deals with the anthropological thinking of Nicholas of Cusa. The first part presents the fundamental metaphysical motifs that are the basis for this anthropology - above all, it concerns the conception of human as a mind (intellect). This conception is linked with the thinking of the first Principle (God) as the unity that is identical with itself. This unity/oneness of the One descends into the world through number that is one and multiple at the same time (all higher numbers consist of ones). The emphasis on unity of the One and on number as a mean of the creation is the reason, why Cusa's main concern, regarding the understanding of the world, aren't individual substances, but the relations between these substances. And for this kind of metaphysical thinking it is really important to develop also a strong notion of human intellect (mind), but the first philosophical texts to some extent fail to do so. The second part of this thesis deals with the proper anthropology that is developed in the dialogues with the idiota. It is shown what is the role of human mind in the dynamics of descent and ascent of unity of the One - it is the human mind and its intellectual return to its Beginning through which is all creation being made one and being brought to its true nature that is the One. The last...

This thesis deals with the anthropological thinking of Nicholas of Cusa. The first part presents the fundamental metaphysical motifs that are the basis for this anthropology - above all, it concerns the conception of human as a mind (intellect). This conception is linked with the thinking of the first Principle (God) as the unity that is identical with itself. This unity/oneness of the One descends into the world through number that is one and multiple at the same time (all higher numbers consist of ones). The emphasis on unity of the One and on number as a mean of the creation is the reason, why Cusa's main concern, regarding the understanding of the world, aren't individual substances, but the relations between these substances. And for this kind of metaphysical thinking it is really important to develop also a strong notion of human intellect (mind), but the first philosophical texts to some extent fail to do so. The second part of this thesis deals with the proper anthropology that is developed in the dialogues with the idiota. It is shown what is the role of human mind in the dynamics of descent and ascent of unity of the One - it is the human mind and its intellectual return to its Beginning through which is all creation being made one and being brought to its true nature that is the One. The last...

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This report examines Porphyry’s De antro nympharum and its eclectic mixture of philosophy, allegory, and mysticism in the form of a Homeric commentary. The paper situates Porphyry’s commentary in the broader tradition of Homeric interpretation with special attention to Stoic exegesis and Platonic views on poetry and myth. It also contextualizes Porphyry’s philosophy in terms of the mystery cults, particularly Mithraism, that had grown very popular by Porphyry’s time. The paper argues that Porphyry devised a practice of reading intended to promote a level of philosophical contemplation beyond the level of rational discourse, in keeping with the Neoplatonic philosophy of his teacher, Plotinus, and that this practice is especially evident in the De antro nympharum. / text

<p>Kada je profesor renesansne<br />književnosti na UCLA dr Majkl Alen krajem<br />pro&scaron;log i početkom ovog veka počeo da<br />objavljuje svoje prevode dela Marsilija Fičina<br />sa latinskog na engleski jezik, moglo bi se reći<br />da je započeo novo poglavlje u &scaron;ekspirologiji.<br />Neuporedivo veća dostupnost ovih,<br />svojevremeno izuzetno uticajnih, a u<br />međuvremenu gotovo zaboravljenih tekstova<br />dovela je do obnove interesovanja književnokritičkih<br />krugova za fenomen poznat kao<br />renesansni neoplatonizam, praćene povećanom<br />sve&scaron;ću o tome koliko je sveobuhvatan i<br />sveprožimajući uticaj koji je ovaj neobični i<br />eklektički sistem misli ostvario na &Scaron;ekspirova<br />dela, kao i dela mnogih njegovih savremenika.<br />Renesansni neoplatonizam, iako ni<br />ranije nije bio nepoznat &scaron;ekspirolozima, dugo je bio zanemarivan pri tumačenjima &Scaron;ekspirovih<br />dela &ndash; posebno onih &bdquo;ozbiljnijih&ldquo; &ndash; kao suvi&scaron;e<br />marginalan ili, u najboljem slučaju, suvi&scaron;e<br />optimističan skup ideja o harmoniji kosmičkih<br />sfera. Detaljnije čitanje Fičinovih tekstova, kao<br />i dela drugih neoplatoničara i njihovih drevnih<br />izvora, pruža neprocenjiv uvid u &bdquo;mračnu&ldquo;<br />stranu neoplatonizma, ali i &bdquo;mračnu&ldquo; stranu<br />&Scaron;ekspirovih &bdquo;mračnijih&ldquo; drama.<br />Ovaj uvid nije zanimljiv samo sa<br />aspekta tumačenja književnosti. &Scaron;ekspirovo<br />doba, koje se sada najče&scaron;će naziva ranim<br />modernim periodom upravo iz tog razloga, doba<br />je u kome su utemeljeni mnogi kulturni obrasci<br />koji su i dalje u opticaju. Upravo su &Scaron;ekspirova<br />dela u velikoj meri poslužila kao provodnik za<br />veliki broj tih obrazaca zbog &scaron;iroke i dugotrajne<br />recepcije koju su uživala.