In this article we focus on the third chapter of George Pachymeres’ Paraphrasis of Dionysius the Areopagite’s De divinis nominibus, emphasizing the second and third paragraphs. The aim is to highlight the concept of “person” and “personality” in the context of the theological atmosphere of Eastern Christianity and, specifically, of the Dionysian tradition.
Maximus the Confessor and René Descartes were influential thinkers in their respective historical and philosophical contexts, but their philosophical orientations and concerns were distinct. Maximus was primarily a Christian theologian who integrated faith and reason within a theological framework, while Descartes was a key figure in the development of modern philosophy, emphasizing individual reason and scepticism as foundational elements of his philosophical system. This paper aims to present some aspects of their philosophy and try to find common ground in their thought.
The 14th issue of Dia-noesis is dedicated to Byzantine philosophy, theology, and literature. Emphasis is paid to the way Byzantium influenced (and received influences from) other civilizations. Authors: Panagiotis Christias; Anna Griva and Markos Dendrinos; Antonis D. Papaoikonomou; Lydia Chr. Petridou; Christos Ath. Terezis; Ioanna Tripoula; Paraskevi Zacharia.
Dia-noesis is now accepting submissions for issue 15 dedicated to the issues revolving around leadership, charisma, power, and freedom. The deadline for submissions is April 20, 2024. The Issue will look at the concept of leadership, charisma, and power from an interdisciplinary perspective, merging Philosophy, Political Theory, Cultural, Social and Political History, Political Theology, Religion, Literary Theory, Poetry, Art, and Political Anthropology.
In this article I attempt to discuss the encounter between Christian Theology and the philosophical branch of Aesthetics. As a basis I have the icons of the Byzantine tradition, which also express the ecclesiastical way of its culture. First of all, I refer to what is defined as the aesthetic interpretation of a work of art and then to how its process receives theological characteristics in the style and approach of Byzantine icons.