despre catedră/catedral/catedrală
cathedra / ex cathedra
4 tipuri de mişcare sau schimbare (Artistotel)
arta (tehne)
Telos: împlinire, încheiere, scop.
meşteşugul, implicit breasla
CATÉDRĂ, catedre, s. f. 1. Pupitru sau masă specială, așezată de obicei pe o estradă, de la care vorbesc profesorii, oratorii etc. ◊ Expr. A vorbi (ca) de la catedră = a vorbi savant, livresc, afectat. 2. Post în învățământ; funcție de profesor. ♦ Unitate de bază dintr-o instituție de învățământ superior, în cadrul căreia se desfășoară activitatea didactică, metodică și de cercetare științifică în domeniul uneia sau mai multor discipline. – Din lat. cathedra. Sursa: DEX '98.
CATÉDRĂ s. f. 1. masă specială, ridicată de obicei pe o estradă, de unde profesorul explică lecția. ◊ tron arhieresc instalat în biserica principală a unei eparhii. 2. post în învățământ, funcție de profesor. ◊ unitate de bază în învățământul superior, în cadrul căreia se desfășoară activitatea didactică, metodică și de cercetare științifică. (- it. catedra, lat. cathedra). Sursa: MDN.
CATÉDRĂ s.f. 1. Masă specială, ridicată de obicei pe o estradă, de unde profesorul explică lecția. ◊ A vorbi (ca) de la catedră = a vorbi savant, afectat. ♦ Tron arhieresc, din piatră sau din lemn, instalat în biserica principală a unei eparhii. 2. post în învățământ, funcție de profesor. ♦ Unitate de bază în învățământul superior, în cadrul căreia se desfășoară activitatea didactică, metodică și de cercetare științifică la o disciplină. ♦ (Fig.) Profesorat, învățământ. [- lat. cathedra – jeț, fr. cathedre]. Sursa: DN.
CATÉDRĂ (catédre), s. f. – 1. Masă specială de la care vorbesc profesorii, oratorii etc. – 2. Amvon. – Mr. cathedră. Lat. cathedra (sec. XIX); în mr. direct din ngr. ϰαθέδρα. – Der. catedrală, s. f.
CATEDRÁL, -Ă adj. care aparține scaunului episcopal al unei dieceze. (- fr. cathédral, lat. cathedralis) Sursa: MDN.
CATEDRÁL adj. m., pl. catedráli; f. sg. catedrálă, pl. catedrále. Sursa: Ortografic.
CATEDRÁLĂ, catedrale, s. f. Biserică (mare) în care serviciul religios este oficiat, de obicei, de un (arhi)episcop. – Din fr. [église] cathédrale, lat. cathedralis. Sursa: DEX '98.
CATEDRÁLĂ ~e f. Biserică centrală într-un oraș, unde serviciul divin este oficiat, de obicei, de un episcop; sobor. [G.-D. catedralei]- fr. cathédrale, lat. Cathedralis. Sursa: NODEX.
CATEDRÁLĂ s. f. biserică (mare) în care oficiază serviciul religios un (arhi)episcop. (- fr. cathédrale) Sursa: MDN.
CATEDRÁLĂ s.f. Biserică (mare) în care oficiază serviciul religios un arhiereu-episcop; (p. ext.) cea mai mare biserică dintr-un oraș. [- fr. catédrale, it. cattedrale]. Sursa: DN.
CATEDRÁLĂ s. (BIS.) (reg.) mănăstire, (înv.) sobor. (O ~ în stil gotic.) Sursa: Sinonime.
Cathedra (wikipedia)
A cathedra (Latin, "chair", from Greek, kathedra, "seat") is the chair or throne ofa bishop. It is a (the) symbol of teaching authority in the Roman Catholic Church and the Orthodox Church, and has in some sense remained such in the Anglican Communion and in Lutheran churches. Cathedra is the Latin word for a chair with armrests; its Roman connotations of authority reserved for the Emperor were adopted by bishops after the 4th century. In this sense, it is sometimes referred to as a "bishop's throne." A church into which a cathedra is installed is called a cathedral or co-cathedral — the seat of a particular church called a diocese.
Ex cathedra (wikipedia)
The term ex cathedra, meaning "from the throne", is used to designate official pronouncements of the pope when he teaches the whole world. As a throne or armchair symbolizes the power to teach, the cathedra in this case refers to the teaching authority over the whole church rather than to an actual chair. According to Roman Catholic dogma, the pope's statements ex cathedra are infallible in matters of faith and morals. In Anglican episcopal governance, episcopal teaching is conditioned by synodical governance, and so bishops cannot be said to speak ex cathedra in this way - although they may jocularly be said to do so.
