Language, vernacular and philosophy -- Sperone Speroni between language and logic -- Benedetto Varchi and the idea of a vernacular logic (1540) -- Antonio Tridapale and the first vernacular logic (1547) -- Nicolo Massa's logic for natural philosophy (1549) -- Alessandro Piccolomini's instrument of philosophy (1551).

Though better known today as a political theorist than as a dramatist, Machiavelli secured his fame as a giant in the history of Italian comedy more than fifty years before Shakespeare's comedies delighted English-speaking audiences. This bilingual edition includes all three examples of Machiavelli's comedic art: sparkling translations of his farcical masterpiece, _The Mandrake_; of his version of Terence's _The Woman From Andros_; and of his Plautus-inspired _Clizia_--works whose genre afforded Machiavelli a unique vehicle not only for entertaining (...) audiences but for examining _virtue_ amid the twists and turns of _fortune_. (shrink)

De re aedificatoria by Leon Battista Alberti, Trattato di Architettura by Filarete, Trattati di architettura, ingegneria e arte militare by Francesco di Giorgio Martini, and Leonardo da Vinci’s works of engineering and inventions exemplify the ways in which fifteenth-century Italian thinkers could blend speculative and rational approaches. Libellus vere aureus was published in Leuven in 1516. Mambrino Roseo praised the simple, earnest people of Garamanti in Institutione del prencipe christiano, dating to 1543. The first version of More’s Latin text (...) in vernacular Italian was published in Venice in 1548, and the first translation into English by Ralph Robinson was printed in London in... (shrink)

Stefano Garzonio. Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with (...) the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this periodthat pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia. (shrink)

Stefano Garzonio. Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with (...) the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this periodthat pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia. (shrink)

Deconstruction occupies an “eccentric” place in the varied field of biopolitics, as it radicalizes the indissoluble knot that binds life to power. On the basis of Foucauldian analysis, Derrida reflects on the “deviation” of biopolitics, which turns into bio-thanato-politics, that is to say, politics over life (bios) and death (thanatos). Life and death are not opposite, rather, they are inseparable, as one has inscribed the other within itself. Derrida’s bio-thanato-politics, as a deconstruction of the concept of life and its relationship (...) with the power, which is always the power of life and death, is not a different declination of biopolitics, but its radicalization. Beyond the biopolitical alternative between a power over life and a power of life, Derrida thinks a bio-thanato-politics, namely, a politics of the survival. Surviving well together, indeed, is the essential character of his democracy to-come. (shrink)

ArgumentThe purpose of this paper is to provide an analysis of Giordano Bruno’s conception of mathematics. Specifically, it intends to highlight two aspects of this conception that have been neglected in previous studies. First, Bruno’s conception of mathematics changed over time and in parallel with another concept that was central to his thought: the concept of infinity. Specifically, Bruno undertook a reform of mathematics in order to accommodate the concept of the infinitely small or “minimum,” which was introduced at a (...) later stage. Second, contrary to what Héléne Védrine claimed, Bruno believed that mathematical objects were mind-dependent. To chart the parallel development of the conceptions of mathematics and infinity, a seven-year time span is considered, from the publication of Bruno’s first Italian dialogue (La cena de le ceneri,1584) to the publication of one of his last Latin works (De minimo, 1591). (shrink)

During the latter half of the thirteenth century there arose around Tuscany a strange and unprecedented poetry, erudite, abstract, and arrogantly intellectual. It sang beyond courtly conventions about the wonders of the rational universe whose complex secrets the new speculative sciences were eagerly systematizing. Appropriating the language of natural philosophy, Aristotelian psychology, and even theology, love poetry developed a new theoretical understanding of its enterprise which allowed it to redefine love as spiritualized search for knowledge. This intellectualization of erotic desire (...) culminates in the Florentine sitlnovisti, a handful of learned poets who turned love poetry into an eclectic philosophical affair. Guido Cavalcanti’s famous canzone “Donna me prega” was universally considered to be not only the technically most perfect canzone ever written but also a rigorous philosophical treatise. As much as in our own day, exegeses of the poem were forced into the arcana of Scholastic Aristotelianism in order to make sense of its abstract, psychologistic definition of love’s essence. While Cavalcanti lyricized an Averroistic logic of the unified intellect, his younger friend Dante was preparing to put all of medieval philosophy, theology, and science into terza rima. It was in this terza rima that medieval Paris found perhaps its most felicitous expression, for the Divine Comedy represents, among other things, a creative transfiguration of the critical discourses Paris was diffusing throughout Europe.What recalls that situation today is the way Paris again marks the center of critical thought, while in Italiy a new generation of poets has emerged that translates the lessons of contemporary philosophy into poetry. In this essay I plan to discuss some of the most radical or, by analogy, “stilnovistic” of these lyricists. For purposes of convenience I will refer to them as the “favorite malice” poets. The phrase comes from the title of an anthology of select contemporary Italian poetry, recently published in a bilingual English edition: The Favorite Malice: Ontology and Reference in Contemporary Italian Poetry.2 The title alludes to a passage of Friedrich Nietzsche: “It is my favorite malice and art that my silence has learned not to betray itself through silence.” These words from Thus Spoke Zarathrustra serves as the anthology’s epigraphs and signal the peculiar poetics that brings the poets together in one volume. They are not brought together as a “school” but as a loose convergence of individual practices. The most illustrious name among the group is that of Andrea Zanzotto , who belongs to an older generation but whom the other poets call their “youngest traveling companion.” The “older” companions include Nanni Cagnone, Luigi Ballerini, Raffaele Perrotta, and Angelo Lumelli. Robert P. Harrison is assistant professor of Italian at Stanford University. He has published a book of poems, The Murano Workshop , and articles on Dante, Kierkegaard, Nietzsche, and liberal philology. The Body of Beatrice is the title of his work in progress. (shrink)

