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"quiddity" Definitions
  1. the real nature of something

31 Sentences With "quiddity"

How to use quiddity in a sentence? Find typical usage patterns (collocations)/phrases/context for "quiddity" and check conjugation/comparative form for "quiddity". Mastering all the usages of "quiddity" from sentence examples published by news publications.

" Sapped of quiddity, she has become "an all-American girl.
As always, Herzog tries to remold his subject into an honorary Herzogian, all quirk and quiddity.
For it is the particularity, the specificity, the quiddity of these objects that can engage us intuitively.
Here's an irony: if anything preserves the unnerving quiddity and strangeness of the Japanese movie, it is Johansson.
Our skulls are like space helmets; we are trapped in our heads, unable to convey the quiddity of our sensations.
" A week before that, Lebron posted another titled "The #Quintessential #Quiddity of #QAnon: How the #MSM Forged the Shibboleth As A Recruitment Tool.
Beautifying asphalt would seem to be no cinch, but the naked quiddity of the stuff, after a third or fourth look, turns cherishable.
" Mr. Buckley especially admired the rhyming couplets that Ms. Provensen devised for each commander in chief in her countdown, calling them "wee masterpieces of concision that manage to boil down each president to a felicitous and memorable quiddity.
Such is the cosmic niceness of the erstwhile Fresh Prince that you don't have to see the movie to know that no team with Smith as a member is going to be bad in a more-than-Michael Jackson quiddity.
While still a very young man, Porter coined the phrase "See America First" (it was the title of his début musical, a George M. Cohan spoof), and that gift for creating idioms may be a clue to the quiddity of his genius.
The suchness of being implies a previously existing being and quiddity.
Quiddity describes properties that a particular substance (e.g. a person) shares with others of its kind. The question "what (quid) is it?" asks for a general description by way of commonality. This is quiddity or "whatness" (i.e.
The defense is to claim that there are two sorts of concepts possible of a substance, quidditative concepts, which are captured in the real definition, and concepts that express the quiddity only confusedly.
In Thomist philosophy, the definition of a being is "that which is," which is composed of two parts: "which" refers to its quiddity (literally "whatness"), and "is" refers to its esse (the Latin infinitive verb "to be").De Ente et Essentia, 83. "And this is why substances of this sort are said by some to be composed of "that by which it is" and "that which is," or as Boethius says, of "that which is" and "existence."" "Quiddity" is synonymous with essence, form and nature; whereas "esse" refers to the principle of the being's existence.
Haecceity may be defined in some dictionaries as simply the "essence" of a thing, or as a simple synonym for quiddity or hypokeimenon. However, the term is sometimes used differently in philosophy. Whereas haecceity refers to aspects of a thing that make it a particular thing, quiddity refers to the universal qualities of a thing, its "whatness", or the aspects of a thing it may share with other things and by which it may form part of a genus of things.Hicks, P., The Journey So Far (2003), p.
In scholastic philosophy, "quiddity" (; Latin: quidditas)Thomas Aquinas, Summa Theologiae, London: Blackfriars, 1964–1976: i, quaest. 84, art. 7: "quidditas sive natura in materia corporali". was another term for the essence of an object, literally its "whatness" or "what it is".
American philosopher of physics John Stachel has used permutability of spacetime events to generalize Einstein's hole argument.J Stachel, "`The Relations Between Things' versus `The Things Between Relations': The Deeper Meaning of the Hole Argument", in Reading Natural Philosophy/ Essays in the History and Philosophy of Science and Mathematics, ed. David Malament Chicago and LaSalle, IL, Open Court pp 231-266 (2002) Stachel uses the term quiddity to describe the universal qualities of an entity and haecceity to describe its individuality. He makes use of the analogy with quantum mechanical particles, that have quiddity but no haecceity.
Aristotle was the first to use the terms hyle and morphe. According to his explanation, all entities have two aspects: "matter" and "form". It is the particular form imposed that gives some matter its identity—its quiddity or "whatness" (i.e., its "what it is").
Everville delves deeper into the mythology of the cosm (essentially, Earth) and the metacosm (another plane of existence containing the dream sea Quiddity). The character Harry D'Amour appears in the novel as a main character and some of the characters from the previous novel also make appearances.
The term "quiddity" derives from the Latin word quidditas, which was used by the medieval scholastics as a literal translation of the equivalent term in Aristotle's Greek to ti en einai (τὸ τί ἦν εἶναι)Aristotle, Metaphysics, 1029b or "the what it was to be (a given thing)".
Avicenna, Kitab al-shifa', Metaphysics II, (eds.) G.C. Anawati, Ibrahim Madkour, Sa'id Zayed (Cairo, 1975), p. 36Nader El-Bizri, "Avicenna and Essentialism," Review of Metaphysics, Vol. 54 (2001), pp. 753–778 The Necessary exists 'due-to-Its-Self', and has no quiddity/essence (mahiyya) other than existence (wujud).
This specific unity, according to Aristotle, is derived from Form, for it is form (which the medieval philosophers called quiddity) which makes an individual substance the kind of thing it is. But two individuals (such as the twins) can share exactly the same form, yet not be one in number. What is the principle by which two individuals differ in number alone? This cannot be a common property.
Kamal M. Mulla Sadra's Transcendent Philosophy Routledge, 2016 Mulla Sadra's existentialism concerns cosmology as it pertains to Allah. His work synthesizes Avicennism, Shahab al-Din Suhrawardi's Illuminationist philosophy, Ibn Arabi's Sufi metaphysics, and the theology of the Ash'ari school and Twelvers. In the first volume of Asfar, Mulla Sadra focuses solely on an analysis of the concept of wujud ("being") and quiddity (essence). The first volume has four "journeys".