<br />Polazeći od pretpostavke da se bazični<br />metafizički koncepti mogu lako prenositi i<br />ugrađivati u temelje raznih ideologija u<br />naj&scaron;irem smislu te reči i da su stoga njihovo<br />izno&scaron;enje na povr&scaron;inu i analiziranje posebno<br />zanimljivi i korisni, ova disertacija za svoj<br />fokus uzima jedan metafizički koncept koji čini<br />osnovu renesansnog (a i svakog drugog)<br />neoplatonizma. Taj metafizički koncept jeste<br />hijerarhijska i gotovo uvek rodno determinisana<br />dihotomija duh/materija, čije se &bdquo;mračnije&ldquo;<br />manifestacije u renesansnom neoplatonizmu<br />često zanemaruju ili pogre&scaron;no pripisuju<br />hri&scaron;ćanskim uticajima.<br />Cilj ove disertacije je da se identifikuju<br />oni aspekti &Scaron;ekspirovih dela &ndash; pre svega<br />tragedija i takozvanih &bdquo;problemskih drama&ldquo; &ndash;<br />koji su u saglasju sa dualističkom metafizikom<br />renesansnog neoplatonizma, zatim da se<br />značenja tih aspekata analiziraju u okviru te<br />metafizike, te da se time iznađu dalje<br />implikacije ne samo za tumačenja &Scaron;ekspirovih<br />dela, već i za bliže razumevanje čitave na&scaron;e<br />civilizacije, koja bi se, pre no posthri&scaron;ćanskom,<br />moga slobodno nazvati postneoplatoničarskom.<br />Kao hipoteza se postavlja očekivanje da<br />će dualistički koncepti koji potiču iz<br />renesansnog neoplatonizma biti pronađeni na<br />nekolikim nivoima &Scaron;ekspirovih odabranih<br />tekstova, od zvučnog, preko metaforičkog, do<br />alegorijskog. Daleko od toga da ponudi<br />nekakvo konačno tumačenje &Scaron;ekspirovih dela,<br />ova analiza će, nadamo se, prosto povećati broj<br />njihovih mogućih interpretacija.<br />Metodi koji će biti kori&scaron;ćeni su<br />eklektični. Najče&scaron;će će se koristiti klasična<br />komparativna analiza &ndash; s jedne strane,<br />metafizičkih sistema dostupnih &Scaron;ekspiru putem<br />renesansnog neoplatonizma i, s druge strane,<br />&Scaron;ekspirovih dela (pre svega tragedija i<br />takozvanih &bdquo;problemskih drama&ldquo;). Stavovi<br />autorki i autora koji pripadaju feminizmu,<br />novom istorizmu, dekonstrukciji i psihoanalizi<br />biće citirani, a neke tehnike u okviru ovih &scaron;kola<br />tumačenja kori&scaron;ćene pri daljoj analizi. U<br />znatnom delu disertacije koristiće se<br />feminističko čitanje metafizike, jer je<br />utvrđivanje rodno zasnovanih hijerarhija i<br />stereotipa jedna od implikacija metafizičkog<br />dualizma duha i materije.<br />Prva tri poglavlja ove disertacije su<br />uvodna, od čega drugo i treće pružaju kratki<br />osvrt na razvoj dualizma duh/materija i samog<br />koncepta materije kroz istoriju evropske<br />filozofije i religije. Koncept feminino<br />determinisane, haotične i mračne materije,<br />suprotstavljen konceptu maskulino<br />determinisanog, racionalnog i svetlog duha,<br />prati se u drugom poglavlju od svojih začetaka<br />u orfizmu, dionizijskim i eleuzinskim<br />misterijama i pitagorejskom pokretu, preko<br />svog najuticajnijeg proponenta Platona i<br />njegovih sledbenika, sa posebnim osvrtom na<br />neoplatoničare, do mnogobrojnih dualističkih<br />pokreta koji su pod njihovim direktnim ili<br />indirektnim uticajem nicali diljem antičkog i<br />srednjovekovnog sveta. Radikalni ili<br />emanativni, prokosmički ili antikosmički,<br />dualizam duha i materije &ndash; preno&scaron;en kroz spise i<br />usmena učenja hermetičara, gnostika,<br />manihejaca, bogumila i katara, pa katkad i kroz<br />samo hri&scaron;ćanstvo, koje mu je zvanično<br />suprotstavljeno &ndash; pokazuje se kao neprekinuta<br />nit u istoriji evropske civilizacije.<br />Treće poglavlje bavi se dualizmom duha<br />i materije u renesansnom neoplatonizmu.<br />Eklektičan, kompleksan i imanentno<br />paradoksalan fenomen poznat kao renesansni<br />neoplatonizam nastaje kao rezultat snažnog<br />istovremenog upliva vi&scaron;e tipova dualizma u<br />judeohri&scaron;ćansku misao &ndash; Platonovi rukopisi<br />stižu u zapadnu Evropu zajedno sa rukopisima<br />neoplatoničara i hermetičara, ali i pravim, živim<br />kabalistima &ndash; koji sa odu&scaron;evljenjem prihvataju,<br />prisvajaju i prerađuju tzv. &bdquo;hri&scaron;ćanski&ldquo;<br />neoplatoničari na čelu sa Marsiliom Fičinom. U<br />okviru renesansnog neoplatonizma može se<br />izdvojiti nekoliko sasvim različitih i međusobno<br />nekompatibilnih struja: &bdquo;čist&ldquo; neoplatonizam,<br />magija, alhemija, gnosticizam, kabala i<br />hermetizam. Sve one, bile prokosmičke ili<br />antikosmičke, imaju u svojoj osnovi rodno<br />determinisan hijerarhijski dualizam duha i<br />materije i, u najmanju ruku, ambivalentan odnos<br />prema telu i kosmosu, a u odnosu na samu<br />materiju &ndash; odnosno, &scaron;ta se sa njom može ili<br />mora činiti &ndash; mogu se uočiti tri &scaron;iroke kategorije<br />koje se mogu ilustrovati kroz primer<br />dualističkih alegorijskih tumačenja mita o<br />Narcisu.