ABSTRACT Stand-up so closely resembles-and is meant to resemble-the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk-social spaces and third spaces such as bars, coffee (...) houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Lost Italian Renaissance: Humanists, Historians, and Latin’s LegacyPaul Richard BlumChristopher S. Celenza. The Lost Italian Renaissance: Humanists, Historians, and Latin’s Legacy. Baltimore: The Johns Hopkins University Press, 2004. Pp. xx + 210. Cloth, $45.00This is a programmatic book about why and how philosophy should care about Renaissance texts. Celenza starts with an assessment of the neglect of the wealth of Latin Renaissance [End Page 485] (...) sources by nineteenth-century historiography, followed by portraits of two prototypal twentieth-century historians and their philosophical approach. He proposes a method of study for Renaissance thinkers and exemplifies it with two key figures and with the concept of honor. A survey of the field of study and an appendix concerning Renaissance research in the US conclude the book."The Renaissance" as a field of research between the Middle Ages and what is now cowardly called "Early Modern" became legitimate through the awakening of national consciousness in the nineteenth century. Consequently, the emphasis lay on vernacular language works in Italy and elsewhere. Latin Renaissance literature never was worthy of Grossforschung, i.e., of national projects like the academy enterprises concerning world history or classical studies, even though classical philology originated in the humanists' emulation of the ancients. This however would be absorbed by the nineteenth-century idea of national character (12).Italian Hegelianism of the nineteenth and early-twentieth century included Renaissance philosophy in the evolution of national spirit, and the late Eugenio Garin as its pupil spent his scholarly life portraying with astounding precision and detail Italian Humanism and Renaissance as a dialectic and rational development. Equally diligent was the German born Paul Oskar Kristeller, clinging, however, to a very different understanding of philosophy, which Celenza describes as rationalist in the Kantian and metaphysical in the Platonico-Aristotelian tradition (41). Here the author underestimates the influence of Heidegger on Kristeller: his dissertation was clearly an interpretation of Plotinus in the light of existentialism, which still transpires in his famous Ficino book and many later philosophical statements. The problem with both approaches, that of Garin and that of Kristeller, is that those philosophers who ignore history (deliberately or incidentally) and those who lost an understanding of metaphysics do not know how to read Renaissance thinkers.'Microhistory' is the formula Celenza proposes: Richard Rorty's abolishing the notion of 'representing' reality in favor of evocation and conversation—both for the interpretation of the past and the past itself—and Pierre Bourdieux's notions of 'field' and 'relational thinking' open the possibility of locating past thinkers in their community and, consequently, the meaning of their philosophical endeavor. What Celenza exercised with Garin and Kristeller applies also to Renaissance authors. Under the heading 'Orthodoxy,' Celenza shows that it is unfortunate to censure Lorenzo Valla (+ 1457) or Marsilio Ficino (+ 1499) as being unorthodox or as precursors to the Reformation, because this perspective misses the point of their lives' work—namely, to find out what makes Christian beliefs and their sources Christian. Valla's discoveries in Greek and Latin philology and Ficino's experiments with magic are part of their scrutiny of orthopraxy (my term), the right way of Christian life, and are embedded in their conversations with friend and foe, who in some cases still await discovery. The far-reaching message of these two samples is: reading their work and studying their conversations is the way to study philosophy in the fifteenth century.The same is proven by engaging in social concepts such as 'honor.' Starting with a surprising appreciation of gender studies, Celenza suggests taking a look at intellectual masculinity among courtiers and writers. Then it turns out that Machiavelli bequeathed to modernity—perhaps as a caricature—the structure of struggle for power, ideas, and provision in which humanists were engaged, being the first large generation of intellectuals outside the safe haven of cathedrals and convents."What is really there?" is the concluding question. A new canon, the prelude to early modern sociology of scholarship, and models of—presently highly acclaimed—contextualization of intellectual productivity. Returning to the Latinity of Renaissance sources Celenza shows that even the emergence of vernacular literature, which bewitched nationalist historiography, was by itself a fruit... (shrink)

The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q. xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says that ‘the Greek original of Sceparnio in the Rudens certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx thought sehr k's argument that ancient works of art, in (...) particular Italian vases and terra-cottas, afford faithful representations of the costumes worn on the Attic stage. ‘It is certain’ ‘that the actors in Eubulus’ Auge looked like the figures on the vase'. (shrink)

Maggie Günsberg explores the intersection between gender portrayal and other social categories of class, age and the family in the Italian theatre from the Renaissance to the present day. She examines the developing relationship between patriarchal strategies and the formal properties of the dramatic genre such as plot, comedy and realism. She also considers conventions specific to drama in performance, including images of both femininity and masculinity. An interdisciplinary approach, drawing on semiotics, psychoanalysis, philosophy, theories of spectatorship and (...) dramatic theory from a feminist perspective, informs Günsberg's critique of landmarks in Italian theatrical history, including work by Machiavelli, Ariosto, Goldoni, D'Annunzio and Pirandello. The book concludes with a chapter on the plays of Franca Rame, assessing the impact of this important figure on contemporary Italian theatre. (shrink)

This innovative aid to the study of Italian was published in 1867 by Maria Francesca Rossetti, the older sister of Dante Gabriel, William Michael and Christina. A scholar and teacher of Italian, she was later to publish A Shadow of Dante, a guide to the Divine Comedy, also reissued in the Cambridge Library Collection. Her purpose here, as she explains in her preface, is to demonstrate idiomatic Italian usage by providing short passages translated very literally into (...) English, so that the 'unnatural' English phraseology demonstrates the correct Italian construction. The passages are to be translated back into Italian, with the help of some supplied vocabulary and an opening chapter which elucidates some of the more difficult aspects of Italian grammar, often by comparing Italian with French usage. The technique had long been used for Latin and Greek prose composition, but was innovatory for modern languages. (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of (...) Nestroy. Their game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