The definitive example of a cathedra is that encased within the Triumph of the cathedra Petri designed by Gian Lorenzo Bernini in 1657 and completed and installed in 1666. As early as the 8th century, an ancient wooden chair overlaid with ivory plaques depicting the Labors of Hercules and some of the constellations was venerated as the episcopal chair of St. Peter himself. In fact, it is a Byzantine throne framing fragments of acacia wood encased in the oak carcass and reinforced with iron bands. Several rings facilitated its transportation during processions. Pope Alexander VII commissioned Bernini to build a sumptuous monument to present this relic in a triumphant manner. Bernini's gilded bronze throne, richly ornamented with bas-reliefs, encloses the relic. On January 17, 1666 it was solemnly set above the altar of Saint Peter's Basilica in Vatican City. Greater than life-sized sculptures of four Doctors of the Church form an honor guard: St. Ambrose and St. Athanasius on the left, and St. John Chrysostom and St. Augustine on the right.
Celebrated on February 22 in accordance with the calendar of saints, the Feast of Cathedra Petri honors the founding of the church in Rome and gives thanks for the work of Saint Peter. The Chair of St. Augustine represents one of the most ancient extant cathedrae in use. Named for the first Archbishop of Canterbury, St. Augustine of Canterbury, it is made of Purbeck Marble or Bethesda marble and dates to sometime between the 6th and 12th centuries. Those who argue for an older date suggest that it may have been used to crown the kings of Kent. Canterbury Cathedral, in which the cathedra is housed, maintains that the chair was once part of the furnishings of the shrine of St. Thomas Becket, since dismantled. Since antiquity, it has always a place in the triple enthronement of an Archbishop of Canterbury. He is seated on the throne in the quire as Diocesan Bishop, in the chapter house as titular abbot, and in St. Augustine's chair as Primate of All England. This is the only occasion in which the cathedra is used. A second one is used for other occasions in which the archbishop is present.
The traditional position of the cathedra was in the apse, behind the high altar, which had been the position of the magistrate in the apse of the Roman basilica which provided the model type — and sometimes the actual structures — for early Christian basilicas. In the Middle Ages, as altars came to be placed against the wall of the apse, the practice of placing the cathedra to one side (mostly left) became standard.
Still, there is room for a distinction between epistêmê and technê. Several authors attribute to Zeno the notion that a technê is a systematic collection of cognitions (katalêpseis) unified by practice for some goal advantageous in life (SVF I 73). The difference between technê and epistêmê properly speaking is that the latter is said to be secure and unshakeable by reason (Stobaeus 2.73, 16 - 74, 3).
4 tipuri de mişcare sau schimbare (Artistotel)
(1) substance- -the one is positive form [morphe], the other privation [steresis]; (2) in quality, white and black; (3) in quantity, complete [teleion] and incomplete [ateles]; (4) in respect of locomotion, upwards and downwards or light and heavy.” (Physics 201a5ff.)
Miscarea [kinesis] este si schimbare insa schimbarea [metabole] nu este obligatoriu miscare. Miscarea acopera toate tipurile de existent, mai putin generarea si degenerarea, pe can entelecheia le intelege si pe acestea din urma.
Natura (naturalul existent) este principiul intern al miscarii care poate fi redusa la un principiu intern al miscarii lucrurilor aflate in miscare. Natura este subiectul, astfel, tratatului fizica (phusis). principiile externe ale miscarii (accidentul, norocul, arta, inteligenta), sunt distincte de natura, cerintele fizicii fiind aplicate intru interconectarile naturale ale lucrurilor si proceselor. Natura este un principiu intern al miscarii/actiunii si al staticului/repaosului. (Richard McKeon) Dar phusis nu poate fi confundat cu entelecheia.
Arta (tehne)
Arta (nu) este asemenea naturii, “art imitates [the sense of mimesis] nature” (Physics 199a17), si “ completes when nature cannot bring to a finish”.