<br />Plotinovo viđenje Narcisa kao prikaz<br />duha prevarenog&nbsp; sopstvenim odrazom u kaljuzi<br />materije poredi se sa gotovo identičnim, ali<br />drugačije percipiranim događajem opisanim u<br />hermetičkom spisu Pimander, gde je pad duha u<br />materiju u kojoj se ogleda opisan kao kreativni<br />čin ljubavi iz koga nastaje kosmos. Tako<br />antikosmički nastrojeni Plotin moli čitaoca da<br />se vine ka pravom duhovnom izvoru svog lepog<br />lika, jer je druga opcija pad u kal materije.<br />Treća opcija, koju nudi prokosmički<br />hermetizam, jeste ljubavni spoj duha i materije<br />u kom superiorni ali benevolentni maskulini<br />duh svojevoljno svojim odrazom formira<br />inferiornu ali prijemčivu femininu materiju.<br />Ove tri opcije se ogledaju u &Scaron;ekspirovim<br />delima u centralnom delu disertacije (poglavlja<br />4-9), koji se sastoji od komparativne analize<br />pristupa materijalnom i telesnom u, s jedne<br />strane, različitim strujama renesansnog<br />neoplatonizma i, s druge strane, &Scaron;ekspirovim<br />delima, najpre tragedijama i problemskim<br />dramama.<br />Pojedinačna poglavlja sredi&scaron;njeg dela<br />disertacije bave se mogućim pristupima<br />materiji, ali takođe i mogućim koracima na<br />jednom neoplatoničarskom putu kroz<br />materijalni svet.<br />Taj put počinje u &bdquo;Tamnici&ldquo;, kojom se<br />bavi četvrto poglavlje. Istraživanje<br />antikosmičkih stavova prema materijalnom i<br />telesnom u &Scaron;ekspirovim tragedijama i<br />problemskim dramama dovodi do zaključka da<br />su oni u skladu sa antikosmičkim učenjima<br />gnostika, manihejaca, bogumila, katara, i<br />pesimista među neoplatoničarima. Junaci<br />&Scaron;ekspirovih tragedija i problemskih drama<br />(Hamlet, Romeo, Kleopatra, Lir, Gloster, Tit<br />Andronik) svet i telo eksplicitno doživljavaju<br />kao tamnicu du&scaron;e, a često se takva osećanja i<br />poređenja javljaju u doslovnim tamnicama (kao<br />&scaron;to na svojoj koži iskuse Ričard II, Lir,<br />Malvolio, Klaudio i Barnardin). Mora se<br />primetiti da su antikosmički stavovi kod<br />&Scaron;ekspirovih junaka najče&scaron;će posledica<br />nekakvog &scaron;oka ili razočarenja.<br />Mikrokosmosi drama kao &scaron;to su Hamlet,<br />Magbet, Kralj Lir i Mera za meru mogu se čitati<br />kao alegorijski prikazi neoplatoničarskog pakla<br />u kome vlada haos mračne materije, a njihovi<br />vladari-uzurpatori kao zločesti demijurzi.<br />Primećuje se dvojaka subverzivnost &ndash; u<br />religijskom i političkom smislu &ndash; kori&scaron;ćenja<br />figure kralja kao demijurga, kao i činjenice da<br />pomoć utamničenima u njegovom mračnom<br />domenu uvek dolazi spolja, obično u figuri<br />doketskog Hrista, koji dolazi da probudi<br />uspavane iskre (Vojvoda u Meri za meru, duh<br />Hamletovog oca, Kordelija u Kralju Liru).<br />Kada se svet posmatra kao tamnica čiji<br />je glavni tamničar lažljivi uzurpator, sama<br />akcija postaje problematizovana i lako se nailazi<br />na stav da je kontemplacija bezbednija i čistija<br />opcija. Tako se Hamletov čuveni solilokvij<br />može čitati i kao suprotstavljanje opcije &bdquo;biti&ldquo; u<br />fiksnom, nepromenljivom duhu opciji &bdquo;ne biti&ldquo;<br />u fluidnom i iluzornom svetu stalnog nastajanja<br />i nestajanja materije. Mnogi &Scaron;ekspirovi junaci<br />izbegavaju da uprljaju ruke i odriču se svega,<br />između ostalog i ljubavi, zarad vi&scaron;ih ciljeva<br />(Hamlet; Vojvoda, Izabela i Anđelo u Meri za<br />meru).<br />Ovo se u sledećem poglavlju,<br />&bdquo;Uzno&scaron;enje&ldquo;, pokazuje, opet u<br />neoplatoničarskom diskursu, kao potencijalno<br />pogre&scaron;an korak. U neoplatonizmom inspirisanoj<br />renesansnoj teoriji ljubavi, čiji su najuticajniji<br />propagatori Fičino i Bruno, upravo se kroz<br />erotsko dostiže božansko, ali uz bitno<br />upozorenje da erotski poticaj mora dolaziti od<br />nebeske, a ne zemaljske Venere, i da ne sme<br />imati za cilj brak ili, jo&scaron; gore, blud. Narcis koji<br />se ogleda u baru&scaron;tini materije mora znati da je<br />zaljubljen u sopstveni lepi odraz, a ne u tu baru,<br />i mora se vinuti navi&scaron;e, ka čisto duhovnom<br />božanstvu kome je su&scaron;tinski istovetan.<br />Analizom &Scaron;ekspirovih dela se utvrđuje da se<br />primeri uspe&scaron;nog erotskog uzdizanja od<br />materijalnog i telesnog mogu naći uglavnom u<br />komedijama, dok je u mračnijim dramama<br />figura nebeske Venere uvek bar donekle<br />problematizovana, kao &scaron;to je to Dezdemona u<br />Otelu. Takođe se dolazi do zaključka da je eros<br />dualizma po definiciji narcisoidan, jer je uvek<br />težnja istog za istim &ndash; duha za duhom,<br />razdvojenim samim od sebe Drugim materije &ndash; i<br />da je ovakva idealizovana ljubav, bilo se<br />manifestovala homoerotski ili heteroerotski (a<br />obe manifestacije se mogu naći kod &Scaron;ekspira)<br />neumitno neprijateljski nastrojena prema svakoj<br />stvarnoj ženskoj osobi pojedinačno i ženskom<br />telu uop&scaron;te.