The thirteenth-century logician Lambert of Auxerre was well known for his Summa Lamberti, or simply Logica, written in the mid-1250s, which became an authoritative textbook on logic in the Western tradition. Our knowledge of medieval logic comes in great part from Lambert's Logica and three other texts: William of Sherwood's Introductiones in logicam, Peter of Spain's Tractatus, and Roger Bacon's Summulae dialectics. Of the four, Lambert's work is the best example of question-summas that proceed principally by asking and answering questions (...) on the subject matter. Thomas S. Maloney's translation of Logica, the only complete translation of this work in any language, is a milestone in the study of medieval logic. More than simply a translation, Maloney's project is a critical, comprehensive study of Lambert's logic situated in the context of his contemporaries and predecessors. As such, it offers a wealth of annotation and commentary. The lengthy introduction and extensive notes to the text explain the origin, theoretical context, and intricacies of the text and its doctrines. Maloney also addresses the disputed issues of authorship, date, and place of publication of the Summa Lamberti and makes available to the English-only audience the French, German, and Italian secondary sources--all translated--that are needed to enter the discussion. "Thomas S. Maloney fully commands the primary and secondary sources necessary to elucidate Lambert's Logica. An expert on Roger Bacon's philosophy, he demonstrates a rare proficiency in medieval Latin and scholastic logic. His references to sources from the ancient (Aristotle and Boethius) and medieval worlds are apposite, perspicuous, and useful. The volume's presentation with an appropriate introduction and commentary in the endnotes will no doubt establish it as an indispensable resource for scholars in the twenty-first century." --Alan Perreiah, University of Kentucky. (shrink)

What did it mean to “vulgarize” in Renaissance Italy? Was it simply a matter of translating into the vernacular, or did it mean making a text more accessible to the people – to in some sense popularize it? The answer is far from simple and certainly never one-sided; therefore, each individual case needs to be independently assessed on its own merits. This article seeks to shed some light at least on the major treatments of the theory of vulgarization by (...) the likes of Ludovico Castelvetro, Faustus Longianus, Francesco Robortello, Alessandro Piccolomini, Orazio Toscanella and Girolamo Catena, which were central to the debate from the 1540s onwards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 525 "an awareness of its perfection in perfect sell-identity" stems from his own theological bias: if God is to be connected with the world, His thinking cannot be merely a thinking about itself; His mind must also contain the Ideas of the sensible world. The inconsistency is quite apparent in the concluding paragraph of the introductory chapter three on "SellKnowledge ": If we study chapters seven and (...) nine of Book Lambda against the background of these texts on the meaning of friendship, it becomes apparent that a fortiori God's thinking must concern his own being and that "the thinking of thinking" is the supreme form of self-knowledge. Far from being an objectless returning to oneself, this knowledge concerns the very being of the First Principle. It would also seem to fot|ow that iust as knowing a friend is a certain degree of self-knowledge because of the ontological kinship between the self and a friend, God, in knowing himself, also knows, to a certain degree, the essential principles of things in so far as he is the first being encompassing within himself the perfections which other beings possess. This would, however, not imply that the first being would know the world as distinct from himself or as dependent on himself (pp. 33-34). How can God (the Unmoved Mover) think only of Himself, and at the same time, to a certain degree (whatever this means) know also the essential principles of things, the perfections which other beings possess? And what textual justification is there for attributing this position to Aristotle? There are a number of errors in the text. Some of them are as follows: (1) On p. 21 Elders quotes from Laws 987b, in spite of the fact that the Laws ends on 969c. The passage referred to would have to be in Epinomis, but at 987b there is nothing of the text he quotes, to wit, vo~g ~v n0ooXQf3o0oa~E~0~tv 6006g 0~tv. (2) On p. 24, note 41, he correctly gives the text at 432a4 as ~ ~oggdSEo~xotg do0n~o~g x6 vo~x6 ~oxt but makes it mean: '~ere are phantasmata in which the intelligible things are contained." Evidently he confuses this with the passage at 431b1--4. (3) On p. 279, p~.~oxr should read p~i~.t~r (4) On p. 5, ~oo~v should read 6.~ao6v. K. W. Hsaa~oroN Emery University In Our Image and Likeness: Humanity and Divinity in Italian Humanist Thought. Two Volumes. By Charles Trinkaus. (Chicago: The University of Chicago Press, 1970. Pp. 985. $22.50) I. Since the appearance of Burckhardt's classic essay more than a century ago, three schools of thought have grown up around the problem of the nature and extent of humanism 's relationship to Christianity. The classic position, represented by Burckhardt, Symends, Dilthey, Gentile, Cassirer, Saitta, and others, has interpreted humanism as an essentiaUy anti-Christian, anti-scholastic, rationatistic, and individualistic phenomenon caught up in an overwhelming concern for attaining to historical greatness in this world. If religion has been considered at all (and it is usually left to take care of itself), it has been so reinterpreted as to become consistent with the interests of emerging secularism, liberalism, and modern science. Opposing the Burckhardtian position, however, is one originally associated with the work of Giuseppe Toffanin and, more recently, Hiram Haydn. Here, Renaissance humanism is seen to be fundamentaUy Catholic, orthodox, and traditional---the two movements joined in perfect harmony by a common concern for antiquity and universaiism, for Latinity, faith, and corporate elitism, and by a common opposition to democratic particularism, heresy, individualism, modernity, and the vernaculars. What makes these two positions extreme, however, is the existence of the largest, most 526 HISTORY OF PHILOSOPHY moderate, and most diversified camp. Originating with Thode, Pastor, Olgiati, and Joachimsen, among a host of others, it has encompassed the general view that humanism and Christianity are separate yet interrelated. For some, medieval Catholicism is not the antithesis but the fountainhead of Renaissance humanism--the religious cause of a secular effect. For others, humanism is a novel intellectual movement, but one yet operating within a still... (shrink)

