The present paper has a double aim： （1） it attempts to present an aspect of Plotinus＇ philosophical and hermeneutical methodology on the basis of relevant remarks in the treatise ＂On Eternity and Time＂; （2） it...The present paper has a double aim： （1） it attempts to present an aspect of Plotinus＇ philosophical and hermeneutical methodology on the basis of relevant remarks in the treatise ＂On Eternity and Time＂; （2） it seeks to connect this attitude with contemporary methodological questions concerning the relation between philosophy and history of philosophy. After an introduction where it is emphasized that the term ＂Neo-Platonism＂ is of recent coinage, I exploit David Sedley＇s remarks regarding the function of ancient philosophical schools： the quest for the ＂correct＂ interpretation of the school＇s founder as a philosophical enterprise in itself is not an exclusively Neoplatonic characteristic. Nonetheless, the example of Plotinus＇ Enneads III.7, owing to the complexity of its theme, shows that Plotinus does not pay attention only to the Platonic teachings regarding eternity and time, but also to all the other philosophical schools＇ theories, including the Epicurean. The aim is the ascertainment of the truth inherent in them and its apt interpretation. Hence, I follow Steven K. Strange （1950-2009）, who relates the Plotinian methodology to Aristotle＇s endoxic method. After a presentation of similarities and differences between the two philosophers, I conclude that the problematic features posed by several philosophical theories are resolved via an innovative Plotinian reading of Plato. Thus, the non-Platonic theories play a role in the more adequate interpretation of Plato, which is identified with the successful answer to the philosophical problems. This fact makes us wonder as to the best characterization of Plotinus＇ enterprise： philosophy or history of philosophy？ Although the question is somehow anachronistic, Plotinus gives an explicit response in his aforementioned tractate： to the extent that he is interested in solving philosophical problems, rather than compiling a ＂catalogue＂ of past philosophical positions, his enterprise is not historical, but philosophical. Two final corollaries stem from this： （i） to a certain extent, the previous enunciation explains the Neoplatonic reading of Plato; （ii） it teaches us that the difference between philosophizing and a historical treatment of philosophy does not lie only on the content, but also on the manner according to which the interpreter approaches past or contemporary philosophers.展开更多
A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claud...A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.展开更多
A graph is said to be vertex-transitive non-Cayley if its full automorphism group acts transitively on its vertices and contains no subgroups acting regularly on its vertices. In this paper, a complete classification ...A graph is said to be vertex-transitive non-Cayley if its full automorphism group acts transitively on its vertices and contains no subgroups acting regularly on its vertices. In this paper, a complete classification of cubic vertex-transitive non-Cayley graphs of order 12 p, where p is a prime, is given. As a result, there are 11 sporadic and one infinite family of such graphs, of which the sporadic ones occur when p equals 5, 7 or 17, and the infinite family exists if and only if p ≡ 1(mod 4), and in this family there is a unique graph for a given order.展开更多
文摘The present paper has a double aim： （1） it attempts to present an aspect of Plotinus＇ philosophical and hermeneutical methodology on the basis of relevant remarks in the treatise ＂On Eternity and Time＂; （2） it seeks to connect this attitude with contemporary methodological questions concerning the relation between philosophy and history of philosophy. After an introduction where it is emphasized that the term ＂Neo-Platonism＂ is of recent coinage, I exploit David Sedley＇s remarks regarding the function of ancient philosophical schools： the quest for the ＂correct＂ interpretation of the school＇s founder as a philosophical enterprise in itself is not an exclusively Neoplatonic characteristic. Nonetheless, the example of Plotinus＇ Enneads III.7, owing to the complexity of its theme, shows that Plotinus does not pay attention only to the Platonic teachings regarding eternity and time, but also to all the other philosophical schools＇ theories, including the Epicurean. The aim is the ascertainment of the truth inherent in them and its apt interpretation. Hence, I follow Steven K. Strange （1950-2009）, who relates the Plotinian methodology to Aristotle＇s endoxic method. After a presentation of similarities and differences between the two philosophers, I conclude that the problematic features posed by several philosophical theories are resolved via an innovative Plotinian reading of Plato. Thus, the non-Platonic theories play a role in the more adequate interpretation of Plato, which is identified with the successful answer to the philosophical problems. This fact makes us wonder as to the best characterization of Plotinus＇ enterprise： philosophy or history of philosophy？ Although the question is somehow anachronistic, Plotinus gives an explicit response in his aforementioned tractate： to the extent that he is interested in solving philosophical problems, rather than compiling a ＂catalogue＂ of past philosophical positions, his enterprise is not historical, but philosophical. Two final corollaries stem from this： （i） to a certain extent, the previous enunciation explains the Neoplatonic reading of Plato; （ii） it teaches us that the difference between philosophizing and a historical treatment of philosophy does not lie only on the content, but also on the manner according to which the interpreter approaches past or contemporary philosophers.
文摘A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.
基金supported by National Natural Science Foundation of China(Grant Nos.11671030,11171020 and 11231008)the Fundamental Research Funds for the Central Universities(Grant No.2015JBM110)
文摘A graph is said to be vertex-transitive non-Cayley if its full automorphism group acts transitively on its vertices and contains no subgroups acting regularly on its vertices. In this paper, a complete classification of cubic vertex-transitive non-Cayley graphs of order 12 p, where p is a prime, is given. As a result, there are 11 sporadic and one infinite family of such graphs, of which the sporadic ones occur when p equals 5, 7 or 17, and the infinite family exists if and only if p ≡ 1(mod 4), and in this family there is a unique graph for a given order.