Quarriors! is a Pool-building game made by WizKids. In it Players represent a titular mystical warrior, and players roll dice which gives them Quiddity (an in-game currency) which allows them to purchase additional Spell Dice or Creature Dice, which can then be used to attack the opponent. Quarriors! was released in 2011, and was a nominee for Dice Tower game of the year, Best family game, and most innovative game of the year.
The Great and Secret Show follows Fletcher and Jaffe, two humans that have transcended reality and to become super-human. The two initially worked together but became adversaries when it became clear that Jaffe was intent on gaining control of Quiddity, a dream sea that humans can access only three times in their lives. The two men end up siring children by raping four teenage girls with the intention that they will continue their battles, only for two of their children to fall in love.
Serials for the student body include The Blazer, the college humour newspaper; Quiddity, the school's annual arts and literature publication, which showcases students' creative work; The Blue Page, a one-page weekly publication of letters to the editor expressing opinions on any relevant issue; and Convergence, the school's award-winning student newspaper. In addition, BluesTV was a student- led, school television network that started in 2007 and aired multimedia, slideshows of pictures from various school events, as well as promotional material created for the college. BluesTV became a subsidiary of the Media Association in 2009, fostering the operation of a live-announcement submission and display system.
The European scientists Cornelius Drebbel, Robert Fludd, Galileo Galilei and Santorio Santorio in the 16th and 17th centuries were able to gauge the relative "coldness" or "hotness" of air, using a rudimentary air thermometer (or thermoscope). This may have been influenced by an earlier device which could expand and contract the air constructed by Philo of Byzantium and Hero of Alexandria. Around 1600, the English philosopher and scientist Francis Bacon surmised: "Heat itself, its essence and quiddity is motion and nothing else." In 1643, Galileo Galilei, while generally accepting the 'sucking' explanation of horror vacui proposed by Aristotle, believed that nature's vacuum-abhorrence is limited.
However, this aspect of ontology is not the most central to the distinction that Avicenna established between essence and existence. One cannot therefore make the claim that Avicenna was the proponent of the concept of essentialism per se, given that existence (al-wujud) when thought of in terms of necessity would ontologically translate into a notion of the Necessary-Existent-due-to-Itself (wajib al- wujud bi-dhatihi), which is without description or definition, and particularly without quiddity or essence (la mahiyya lahu). Consequently, Avicenna's ontology is 'existentialist' when accounting for being qua existence in terms of necessity (wujub), while it is 'essentialist' in terms of thinking about being qua existence (wujud) in terms of contingency qua possibility (imkan; or mumkin al-wujud: contingent being).For recent discussions of this question see: Nader El-Bizri, "Avicenna and Essentialism", The Review of Metaphysics, Vol.
However, this aspect of ontology is not the most central to the distinction that Avicenna established between essence and existence. One cannot therefore make the claim that Avicenna was the proponent of the concept of essentialism per se, given that existence (al-wujud) when thought of in terms of necessity would ontologically translate into a notion of the "Necessary-Existent-due-to-Itself" (wajib al-wujud bi-dhatihi), which is without description or definition and, in particular, without quiddity or essence (la mahiyya lahu). Consequently, Avicenna's ontology is 'existentialist' when accounting for being–qua–existence in terms of necessity (wujub), while it is essentialist in terms of thinking about being–qua–existence in terms of "contingency–qua–possibility" (imkan or mumkin al-wujud, meaning "contingent being").For recent discussions of this question, see Nader El-Bizri, "Avicenna and Essentialism", The Review of Metaphysics, Vol.
In philosophy, essence is the property or set of properties that make an entity or substance what it fundamentally is, and which it has by necessity, and without which it loses its identity. Essence is contrasted with accident: a property that the entity or substance has contingently, without which the substance can still retain its identity. The concept originates rigorously with Aristotle (although it can also be found in Plato), who used the Greek expression to ti ên einai (τὸ τί ἦν εἶναι,Aristotle, Metaphysics, 1029b literally meaning "the what it was to be" and corresponding to the scholastic term quiddity) or sometimes the shorter phrase to ti esti (τὸ τί ἐστι,Aristotle, Metaphysics, 1030a literally meaning "the what it is" and corresponding to the scholastic term haecceity) for the same idea. This phrase presented such difficulties for its Latin translators that they coined the word essentia (English "essence") to represent the whole expression.
David Cox The Birmingham School was a group of landscape artists working in Birmingham, England in the late 18th and early 19th centuries; descending from Daniel Bond, who was active in the 1760s, and including well-known later figures such as Thomas Creswick, Thomas Baker and David Cox, who was to become an early precursor of impressionism. Although the artists of the school were not formally organised, they were related by their common technique, which distinguished them from the broader field of contemporary landscapists. In particular the Birmingham School is notable for its emphasis on character as well as precision in its portrayal of nature; for example often depicting trees in a manner that has more in common with portraiture, and showing "a quest for the essential, the quiddity of what is observed". Many of the artists were also related by training: Bond taught in the 1760s and pupils of his exhibited at the Free Society of Artists in London in 1763; Joseph Barber opened a drawing academy in 1801 where pupils included Cox and Baker; and Samuel Lines opened another academy in 1806 where pupils included Creswick.

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