Giordano Bruno’s Cabala del cavallo pegaseo _ _grew out of the great Italian philosopher’s experiences lecturing and debating at Oxford in early 1584. Having received a cold reception there because of his viewpoints, Bruno went on in the Cabala to attack the narrow-mindedness of the university--and by extension, all universities that resisted his advocacy of intellectual freethinking. _The Cabala of Pegasus _consists_ _of vernacular dialogues that turn on the identification of the noble Pegasus and the humble ass. In (...) the interplay of these ideas, Bruno explores the nature of poetry, divine authority, secular learning, and Pythagorean metempsychosis, which had great influence on James Joyce and many other writers and artists from the Renaissance to the modern period. This book, the first English translation of _The Cabala of Pegasus, _contains both the English and Italian versions as well as helpful annotations. It will have particular appeal to all Renaissance scholars and those interested in the Renaissance cabalistic underpinnings of modern literature. (shrink)

Giordano Bruno’s Cabala del cavallo pegaseo _ _grew out of the great Italian philosopher’s experiences lecturing and debating at Oxford in early 1584. Having received a cold reception there because of his viewpoints, Bruno went on in the Cabala to attack the narrow-mindedness of the university--and by extension, all universities that resisted his advocacy of intellectual freethinking. _The Cabala of Pegasus _consists_ _of vernacular dialogues that turn on the identification of the noble Pegasus and the humble ass. In (...) the interplay of these ideas, Bruno explores the nature of poetry, divine authority, secular learning, and Pythagorean metempsychosis, which had great influence on James Joyce and many other writers and artists from the Renaissance to the modern period. This book, the first English translation of _The Cabala of Pegasus, _contains both the English and Italian versions as well as helpful annotations. It will have particular appeal to all Renaissance scholars and those interested in the Renaissance cabalistic underpinnings of modern literature. (shrink)

Giordano Bruno’s Cabala del cavallo pegaseo (_The Cabala of Pegasus_)_ _grew out of the great Italian philosopher’s experiences lecturing and debating at Oxford in early 1584. Having received a cold reception there because of his viewpoints, Bruno went on in the Cabala to attack the narrow-mindedness of the university--and by extension, all universities that resisted his advocacy of intellectual freethinking. _The Cabala of Pegasus _consists_ _of vernacular dialogues that turn on the identification of the noble Pegasus (the spirit (...) of poetry) and the humble ass (the vehicle of divine revelation). In the interplay of these ideas, Bruno explores the nature of poetry, divine authority, secular learning, and Pythagorean metempsychosis, which had great influence on James Joyce and many other writers and artists from the Renaissance to the modern period. This book, the first English translation of _The Cabala of Pegasus, _contains both the English and Italian versions as well as helpful annotations. It will have particular appeal to all Renaissance scholars and those interested in the Renaissance cabalistic underpinnings of modern literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante’s Poetics Of The Sacred WordSteven BotterillI hope to make a case that, until recently, would probably have seemed self-evident, or at least uncontroversial: namely, that a positive valuation of the power of human language to express and to represent informs the textual practice of Dante’s Commedia—or, to put it more bluntly, that Dante believes in words.1The language of poetry was, for Dante, the supremely demanding and supremely rewarding (...) form of human eloquence. This much is made clear in his significantly titled treatise De vulgari eloquentia (On Eloquence in the Vernacular), which, having set out—and failed—to identify a truly noble form of the Italian vernacular, takes it as axiomatic that if (or rather when) such a language is brought into being, it will primarily be used by poets in the composition of their poetry. Despite the many subsequent developments in his thought, and despite, above all, the drastic and often underestimated effects of his shift after 1300 from lyric to narrative-dramatic forms and techniques, nothing in Dante’s later works gives us any reason to think that he ever modified this view.Within the narrative of the Commedia, the overriding importance of eloquence is amply demonstrated by the fact that, without it, Dante-character’s journey would never have taken place. It is to poetic eloquence that Dante owes both his visionary experience and his eventual salvation. Confirmation of this initially startling proposition occurs in canto II of Inferno, where Virgil describes his commission from Beatrice to come to the aid of her errant admirer, and explains that he is charged to do so through the use of his “parola ornata” (“ornamented [End Page 154] word”: Inf., II. 67)—not merely a word plucked from the dictionary, however potently charged with salvific meaning, but a word (or, by synecdoche, a language) that is perceptibly embellished with the technical and rhetorical devices recognized by its hearers as constituting eloquence. Virgil, then, is not just to speak the saving word but to pay attention, as both his historical identity and his creator’s agenda require, to the aesthetic and intellectual implications of its usage; and the efficacy of his speech is manifestly dependent on the elegance and persuasiveness of its formulation.Dante-character’s initial recognition of his mysterious interlocutor in Inferno I as “quella fonte / che spandi di parlar sì largo fiume” (“that spring / that pours forth so rich a stream of speech”: Inf., I. 79–80) is thus retrospectively justified: this is the immediately relevant aspect of Virgil’s historical personality, the one that best equips him to become Dante-character’s guide and mentor in Hell and (most of) Purgatory. Likewise, it is under the auspices of another renowned possessor of eloquence, Bernard of Clairvaux, that Dante’s journey reaches its appointed end. The narrative movement through the Commedia is, among much else, a movement from one “parola ornata” to another, from Virgil’s eloquence to Bernard’s, from the pagan word that offers worldly renown to the Christian word that both transfigures the believer in this life and promises bliss in the life to come. The former, however, grounds the process that leads to the latter; and at both ends of the journey the functional significance of the word and its usage remains paramount.We need, however, to be careful at this point, lest we begin too quickly to entertain the notion that the centrality of eloquence in Dante’s thought immediately justifies the conclusion that he accepted the intrinsic validity of poetic language, or, more controversial still, its supremacy over other forms of eloquent discourse. Firstly, Virgil’s is not the only word in the poem distinguished as “ornata.” The epithet recurs in the bolgia of the seducers, as part of the tale of Jason, who “con segni e con parole ornate” (“with signs and with ornamented words”: Inf., XVIII. 91) led Hypsipyle astray and earned himself damnation. Clearly, Jason’s “parole ornate” are morally quite different from Virgil’s: instead of saving they betray, instead of embodying the truth they act as a vehicle of deceit. Their ornamental quality is specious, employed to conceal their... (shrink)

