The Syntax of Time: The Phenomenology of Time in Greek by Peter Manchester
By Peter Manchester
The fourth century Neoplatonist Iamblichus, reading Plotinus concerning time, includes a ‘diagram of time’ that bears comparability to the determine of double continuity drawn via Husserl in his experiences of time. utilizing that comparability as a bridge, this e-book seeks a phenomenological restoration of Greek considered time. It argues that the function of movement that the notice ‘time’ designates in Greek differs from what newest scholarship has assumed, that the very phenomenon of time has been misidentified for hundreds of years. This results in corrective readings of Plotinus, Aristotle, Parmenides, and Heraclitus, all on reflection to the ultimate word of the fragment of Anaximander, from which this quantity takes its identify: “according to the syntax of time.”
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Extra resources for The Syntax of Time: The Phenomenology of Time in Greek Physics and Speculative Logic from Iamblichus to Anaximander (Ancient Mediterranean and Medieval ... Neoplatonism, and the Platonic Tradition, 2)
1969), especially in his remarks on Archytas and the Pythagorean tradition, p. 30f. two-dimensional time in husserl and iamblichus 45 line broken into an angle (eﬁw gvr¤an)”59 to ensure we would envision the correct Figure. And it is from Iamblichus’ way of understanding what the Now, so presented, shows us about time, that we gain access to its pre-Aristotelian context. The Figure has two lines. For the moment we have no control over their orientation or degree of acuteness or obtuseness. It could therefore be any of these: K K K In Greek mathematics, the place of the intersection of two lines may properly be called a point (st¤gma).
If we are careful not to confuse the diagrams with the phenomena being analyzed, there is a great deal to be learned from attempting to determine exactly how Husserl’s celebrated Figure of Double Continuity works. In what follows, we will lay out the background of two-dimensional time in husserl and iamblichus 23 each of its two elements separately, and with attention to chronology. 37 The origin of the mistranscription remains unclear. Heidegger shows no signs of having tried to coordinate his labelling of the Figure with the tantalizingly terse description of its workings that accompanies it in Section 10.
24, p. 199 (not labeled by Husserl; by “Table” I will refer both to this speciﬁc presentation, and to all those of this form). 40 two-dimensional time in husserl and iamblichus 25 is to say more than that its elements are distributed sequentially through time. The elements of melody are not tones but notes. Notes have pitch relative to one another not because they are arbitrarily higher or lower in the pure tone-continuum, but by sounding within the selected ﬁxed set of tonal intervals that make up musical scales.