<br />Poglavlje &bdquo;Enoza&ldquo; bavi se stanjem koje<br />predstavlja krajnji cilj dualističke erotske<br />žudnje, a to je mistično potpuno utapanje svake<br />iskre u svoje božansko izvori&scaron;te. Svrha<br />narcisoidnog erosa dualizma se ispunjava tako<br />&scaron;to se maskulini duh sjedinjuje sam sa sobom.<br />Iako je nijedna pravoverna monoteistička<br />religija ne priznaje kao legitimni cilj vernika,<br />enoza je eksplicitno postavljena kao ishodi&scaron;te<br />svake du&scaron;e u Fičinovom sistemu &bdquo;hri&scaron;ćanskog&ldquo;<br />neoplatonizma, bilo kao ishod čiste<br />kontemplacije ili vatrene žudnje. Kod &Scaron;ekspira<br />se figura enoze javlja uglavnom u ovom<br />drugom obliku, i to nikada bez poveće doze<br />ambivalencije prema erotskom. Antonijev<br />dijalog sa Erosom ilustruje nekoliko aspekata<br />erotske enoze: brisanje granica između<br />ljubavnika i voljenog, onostranu prirodu<br />&bdquo;istinske&ldquo; ljubavi, povezanost seksualnosti i<br />smrti, konačno nepostojanje identiteta i<br />ni&scaron;tavilo smrti kao krajnji cilj i ishod svake<br />žudnje. Ovi aspekti se dalje istražuju i ilustruju<br />kroz svoje manifestacije u &Scaron;ekspirovim<br />tragedijama i problemskim dramama (Hamlet,<br />Romeo i Julija, Otelo, Troil i Kresida, Mera za<br />meru, Julije Cezar, Timon Atinjanin). Zaključak<br />je da &Scaron;ekspir uvek zadržava ambivalenciju<br />prema erotskom i da se svaka erotska smrt može<br />tumačiti i kao enoza i kao pad.<br />Sedmo poglavlje, &bdquo;Silazak&ldquo;, bavi se<br />onim &scaron;to se zbiva kada Narcis, zaveden<br />odrazom svog duha u njima, zakorači u vode<br />materije. Fičino i Bruno su u svojim teorijama<br />ljubavi jasni: ukoliko ljubavnik napravi kobnu<br />gre&scaron;ku i posegne za telom osobe za koju mu se<br />učini da ga erotski privlači, umesto da se,<br />inspirisan njenom lepom formom, vine ka<br />čistoti duha odakle ta forma potiče, upa&scaron;će u<br />pakao materijalnog. Zemaljska Venera može<br />pod maskom nebeske zavesti naivnog i nevinog<br />ljubavnika i odvući ga u dubine materijalnog<br />sveta, naizgled nudeći mu mogućnost uzleta ka<br />nebeskim visinama. Za to je dovoljna jedna noć<br />provedena sa njom. Ovaj zaplet se može naći, u<br />različitim varijacijama, u mnogim &Scaron;ekspirovim<br />delima: Sve je dobro &scaron;to se dobro svr&scaron;i, Troil i<br />Kresida, Mera za meru, Romeo i Julija i Otelo.<br />U svima je dovoljna jedna noć provedena sa<br />njom da se nebeska Venera vol&scaron;ebno<br />transformi&scaron;e u zemaljsku &ndash; čista Dijana u<br />bludnu Jelenu, devica u kurvu &ndash; i utamniči<br />zlosrećnog ljubavnika u telesnost braka ili<br />bluda, ili, jo&scaron; gore, na samo dno pakla ženske<br />seksualnosti, u haotično ni&scaron;tavilo pramaterije.<br />Osmo poglavlje, &bdquo;Ni&scaron;tavilo&ldquo;, bavi se<br />upravo onime &scaron;to se nalazi na dnu<br />neoplatoničarskog kosmosa &ndash; ni&scaron;tavilom koje se<br />istodobno otkriva kao neoplatoničarska prima<br />materia. Ona je uvek feminino determinisana &ndash;<br />u neoplatonizmu je Hekata identifikovana sa<br />materijom, a figura Hekate se i u<br />mikrokosmosima &Scaron;ekspirovih mračnijih<br />komada pokazuje kao prava vladarka paklenog<br />domena zločestog uzurpatora (Ledi Magbet,<br />Tamora, pa čak i Gertruda). Feminina<br />determinisanost pramaterije ogleda se kod<br />&Scaron;ekspira i u vi&scaron;eznačnom i često ponavljanom<br />glasu, ili slovu, ili cifri &ndash; &bdquo;O&ldquo; ili &bdquo;0&ldquo; &ndash; koje<br />može biti matematički izraženo ni&scaron;tavilo<br />pramaterije, ali i oznaka za vaginalni otvor.<br />Ovom vi&scaron;eznačju doprinosi i činjenica da se reč<br />&bdquo;nothing&ldquo; (&bdquo;ni&scaron;ta&ldquo;), uvek zlokobno značajna reč<br />kod &Scaron;ekspira, mogla u jeziku &Scaron;ekspirove<br />Engleske koristiti u oba smisla. &bdquo;O&ldquo; je i oznaka<br />za matericu u kojoj se ljudsko biće, po<br />tada&scaron;njim teorijama, zdu&scaron;no prihvaćenim od<br />strane neoplatoničara, materijalizuje od očevog<br />duha i majčine materije, i time materinstvo<br />dobija izrazito negativan prizvuk. Majka je ta<br />koja doprinosi materiju u procesu reprodukcije,<br />čineći nas time smrtnim i pravdajući čestu<br />povezanost figura materice i grobnice<br />(&bdquo;womb/tomb&ldquo;), kao i očajnički poku&scaron;aj nekih<br />junaka &ndash; primerice, Koriolana &ndash; da se od<br />materinskog tela radikalno odvoje, &scaron;to često<br />dovodi do nasilnog i krvavog vraćanja u njega.<br />Neoplatoničarska majka, pokazuje se, često<br />proždire sopstvenu decu.<br />U mnogim tragedijama se junak suočava<br />sa pramaterijom koja se pojavljuje doslovno<br />uobličena u &bdquo;O&ldquo;: primeri za ovu figuru su<br />paklena jama u &scaron;umi vi&scaron;estruko povezana sa<br />Tamorom i vaginalno determinisana u Titu<br />Androniku, grobnica Kapuleta u Romeu i Juliji,<br />ve&scaron;tičiji kotao u Magbetu, kao i vaginalni pakao<br />kroz koji prolaze Lir i Timon u svojoj ma&scaron;ti.