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes original scholarly (...) contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

A term of art, originally Italian, becoming common usage in other European vernaculars in the late sixteenth century. It meant practical reflection, albeit in writing and general in form, about all aspects of statecraft . It claimed practical usefulness in virtue of its grounding in experience and history, contrasting itself with “mirrors of princes,” which were supposedly ignorant of the realities of politics. More narrowly, reason of state meant a “Machiavellian” disregard for legal, moral, and religious considerations when the (...) “interests of the state” or “necessity” required it. Particularly contentious were the justifiability of dishonesty, duplicity, breach of faith and even treaty obligations, violence against opponents and competitors, illegal taxation, disregard of the claims of traditional institutions and officeholders, and the practice of religious toleration. Opponents of “reason of state” attempted to demonstrate that, on the contrary, adherence to religion, morality, and legality was the best policy, in that it earned providential rewards, but also that in strictly pragmatic terms it was most likely to bring political success. However, these proponents of “true reason of state” acknowledged that strict adherence to these norms was sometimes impossible, and when it was, statesmen must attempt to avoid the greater evil. Having become the subject of a vast literature and even a standard university topic, reason of state faded as an issue in the later seventeenth century. Realpolitik from the nineteenth century onwards resembles it, with the state representing a morality superior to the norms of legality and private morality, a view in turn contested by advocates of human rights and international morality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Dante, Hyperspheres, and the Curvature of the Medieval CosmosWilliam EggintonIn the course of his lectures on medieval literature at Oxford University in the 1950s C. S. Lewis would ask students to walk alone at night, gaze at the star-filled sky, and try to imagine how it might look to a walker in the Middle Ages. It would not likely have occurred to him that some forty years later (...) several astrophysicists would ask that their readers perform the same activity, at least figuratively—not, however, with the intention of experiencing medieval conceptions of the cosmos but rather in order to begin to imagine the shape of our own. One of the astrophysicists in question is Stanford Professor Emeritus Robert Osserman, whose 1995 book The Poetry of the Universe is an attempt to acquaint lay readers with what the most recent research suggests is the shape of the universe by leading them through a brief history of the mathematical and technological developments that made such boundary-breaking thought possible. Paradoxically, when it comes to trying to imagine that all-encompassing form which is derived from a four-dimensional mathematical model called a hypersphere, he turns not to ultra-modern computer-generated images nor to dry but technically accurate exegeses of mathematical formulae but rather to the verses of a fourteenth-century Italian poet, Dante Alighieri. His claim is that in the third canticle of the Divine Comedy, which details his ascent through the heavens, Dante describes the cosmos with astonishing precision as a hypersphere, exactly as modern physics has determined it to be.If the cosmology of the present makes use of Dante heuristically, however, it never asks the most obvious question: Why? Why does one need to go back to the fourteenth century for a poetic description of how the universe appears to modern science? Osserman assumes it to be a mere coincidence, and why should he not? What possible access would a thinker—a poet even—of the European Middle Ages have to the highest achievements of almost six centuries of subsequent thought? In answering this question, I am not proposing to naively interpret the past in our own image, claiming Dante to be a mathematical genius [End Page 195] before his time. I am, however, suggesting that there is an excellent explanation for why one must look to the fourteenth century for models of expression adequate to the challenges posed by nineteenth and twentieth-century advances in mathematics: namely, that in the course of the Scientific Revolution, wherein were laid the epistemological foundations for the discoveries of modern science, certain possibilities of thought and imagination were discarded, forgotten, and certain abilities were, if only temporarily, lost. The Middle Ages has long been painted as a period whose culture was hostile to free thought and new knowledge; perhaps it is now time to recognize that it was also a time in which phenomena could sustain mutually exclusive and contradictory explanations, when the battle between faith and science had not yet been conclusively won by either side, and when the efforts to bridge the stories they told could produce conceptual edifices whose mere possibility would be unthinkable only 200 years later. This essay is about one such conceptual edifice and how openness to its perspective allowed a poet to put into words what could not be imagined by his descendants, and what eludes us even today.The Shape of the Modern UniverseImagine that you are a completely flat creature, living happily in your two-dimensional world.1 As observers we are outside this world, and we can see you milling about with your flat friends, blissfully unaware of the uncharted regions one dimension away on either side of you. Now imagine that this plane is not flat—in the sense of rectilineal—as you might have created it in your mind, but rather is curved; in fact it is a sphere. Assuming that this sphere is large enough, there is no reason that you, an inhabitant of this surface, should be aware of its curvature. Even we, the three-dimensional observers, if close enough to the surface, would not recognize its curvature. One could conjecture, however... (shrink)