Oamenii sunt animale care fac lucruri prin arta [tehne] (Physics 199a20), iar arta si natura urmaresc o perfectiune, fiind animate de ea: “If therefore artificial products are for the sake of an end [telos], so clearly also are nature products ... plants ... leaves, e.g. grow to provide shade for the fruit. It is both nature and for the sake of an end [telos] that the swallow makes its nest and the spider its web ...” (Physics 199a17-27)
Forma (eidos): morphe este cand eidos cand telos (perhaps the [eidos and telos] are the same” (Metaphysics 1044a35ff.). “Deseori, cele trei cauze (eidos, telos, si arche) coincid” (Physics 198a24).
Telos: împlinire, încheiere, scop.
La Platon, psyche iniţiază mişcarea, dar abia asocierea ei cu nous-ul garantează că mişcarea se va încadra într-o finalitate (Legile 897b). La Aristotel, nous-ul funcţionează doar ân sfera umană a lui techne, a proiectului raţional 1i, de fapt, tot ce face artizanul este să imite physis, care, pe lîngă că este izvorul mişcării, îşi are propriul său scop (telos) (Phys. II, 198a, 199b). Pe scurt, el este “cauza finală” descrisă ibid. II, 194b. Doctrina teleologică este funfamentală la Aristotel: ea apare în lucrările sale cele mai timpurii (vei Protrepticus, fr. 11) dar şi în Metafizica şi Fizica, unde telos este Binele (Phys. II, 195a, Meta. 1013b), iar în meta. 1072 Binele suprem şi deci cauza finală a întregului kosmos e primul mişcător, caracterizat drept noesis (kinoun, nous). Telos este o cheie a citirii conceptului de schimbare (aături de ergon, energeia, entelecheia).
Meşteşugul, implicit breasla apar contextual, în funcţie de mediu (resursele naturale existente), nevoi (resurse inexistente), sistem social de valori (o societate sau un grup în cadrul căruia preomină sentimentul religios va alege un anume tip de faceri, pe cînd într-un altul construit pe ideea dezvoltării sau pe cea a cunoaşterii, vor fi cu totu altele) şi nivelul informaţional.
...Aristotle’s definition of kinesis utilises the concepts of dunamis and entelecheia: “The fulfilment [entelecheia] of what exists potentially [dunamis], in so far as it exists potentially [dunamis], is motion [kinesis]” (201a10). If (in its siple terms) kinesis is (in some sense), entelecheia, in what respect could kinesis be equated with Ross’s concept of an entelecheia wich is “that wich is always actually whatever it is”?
“The same thing, if it is of a certain kind, can be both potential [dunamis] and fully real [entelecheia], not indeed at the same time or not in the same respect, but e.g. potentially [dunamis] hot and actully [entelecheia] cold.” (Physics 201a10-22)
Ross comments: “For the most part Aristotle uses the words [entelecheia and energeia] as exact synonyms.” He explains elsewhere how this works: “Because the ergon [menaing “work or deed”, from en+ -erge- + -ia] is the telos [from en- + -tel-eche- + -ia]. ... the word energeia, wich is derived from ergon, tends to mean the same as entelecheia.”
“The reason in turn why motion [kinesis] is thought to be idenfinite is that it cannot be classed simply as a potentiality [dunamis] or as an actuality [energeia] – a thing that ie merely capable [the dunamis sense], nor yet a thing that is actually [energeiai] of certain size [...], and motion [kinesis\ is thought to be a sort of actuality [energeia\ but inomplete [ateles], he reason for this view being that potential [dunamis] whose actuality [energeia] it is incomplete [ateles]. Tis is why it is hard to grasp what motion [kinesis] is. It is necessary to classify it with privation or with potentiality [dunamis] or with sheer actality [energeian], yet none of these seems possible. There remains than the suggested mose of definition, namely that it is a sort of actuality [energeia], or actuality [energeia] of the kind described [ateles?], hard to grasp, but not incapable of existing. ...Hence we can define motion [kinesis] as the fuflilment [entelecheia] of the moveable qua moveable. ...” (Physics 201b27-202a8)
Summerising the –ia discussion, it is not necessary to force aristotelian “entelechy’ out of its process element. The –ia suffix and the importance of kinesis in Aristotle’s definition of entelecheia suggest that process is a key element of Aristotelian entelechy. His three categories of kinesis-related existence may be understood as: a9 that wich is in the process of kinesis toward an end (entelecheia), b0 that wich has the potential of kinesis but wich is not now in the process (dunamis), and c) that wich is in the process of kinesis toward one end, but wich also has the potential of kinesis toward another end wich is not now in process.
entelecheia < entelecheia =" energeia">
(text apărut în MEŢERIAŞII I/11)
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