<br />Hamlet se spu&scaron;ta u tri gradirana ponora<br />pramaterije u svojoj istrazi o tome odakle dolazi<br />trulež u Danskoj: Ofelijina, zatim Gertrudina<br />odaja, i na kraju otvoreni grob u koji uskače.<br />Suočavanje sa materijalnom osnovom kosmosa,<br />premda u tragedijama uglavnom najvi&scaron;e služi<br />tome da ilustruje paklene dubine do kojih se<br />junak i/ili njegov svet srozao, može dovesti<br />junaka i do neke vrste regeneracije i ponovnog<br />rođenja, kao &scaron;to je slučaj sa Lirom.<br />Suočavanje sa neformiranom materijom<br />može dovesti neoplatoničarskog junaka i do<br />prokosmičkih tendencija: može poželeti da u taj<br />mračni haos unese red i lepotu forme iz vi&scaron;ih<br />kosmičkih sfera. Time se bavi poslednje<br />poglavlje centralnog dela disertacije, nazvano<br />&bdquo;Teurgija&ldquo;. Narativ iz Pimandera o<br />primordijalnom duhovnom Čoveku koji<br />ogledanjem u njenim tamnim vodama<br />svojevoljno daje formu voljenoj materijalnoj<br />Prirodi je, u kombinaciji sa Jamblihovom<br />teorijom teurgije, dao podsticaj Fičinu da<br />osmisli sopstvenu, i pored svog stalno<br />ambivalentnog stava prema bilo kakvoj<br />interakciji maskulinog duha sa femininom<br />materijom. Teurgija &ndash; koja može obuhvatati<br />rituale, praktičnu magiju i alhemiju, ali i druga<br />neimenovana delanja &ndash; nalazi se na<br />prokosmičkom ekstremu neoplatonizma, kao<br />aktivan napor svakog pojedinca da uvede red u<br />kosmos i, kao demijurg, i sam formira materiju<br />koja mu je na raspolaganju.<br />Kod &Scaron;ekspira se primeri uspe&scaron;ne<br />teurgije uglavnom mogu naći u kasnijim<br />komadima (takozvanim &bdquo;romansama&ldquo;), dok<br />tragedije i problemske drame obično prikazuju<br />obrnut proces, u kome se kosmos svodi na haos<br />pramaterije. Ubijanje ili uklanjanje uspe&scaron;nih<br />teurga, koji održavaju red na svim nivoima &ndash;<br />pojedinac, država, kosmos &ndash; dovodi do pada<br />čitavog domena u haos, kao &scaron;to se može videti u<br />Meri za meru, Hamletu i Magbetu. Figura<br />uspe&scaron;nog teurga ili maga oslikava se kao<br />neoplatoničarsko sunce koje oplođava i formira<br />mrtvu materiju, dajući joj život, kao &scaron;to je slučaj<br />sa solarnim kraljem Dankanom. Uspe&scaron;an teurg<br />je dobar kralj, otac, oličenje božanstva, &scaron;to se<br />istražuje kroz metaforu kovanja novca, koje,<br />kao davanje svog lika i forme bezobličnom<br />metalu, kao pravo pripada upravo ovim<br />figurama. Lirova izjava da sme da kuje novac<br />po&scaron;to je on kralj se, međutim, može čitati i kao<br />izjava bilo kog teurgijski nastrojenog pojedinca,<br />jer po metafizici prokosmičkih struja u<br />neoplatonizmu svaka iskra duha ima pravo i<br />obavezu da formira materiju po svom<br />uzvi&scaron;enom liku i uvodi poredak u nju.<br />Prokosmički dualizam se time pokazuje kao<br />potencijalno politički i religijski čak<br />subverzivniji od antikosmičkog.<br />Teurgija kao koncept je, dalje se<br />primećuje, ugrađena u nekolike diskriminatorne<br />ideologije: mag može figurirati kao kolonizator<br />koji civilizuje inferiornije, telesnije,<br />materijalnije &bdquo;varvare&ldquo; ili kao krotitelj, opet,<br />inferiornijih, telesnijih, materijalnijih žena. U<br />Buri se, recimo, jasno vide oba procesa, kao i<br />paradoks po kome je mu&scaron;karac koji menja i<br />kontroli&scaron;e prirodu (Prospero) moćni mag, dok je<br />žena koja čini to isto (Sikoraks) zlokobna<br />ve&scaron;tica.<br />Ženske figure se u slikama vezanim za<br />teurgiju javljaju u dve najče&scaron;će varijante. U<br />prvoj su predstavnice feminine materije, koja u<br />prokosmizmu može biti &bdquo;dobra&ldquo; ukoliko je<br />dovoljno poslu&scaron;na i prijemčiva kontroli i<br />formiranju od strane maskulinog duha, koji time<br />postaje direktno odgovoran za nju, &scaron;to dovodi<br />do pojačane anksioznosti. Neposlu&scaron;na materija<br />je kod &Scaron;ekspira često predstavljena kroz figure<br />neposlu&scaron;nih žena. Analiziraju se zanimljive<br />slike u kojima se pobuna kćerki (&Scaron;ajlokove i<br />Lirovih) opisuje kao pobuna materijalnog i<br />telesnog protiv duha koji daje život.<br />Potencijalno neposlu&scaron;na žena, doživljena kao<br />previ&scaron;e materijalna i telesna jer aktivnim<br />iskazivanjem ljubavi pre braka (Dezdemona,<br />Julija, Kordelija) daje signal ocu i/ili mužu da<br />joj je požuda preča od dužnosti, može biti<br />odbačena, i tu se oslikava druga varijanta<br />ženske figure &ndash; kao spone kosmosa.<br />Naime, &Scaron;ekspirovi junaci, koji usled<br />imanentne paradoksalnosti neoplatonizma<br />nikada ne mogu znati kako se odnositi prema<br />ženskim figurama, često prave i gre&scaron;ku upravo<br />suprotnu, ali isto tako fatalnu, kao &scaron;to je pad<br />pred požudom zemaljske Venere, a to je<br />odbacivanje ženske ljubavi iz straha da je u<br />pitanju puka požuda. Ispostavlja se da je ta<br />ljubav, kao &scaron;to je slučaj u Kralju Liru i Otelu,<br />ali i Zimskoj bajci, bila neoplatoničarski zlatni<br />lanac ljubavi, spona kosmosa, koja ga je držala<br />u harmoniji, a da bez nje haos pramaterije<br />ponovo dolazi. &Scaron;ekspir ovime dekonstrui&scaron;e<br />dihotomiju ljubav/dužnost, i to koristeći<br />neoplatoničarsku metafiziku, u kojoj su oba<br />pojma sinonimi za harmoniju kosmosa koju<br />održava uzvi&scaron;ena božanska ljubav. Kodelijin<br />odgovor Liru da ga voli &bdquo;according to my bond&ldquo;<br />(dužnost i spona su samo neka od mogućih<br />značenja ove reči) time dobija dodatne moguće<br />interpretacije.