A term of art, originally Italian, becoming common usage in other European vernaculars in the late sixteenth century. It meant practical reflection, albeit in writing and general in form, about all aspects of statecraft (reason = reasoning, discussing, considering, but also a ground or justification for acting; state = government, the prince’s position, the institutional order of a “commonwealth” or “principality”). It claimed practical usefulness in virtue of its grounding in experience and history, contrasting itself with “mirrors of princes,” (...) which were supposedly ignorant of the realities of politics. More narrowly, reason of state meant a “Machiavellian” disregard for legal, moral, and religious considerations when the “interests of the state” or “necessity” required it. Particularly contentious were the justifiability of dishonesty, duplicity, breach of faith and even treaty obligations, violence against opponents and competitors, illegal taxation, disregard of the claims of traditional institutions and officeholders, and the practice of religious toleration. Opponents of “reason of state” attempted to demonstrate that, on the contrary, adherence to religion, morality, and legality was the best policy, in that it earned providential rewards, but also that in strictly pragmatic terms it was most likely to bring political success. However, these proponents of “true reason of state” acknowledged that strict adherence to these norms was sometimes impossible, and when it was, statesmen must attempt to avoid the greater evil. Having become the subject of a vast literature and even a standard university topic, reason of state faded as an issue in the later seventeenth century. Realpolitik from the nineteenth century onwards resembles it, with the state representing a morality superior to the norms of legality and private morality, a view in turn contested by advocates of human rights and international morality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:86 HISTORY OF PHILOSOPHY lamblichi Chalcidensis ex Coele-Syria de vita Pythagorica liber, lamblichos, Pythagoras. Legende--Lehre---Lebensgestaltung. Griechisch und Deutsch, herausgegeben, iibersetzt und eingeleitet von Michael yon Albrecht. (Ziirich & Stuttgart: Artemis, 1963. Pp. 280. = Die Bibliothek der Alten Welt, Reihe Antike und Christentum.) The present edition and translation again makes available one of the texts most valuable for the understanding of the world of late antiquity. The earlier editions, (...) especially that of L. Deubner (1937), are out of print. The fact that this document has been translated into German for the first time is also very helpful, since Iamblichos is sometimes difficult to understand. A brief but nevertheless informative introduction rightly emphasizes that Iamblichos intended to present an introduction and initiation into the Pythagorean way of life rather than a biography of Pythagoras based upon historically trustworthy materials. Although the biography of Pythagoras is certainly a part of the book, it serves only as the ideal example of the Pythagorean way of life, as Iaznblichos sees it. However, more than merely a work of Iamblichos, it ought to be recognized as a "fundamental document of the image of man in later antiquity" (p. 11). The text is based upon L. Deubner's edition, but occasionally it takes up older conjectures or returns to the tradition (for a more detailed discussion cf. W. Burkert, Gnomon 37, 1965, 24ff.). The index and the explanatory notes are also helpful, although the latter prove to be too brief and do not adequately call the reader's attention to the problems of sources, tradition, and composition. One can only agree with von Albrecht that we still need a modem commentary (p. I1). H. D. BETZ Claremont, CaliIornia Agrippa and the Crisis o] Renaissance Thought. By Charles G. Nauert, Jr. (Urbana: University of Illinois Press, 1965. Pp. vi W 374. $8.00.) One of the most influential and widely read thinkers of the early sixteenth century was the German Heinrich Cornelius Agrippa von Nettisheim (1486-1535). His many works were reprinted often, as well as being translated into several vernacular languages. The De incertitudine et vanitate omnium scientiarum et atrium of 1526, for example, went through at least 16 printings before 1700 and appeared in Italian (1547), English (1569), French (1582), and Dutch (1651) translations, which were themselves often reprinted. Although interest in Agrippa has waned somewhat since the seventeenth century, there is still a significant amount of scholarly debate regarding his importance and the meaning of his writings. Professor Nauert's monograph is the fruit of many years' study of Agrippa's life, thought, and milieu. In it he clearly places Agrippa in his historical context, accurately sketching his background and influence. After a brief introduction (pp. 1-7), the study is essentially divided into two parts: The first (pp. 8-115) traces Agrippa's life and intellectual development, the second (pp. 116-334) discusses in some detail a number of the key themes developed in his writings. There is also a substantial bibliography (pp. 335-,355) and a quite complete and accurate index (pp. 357-374). Although the mass of material which Nanert brings to our attention indicates the opposite, one sometimes gets the impression that the author tends to underestimate the importance of his subject. For example, he says, "Agrippa von Nettisheim is now a forgotten figure in the intellectual history of the West" (p. 322), but this does not seem to be the case. Although much work remains to be done, at least five books have been devoted to Agrippa in the past half century and, indeed, at least seven articles have appeared in the past ten years on one or another aspect of his life and thought. The very fact that Nanert can argue with so much vigor against the views of contemporary scholars like Lynn Thomdike and Paola Zambelli indicates that it is anything but a dead issue. As it is, Nauert's book clearly and accurately describes Agrippa's place in the intellectual ambiance of the sixteenth century. It gives the first detailed analysis of Agrippa's life and thought in English in recent BOOK REVIEWS 87 times and is the first full*scale attempt to exhaustively treat... (shrink)

