Filipa Afonso

This paper deals with Bonaventure’s stand on the separability of accidents discussed within the framework of the theology of the Eucharist, in his Commentarium in Sententias, IV, d. 12, p. 1, a. 1, q. 1. Since an accident was traditionally defined as ens in alio, the existence of accidents apart from any subject in the Eucharist was considered philosophically challenging. The Franciscan theologian has been credited with having distinguished, for the first time (Bakker PJJM. La raison et le miracle: les doctrines eucharistiques (c. 1250 – c.1400): contribution à l’étude des rapports entre philosophie et théologie. s.n., Nijmegen, 1999; Vijgen J. The status of Eucharistic accidents “sine subiecto”: An historical survey up to Thomas Aquinas and selected reactions. München: Akademie Verlag, 2013), between the relation of accident to subject secundum aptitudinem, and the relation of accident to subject secundum actum, while sustaining that only the relation to subject secundum aptitudinem constitutes the accident’s proper definition, a view that Aquinas would subscribe to and develop further, relying on Avicenna’s idea of the real distinction between essence and existence. The chapter will discuss Bonaventure’s rather different reasons for refusing to accept actual being in alio as the accident’s essence. Bonaventure does not appeal to a distinction between being and essence but draws on the common essence of accidents in individualized substances vs. accidents as universals, or accidents secundum species sive differentias speciales.

In the distinction 27 of the Commentaries on the four books of Sentences of Master Peter Lombard, in that question where the proper meaning of the concept “Word” is discussed and clarified, Bonaventure invokes the authority of the anselmian thought, as it is exposed upon the several pages of the Monologion, for the conclusion of the problem and the solution of the dissensions. Taking, therefore, such text as the starting point of our incursion on the philosophy of the monk of Le Bec, our aim is to reflect on the mediating character of the Word in the creational act, and on the way in which it becomes the interpretational key of the philosophical question of the one and the multiple. It is this relation between the one and the multiple, in which the mystery of creation is enclosed, that, in its turn, will find Strong aesthetical resonances, within the philosophy of the Seraphic Doctor founded on a certain conception of beauty, of Augustinian matrix, that defines it as “aequalitas nunierosa”, i.e., as unity of the multiplicity.

In the scope of Medieval Metaphysics, «beauty» has been pondered as an ambiguous concept: either attributed to God, or to the World. The aim of this article is to clarify the meaning of this ambiguity within the philosophy of the Pseudo-Dionysius the Areopagite. If, therefore, the concept of «beauty» is primarily withdrawn from its sensible and mundane feature in order to be appropriated to the divine nature, it is secondly apposed to creation itself so that it may designate the visible manifestation of transcendent beauty and vital call to theological pursuit.No contexto da Metafísica Medieval, a «beleza» foi pensada como um conceito ambíguo: ora atribuído a Deus, ora atribuído ao Mundo. O propósito deste artigo é clarificar o sentido desta ambiguidade no âmbito da filosofia do Pseudo-Dionísio Areopagita. Se, portanto, o conceito de «beleza» é, em primeiro lugar, despojado do seu carácter sensível e mundano, para ser apropriado à natureza divina, ele é, num segundo momento, aposto à própria criação, de forma a designar a manifestação visível da beleza transcendente e o chamamento vital para a perscrutação teológica

No contexto da Metafísica Medieval, a «beleza» foi pensada como um conceito ambíguo: ora atribuído a Deus, ora atribuído ao Mundo. O propósito deste artigo é clarificar o sentido desta ambiguidade no âmbito da filosofia do Pseudo-Dionísio Areopagita. Se, portanto, o conceito de «beleza» é, em primeiro lugar, despojado do seu carácter sensível e mundano, para ser apropriado à natureza divina, ele é, num segundo momento, aposto à própria criação, de forma a designar a manifestação visível da beleza transcendente e o chamamento vital para a perscrutação teológica