<br />Jo&scaron; jedna dihotomija koju &Scaron;ekspir<br />dekonstrui&scaron;e upravo putem neoplatoničarske<br />metafizike jeste, u njegovo doba popularna,<br />umetnost/priroda. Umetnost se &ndash; u smislu svega<br />umetnog i artificijelnog i svakog umeća, ve&scaron;tine<br />i delanja koje uređuje i menja datost &ndash; često<br />suprotstavljala &bdquo;Bogom danoj&ldquo; prirodi u<br />pokatkad žestokim debatama, od kojih su neke<br />umele da potkače i pozori&scaron;te. Ono po čemu se<br />neoplatonizam razlikuje od pravovernih<br />monoteizama jeste, između ostalog, dvojakost<br />shvatanja prirode i neinsistiranje na njenoj<br />normativnosti. Dve prirode u neoplatonizmu,<br />vi&scaron;a i niža, duhovna i materijalna, aktivna i<br />pasivna, korespondiraju sa Venerom i Hekatom,<br />a ova podvojenost prirode se najizrazitije<br />ispoljava u Kralju Liru, ali se njene<br />manifestacije mogu naći i u Hamletu i Magbetu.<br />Vi&scaron;a priroda koja kultivi&scaron;e nižu kao &scaron;to vrtlar<br />kultivi&scaron;e vrt &ndash; &scaron;to je česta figura, kako kod<br />renesansnih neoplatoničara, tako i kod &Scaron;ekspira<br />&ndash; poistovećuje se sa umetno&scaron;ću.<br />Pozori&scaron;na umetnost kao ogledalo prirode<br />u Hamletovoj izjavi može se u<br />neoplatoničarskom ključu čitati i kao teurgijsko<br />upodobljavanje niže prirode vi&scaron;oj, a ne samo<br />kao puki mimetski prikaz čulne stvarnosti.<br />Dramaturg se tako pokazuje kao teurg koji<br />onom materijom koja mu je na raspolaganju<br />manipuli&scaron;e e da bi i nju (svoje glumce,<br />scenografiju i pozori&scaron;te) i publiku transformisao<br />i preuredio po liku vi&scaron;e prirode koja je njemu,<br />po platoničarskim teorijama božanske poetske<br />inspiracije, dostupnija. Dok u tragedijama<br />teurgijske umetničke tendencije ostaju<br />neispoljene, a njihovi nesuđeni agenti (kao &scaron;to<br />su Lavinija u Titu Androniku i Kasio i<br />Dezdemona u Otelu) obogaljeni i/ili ubijeni,<br />usled čega kosmos ponovo postaje haos, u<br />romansama se pojavljuju i uspe&scaron;ni umetniciteurzi.<br />Paulina u Zimskoj bajci i Prospero u Buri<br />su možda najbolji primeri, koji svojim<br />&bdquo;nadilaženjem&ldquo; prirode i ukazivanjem na vi&scaron;u<br />istinu putem pozori&scaron;ne iluzije pokazuju da je<br />dramaturg verodostojniji stvaralac od<br />demijurga.<br />Posle kratke rekapitulacije<br />paradoksalnih i često međusobno<br />nekompatibilnih tumačenja &Scaron;ekspirovih dela na<br />osnovu aspekata metafizičkog dualizma<br />preuzetog iz renesansnog neoplatonizma, u<br />zaključku ove disertacije predlaže se detaljnije i<br />dublje izučavanje uticaja neoplatoničarskog<br />koncepta materije, kao i dihotomije<br />duh/materija, na dalju književnost i kulturu.<br />Ovo bi moglo da ima implikacije za studije<br />književnosti, ali i studije kulture, rodne i kvir<br />studije.</p> / <p>We have in the past two decades, owing<br />to the recently appearing translations of Ficino&rsquo;s<br />works into English, witnessed a revival of<br />interest in the phenomenon known as<br />Renaissance Neoplatonism. Although not<br />unknown to Shakespearologists, Renaissance<br />Neoplatonism has long been neglected in<br />interpretations of Shakespeare&rsquo;s works &ndash;<br />especially the &ldquo;darker&rdquo; ones &ndash; as an overly<br />marginal, eccentric, or optimistic concoction of<br />notions on the harmony of the spheres. A deeper<br />reading of Ficino&rsquo;s texts, as well as those of<br />other Renaissance Neoplatonists and their<br />ancient sources, offers an invaluable insight into<br />the &ldquo;dark&rdquo; sides of both Neoplatonism and<br />Shakespeare&rsquo;s &ldquo;darker&rdquo; plays.<br />This insight is also intriguing for areas<br />of research other than literary criticism. It was in Shakespeare&rsquo;s age &ndash; now usually referred to</p><p>as the early modern period precisely for this<br />reason &ndash; that many of our own current cultural<br />patterns were shaped, and Shakespeare&rsquo;s works<br />certainly served as one conduit. Using as its<br />starting point the assumption that basic<br />metaphysical concepts can with great ease be<br />transferred over time and space and built into<br />the foundations of differing ideologies in the<br />broadest sense of the word, and that unearthing<br />and analyzing them is therefore an especially<br />rewarding and useful endeavor, this dissertation<br />chooses to focus on a metaphysical concept<br />which lies at the very basis of (Renaissance)<br />Neoplatonism. The metaphysical concept in<br />question is the nearly invariably gendered and<br />hierarchized spirit/matter dichotomy, whose<br />more sinister and &ldquo;darker&rdquo; manifestations in<br />Renaissance Neoplatonism have frequently been<br />neglected or misattributed to Christian<br />influences.