The article analyses Dante’s explanatory paraphrase and exegesis of the Lord’s Prayer, which opens the eleventh canto of Purgatory. The author reminds us that the prayer is the only one fully recited in the entire Comedy and this devotional practice is in line with the Franciscan prescription to recite it in the sixth hour of the Divine Office when Christ died on the cross. The prayer is reported by the poet on the first terrace of Purgatory, where the proud (...) and vainglorious must learn the virtue of humility, and therefore it symbolizes the perfect reciprocity between man and Godhead. Dante collates and amplifies the two complementary Latin versions of the Lord’s Prayer from Matthew 6: 9–13 and Luke 11: 2–4. The two synoptic texts are supplemented by the Gospel of John, from which Dante takes the concept of celestial bread – the flesh and the blood of Christ – which nourishes, liberates and sanctifies Christians. Apart from the Bible, Dante also draws upon the Augustinian and Tomistic traditions. However, the main hypotext behind the prayer, which is neither cited nor acknowledged in any explicit form in the Comedy, is the Franciscan Laudes creaturarum, also known as the Canticle of the Brother Sun. Written in vernacular by St. Francis himself, who is also the author of the Expositio in Pater noster, the Canticle was still recited and sung together with the Lord’s Prayer in the Franciscan communities in Dante’s time. Moreover, following the parallel readings popular nowadays in Dante studies, the author argues that Purgatorio 11 may be elucidated in the context of Paradiso 11, which is the Franciscan canto par excellence, and taken together they both offset cantos 10, 11, 12 of Inferno, which are based on the sin of pride. The denunciation of pride in and around canto 11 of Inferno alludes to humility – the remedy of such pride in Purgatory 11, which in turn prepares the reader for the encounter with St. Francis – the paragon of humility – in Paradiso 11. The author concludes that the Dantean paraphrase of the Lord’s Prayer is no less than an elaborate exegesis and homage to Christ and His teachings, something which is encompassed in a nutshell in the Sermon on the Mount. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Renaissance Crisis of ExemplarityFrançois Rigolot“Every example is lame” (Tout exemple cloche), acknowledged Montaigne in the last chapter of his Essais. 1 Was this the moaning of a lone, disillusioned skeptic or the idiosyncratic formulation of a widely shared attitude of mistrust at the end of the sixteenth century? To answer this question one must first examine the epistemological status of examples at the end of the period we (...) still conventionally call the “Renaissance”; and this is the purpose of this group of papers. 2In his work on the notion of exemplum in early modern France and Italy John D. Lyons helped restore the concept of exemplarity to its central place in the history of rhetoric. 3 From Aristotle’s paradeigmata—simple case stories at the orator’s disposal (Rhetoric 1.2. 1356b)—to Montaigne’s “lame” exemples—contingent instances unfit for demonstrative purposes (Essais III, 13, 1070)—the rhetorical impulse has followed strangely circuitous ways. Part of the confusion is probably due to the transformation of technical language under the pressure of common usage. Throughout the early modern period, while the Latin word exemplum continued to refer to rhetorical practice (an illustrative anecdote with a moral point), its vernacular derivatives (esempio, ejemplo, exemple, etc.) generally had a broader, looser, and less didactic meaning, as the emphasis was displaced to the “narrative” aspect of instances, regardless of their intentionality. In other words, although examples were often used to illustrate a didactic point, they differed from exempla inasmuch as they were not always meant to serve a demonstrative purpose.Of course, to the extent that choosing an example necessarily involves some form of selective process from a larger quantity of material, every instance is [End Page 557] bound to entertain a metonymic relation with a greater whole. But, etymologically, an example (essample, in Old French spelling) is a sample, one thing merely alleged to resemble another one, not a demonstrative tool. Yet in his Dictionarie of the French and English Tongues (London, 1611), Randle Cotgrave gave polysemous English equivalents for exemple and exemplaire:Exemple: 1) An example, sample, patterne, or president [sic] to follow; 2) a copie, or counterpane of a writing; 3) one thing alledged to prove, or inforce another that resembles it.Exemplaire: 1) A patterne, sample, or sampler; 2) an example, president [sic] or precedent, for others to follow, or to take heed by; 3) also, the copie, or counterpane of a writing. 4There is an odd mixture of demonstrative and non-demonstrative connotations. The two seemingly interchangeable words receive tripartite definitions, with the three meanings of exemple corresponding to the three of exemplaire.In Renaissance humanistic oratory the evocation of examples was often a simple matter of style. For better elocutory purposes public speakers were encouraged to use graphic case stories to make their speeches more appealing and enjoyable, but orators also used what they called exemplars (Latin exemplaria) to provide their audience with models of conduct to imitate. Worthiness was the ultimate criterion for exemplarity. Cato and Socrates were living symbols of moral determination and courage. They became powerful exemplars of ancient “virtue,” or moral fortitude (Latin virtus; Italian virtù). In the selective process of arguments (inventio), they were chosen because they exemplified a specific attitude or line of conduct: they were, by definition, exemplary examples. 5In the Renaissance the uplifting reading of ancient exemplars was closely related to the doctrine of imitatio, the sacrosanct recourse to inherited cultural models. At the same time the appeal of mimesis, characterized by the actual experience of the real world in reaction to scholastic insularity, greatly problematized the reception of ancient models. Whereas a long-held reverence for the imitative power of traditional exempla offered compelling patterns of moral conduct, the new attractiveness of a more “natural” mimetic discourse [End Page 558] tended to turn the study of models away from duplication. 6 In the face of the inexhaustible diversity and unpredictability of human actions, how can we choose a proper model after which to pattern our own behavior? This is one of the many questions raised by the humanist’s disenchantment with imitative symbols of moral conduct.In recent years the concept... (shrink)

The Renaissance of scientific thought in twelfth-century Western culture, when alchemy was introduced into the Latin schools, was largely due to the wave of translations, mainly from Arabic into Latin, but also including translations into and from Hebrew, sometimes with vernacular languages as intermediaries. Alchemy, whose tradition had been broken in the West at the end of the Hellenistic age, gained considerable attention—albeit less than astronomy/astrology and medicine—from the twelfth-century translators, who presented Latin culture with a hitherto unknown doctrine (...) that was completely different from any other science. Alchemy, as the Latin Middle Ages received it, is the philosophical search for the agent of material perfection by means of the manipulation of base materials. It thereby united theory and practice in a way unexpected by Latin scholars. In fact, alchemy as a doctrine was inseparable from laboratory practice; and this practice so much resembled well-established craftsmen's labor that for a long period the place of alchemy in the divisio disciplinarum wavered between the mechanical and the liberal arts. (shrink)