<br />The aim of this dissertation is to identify<br />those facets of Shakespeare&rsquo;s darker plays &ndash;<br />primarily his tragedies and &ldquo;problem plays&rdquo; &ndash;<br />that resonate well with the dualistic traditions<br />extant in Renaissance Neoplatonism, analyze<br />their possible meanings within the contexts<br />offered by these religious and philosophical<br />systems, and hopefully discover their further<br />implications for understanding both<br />Shakespeare and certain aspects of so-called<br />Western cultures. The hypothesis is that the<br />dualistic concepts derived from Renaissance<br />Neoplatonism will resonate well with parts of<br />Shakespeare&rsquo;s work, revealing in their<br />originative context further notions illuminating<br />further meanings attributable to Shakespeare&rsquo;s<br />text and our cultural atmosphere, many of which<br />will be paradoxical and contradictory &ndash; much<br />like Renaissance Neoplatonism itself.<br />The central portion of this thesis consists<br />of a comparative analysis of approaches to the<br />material and the carnal existing in, on the one<br />hand, various branches of Renaissance<br />Neoplatonism, and, on the other, Shakespeare&rsquo;s<br />work, primarily his tragedies and so-called<br />&ldquo;problem&rdquo; plays. The individual chapters deal<br />with possible approaches to matter and also<br />possible steps along a Neoplatonic journey<br />through the material world. This journey begins<br />in &ldquo;The Prison,&rdquo; where the hero experiences<br />those Neoplatonic sentiments that are on the<br />anti-cosmic end of the spectrum. This, many<br />Neoplatonists would hope, can induce him to<br />attempt an &ldquo;Ascent&rdquo; towards the purely spiritual<br />spheres. This ascent is often also inspired by<br />female figures stripped of all carnality. The<br />ultimate goal of Neoplatonic ascent is<br />&ldquo;Henosis,&rdquo; in which the hero becomes one with<br />the One. If the hero is not careful, allowing<br />himself to be lured downward by carnal female<br />figures, or if he is very adventurous indeed, he<br />can instead begin a kenotic &ldquo;Descent&rdquo; into the<br />depths of matter. This descent will allow him to<br />face the &ldquo;Nothing&rdquo; of formless prime matter<br />which is at the basis of the cosmos and his own<br />mortal body. Faced with it, he will, some<br />Neoplatonists would hope, realize that it is this<br />nothing that everything comes from, and will<br />strive to help the spiritual forces in the universe,<br />of which he ultimately is one, form it lovingly.<br />This is known as &ldquo;Theurgy.&rdquo;<br />As predicted, the analysis shows that the<br />dualistic concepts originating from Renaissance<br />Neoplatonism can indeed be found on several<br />levels of Shakespeare&rsquo;s &ldquo;darker&rdquo; plays. Far<br />from providing definitive answers to questions<br />raised by Shakespeare&rsquo;s work, the proffered<br />analysis, as expected, merely increases the<br />number of its possible interpretations.<br />It is concluded that the Neoplatonic<br />concept of matter and its spirit/matter<br />dichotomy exerted a formative influence not<br />only on Shakespeare and his age, but the ages<br />that followed as well, our own included. This<br />insight offers implications for further research<br />not only in literary criticism, but also cultural,<br />gender and queer studies.</p>

Notre thèse en deux volumes vise à donner une traduction inédite du premier commentaire de Boèce à l’Isagogè de Porphyre à partir de l’édition critique de Samuel Brandt publiée en 1906. De fait, Boèce s’appuie sur la traduction latine de Marius Victorinus et non, comme le suggère le titre, sur le texte grec de Porphyre. Le premier volume contient une introduction générale articulée en quatre parties: examen critique des études secondaires; les sources matérielles du premier commentaire de Boèce à l’Isagogè; le traitement des questions de Porphyre sur les universaux; et l’Isagogè de Marius Victorinus et la tradition rhétorique latine. Les thèses que nous défendons sont les suivantes : le commentaire perdu de Porphyre sur les Catégories (A Gédalios) pourrait avoir été la source principale de ce traité logique de Boèce ; historiquement, les trois questions de Porphyre ont été apparentées à la réfutation porphyrienne de la position anti-aristotélicienne de Plotin ; et, contrairement à Victorinus qui considère l’Isagogè comme une introduction aux Topiques de Cicéron, Boèce la conçoit dans la perspective néoplatonicienne qui fait d’elle une introduction aux Catégories d’Aristote. Cette introduction est suivie de la traduction française accompagnée du texte latin de l’édition de Brandt. Notre commentaire à la traduction est développé dans le second volume qui contient également une traduction française inédite du commentaire d’Ammonius à l’Isagogè de Porphyre et une réfutation de la thèse soutenue par Brandt dans ses prolegomena de son édition critique à propos des parallèles textuels attestés dans les commentaires à l’Isagogè de Boèce et d’Ammonius (cf. appendices 1 et 2). / Our thesis in two volumes aims to give an original French translation of Boethius’s first commentary on Porphyry’s Isagoge based on the critical edition published by Samuel Brandt in 1906. Actually, Boethius commentary deals with the Latin translation of Marius Victorinus and not, as the title seems to suggest, with the greek treatise of Porphyry. The first volume contains a general introduction divided into four parts : a critical studies of the secondary sources; the material sources of the Boethian first commentary on Isagoge; the Boethian analysis of Porphyry’s three questions about universals; and Marius Victorinus’ Isagoge and the Latin rhetorical tradition. The thesis we defend in the introduction can be summarized as follows : Porphyry’s lost commentary on Categories (Ad Gedalium) may have been the main source of the first Boethian commentary on Isagoge ; historically, the three questions on universals had been related to the Porphyrian refutation of anti-Aristotelian position of Plotinus ; and, unlike Victorinus which considers Isagoge as an introduction to Cicero’s Topica, Boethius adopts the Neoplatonic perspective which makes it an introduction to Aristotle’s Categories. This introduction is followed by the French translation accompanied by the latin text edited by Brandt. Our commentary on the Boethian treatise is developed in the second volume, which also contains an original French translation of Ammonius’ commentary on Porphyry’s Isagoge and a full refutation of the thesis supported by Brandt in his prolegomena to his critical edition about the textual parallels attested in the Boethian and Ammonian commentaries on Isagoge (cf. appendix 1 and 2).

L'analyse de l'interprétation proclienne de la critique de Platon envers Homère, qui se situe à l'intérieur de la «récupération» de la tradition archaïque par le néoplatonisme, est conduite sur deux niveaux herméneutiques, l'un linguistique, l'autre esthétique. La lecture du texte proclien, notamment du Commentaire du Cratyle et des Dissertations Ve et VIe du Commentaire de la République, montre parallèlement comment l'activité assimilatrice, par laquelle un homme donne des noms aux choses et un poète construit des images des dieux, rend le langage et la poésie des activités entièrement intégrées dans le système des relations analogiques qui sont à la base de la structure hiérarchique de la métaphysique proclienne. Grâce à leur nature mimétique le nom et le symbole mythique sont des éléments d'union et d'appartenance de l'humain au divin et pourtant ils peuvent être nommés «mesure du divin». La distribution du réel dans les différents niveaux de l'être permet à l'exégète néo-platonicien de décrire la production poétique comme analogue à celle démiurgique et les voiles symboliques, visiblement obscènes, comme analogues à la procession des ordres divins du Premier Dieu. C'est à partir de cette perspective que, en parfaite harmonie avec la configuration triadique et sérielle du Tout, on peut lire le schéma tripartite défini par Proclus à la fin de la sixième Dissertation comme une distinction entre trois niveaux d'activité poétique et non, comme la plus récente littérature critique a interprété, en trois types de poésie. / The study of Proclean interpretation of Plato's critique to Homer, which is set in the neo-Platonic revival of archaic tradition, is conducted according to two interpretation's levels defined very well, the first one linguistic and the second one other aesthetic. The reading of the Proclean text, in particular the Commentary on the Cratylus and the V and VI Dissertations of the Commentary on the Republic, shows side by side how the assimilative activity, by which a man names things and a poet constructs images of the gods, makes language and poetry activities fully incorporated with the system of analogic relations on which is based the hierarchical structure of Proclean metaphysics. Through their mimetic nature, the name and the mythical symbol are elements of union and tie of the men to the divine and so they can be said «proportion of the divine». The distribution of the real on different levels of the being allows the neo-Platonic exegete to describe the poetic production as an analogous to the demiurgical one and therefore the symbolic veils, visibly obscene, as an analogous to the procession of the divine orders from the First God. It is from this perspective that, in a perfect agreement with the triadic and serial configuration of the Whole, we can read the tripartite schema defined by Proclus at the end of the Sixth Dissertation as a distinction among three levels of poetic activity and not, such as required by the most recent critical literature, in three types of poetry.