Giuliana Carugati - The Metaphysics of Dante's Comedy - Journal of the History of Philosophy 44:3 Journal of the History of Philosophy 44.3 474-475 Christian Moevs. The Metaphysics of Dante's Comedy. American Academy of Religion, Reflection and Theory in the Study of Religion Series. Oxford-New York: Oxford University Press, 2005. Pp. xii + 308. Cloth, $49.95 Having for a long time insisted on a newly "mystical," as well as a radically contemporary, reading of Dante's Commedia, this reviewer cannot (...) but deeply appreciate Moev's intelligent and well-written book, which addresses the question of the "truth" of the poem, and solves it by pointing in the direction of "self-knowledge, the self-experience of what is" . In other words, the poem represents "how . . . the human soul or intelligence.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of American Music EducationSondra Wieland HoweA History of American Music Education, 3rd edition, by Michael L. Mark and Charles L. Gary. Lanham, MD: Rowman and Littlefield Education, 2007, 500 pp., $95.00 cloth, $44.95 paper.Mark and Gary's editions of A History of American Music Education are indispensable reading for every music education student, practicing professional music educator, and the general reader who is interested in the development (...) of music teaching in American public schools. Based on excellent secondary sources, this history presents an overview of music education from Colonial America, through the development of textbooks in the nineteenth century and the growth of professional organizations in the early twentieth century, to the expansion of the curriculum and the role of government in education since 1950.This third edition is written by Michael L. Mark, professor emeritus at Towson University in Maryland, and dedicated to the memory of his friend and coauthor, Charles L. Gary.1 Mark has written two other books that complement the history editions. Contemporary Music Education surveys various reform projects since the 1950s, trends in the philosophy of music education, government policies, and the development of new methods.2Music Education: Source Readings includes writings about music education from both the European and American perspectives.3 There are many recent articles and dissertations on the history of music education, but the only recent book is Terese Volk's Music, Education, and Multiculturalism, which describes school programs and materials emphasizing multiculturalism in the twentieth century from a historical perspective.4 Publications in musicology add to our knowledge of the history of music in American society, but musicologists rarely write about music in public schools. Publications on the history of education are helpful in understanding trends in music education, but these publications do not discuss music.The third edition of A History of American Music Education is expanded to 500 pages from the approximately 400 pages of the earlier editions, largely because of new formatting and [End Page 115] spacing that make the third edition easier to read. Each chapter has a reference list in APA style in contrast to the Chicago Manual style of the earlier editions, with endnotes plus a bibliography at the end of each chapter. The material in Mark's third edition is basically the same as the earlier editions, with some expansion of the history of music education after 1950.This book, based on secondary sources, is an overview of the history of music in American public schools, showing the response of education to societal needs during various historical periods. There is an emphasis on the role of national music organizations, especially MENC: The National Association for Music Education (MENC), in advocating for the importance of music for every child. The historical account includes the various justifications for teaching music and discussions of the meaning of music. There were times when music educators were interested in aesthetics, but there were also many times when they were mainly interested in a practical understanding of music and extrinsic motives for including music in the school curriculum.5The first section on "The Western Heritage" (chapters 1-3) briefly covers music in Jewish traditions through the Greek and Roman cultures because the insights of these ancient thinkers influenced all Western societies. The chapter on the Middle Ages through the Reformation shows the role of music as a practical subject, part of the quadrivium with arithmetic, geometry, and astronomy. As music became an integral part of the church, musicians developed methods of teaching note reading. Martin Luther promoted the singing of "good music" in schools and education in the vernacular for the middle classes. With the development of Italian conservatories and the patronage of music by the elite classes of the Renaissance, music training became specialized for musicians working in the church and courts. These various conflicting European opinions of the role of music in society influenced American education.The second section on "The New World" (chapters 4-5) emphasizes the use of music as a means of praising God. Spanish musicians established successful music education programs in Peru and Mexico to promote Christianity. The French brought Christianity to... (shrink)

Scholars often assume that Old Comedies based on mythological stories differed from other Old Comedies primarily by their mythological plot material, and that therefore they shared the structural features of the surviving plays of Aristophanes. I show that the evidence may instead indicate that these Old Comedies did not as a rule have a parabasis or an agon. The structure of mythological Old Comedy could then have resembled the satyr play more closely than Aristophanic Old Comedy, meaning genre (...) did not necessarily determine form. (shrink)

The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and (...) motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy. (shrink)

Scholars often assume that Old Comedies based on mythological stories differed from other Old Comedies primarily by their mythological plot material, and that therefore they shared the structural features of the surviving plays of Aristophanes. I show that the evidence may instead indicate that these Old Comedies did not as a rule have a parabasis or an agon. The structure of mythological Old Comedy could then have resembled the satyr play more closely than Aristophanic Old Comedy, meaning genre (...) did not necessarily determine form. (shrink)

Dante's metaphysics--his understanding of reality--is very different from our own. To present Dante's ideas about the cosmos, or God, or salvation, or history, or poetry within the context of post-Enlightenment presuppositions, as is usually done, is thus to capture only imperfectly the essence of those ideas. The recovery of Dante's metaphysics is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make (...) of the Comedy 's claim to the "status of revelation, vision, or experiential record--as something more than imaginative literature." In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and of the relation between those metaphysics and Dante's poetics. He carries this out through a detailed examination of three notoriously complex cantos of the Paradiso, read against the background of the Neoplatonic and Aristotelian tradition from which they arise. Moevs finds the key to the Comedy 's metaphysics and poetics in the concept of creation, which implies three fundamental insights into the nature of reality: 1) The world is radically contingent, dependent at every instant on what gives it being. 2) The relation between the world and the ground of its being is non-dualistic. 3) Human beings are radically free, unbound by the limits of nature, and thus can find all of time and space within themselves. These insights are the foundation of the pilgrim Dante's journey from the center of the world to the Empyrean which contains it. For Dante, in sum, what we perceive as reality, the spatio-temporal world, is a creation or projection of conscious being, which can only be known as oneself. Moevs argues that self-knowledge is in fact the keystone of the Aristotelian and Neoplatonic philosophical tradition, and the essence of the Christian revelation in which that tradition culminates. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy. In particular, it becomes clear that poetry coincides with theology and philosophy in the poem: Dante poeta cannot be distinguished from Dante theologus. (shrink)

In this book, Christopher Celenza provides an intellectual history of the Italian Renaissance during the long fifteenth century, from c.1350–1525. His book fills a bibliographic gap between Petrarch and Machiavelli and offers clear case studies of contemporary luminaries, including Leonardo Bruni, Poggio Bracciolini, Lorenzo Valla, Marsilio Ficino, Angelo Poliziano, and Pietro Bembo. Integrating sources in Italian and Latin, Celenza focuses on the linked issues of language and philosophy. He also examines the conditions in which Renaissance intellectuals operated in (...) an era before the invention of printing, analyzing reading strategies and showing how texts were consulted, and how new ideas were generated as a result of conversations, both oral and epistolary. The result is a volume that offers a new view on both the history of philosophy and Italian Renaissance intellectual life. It will serve as a key resource for students and scholars of early modern Italian humanism and culture. (shrink)

Despite increasing popularity and intensive worldwide use, few studies have assessed the validity and factorial structure of the Heartland Forgiveness Scale. However, scientific literature showed that the original factorial structure of the HFS was not fully replicated and—in addition—the Italian translation is still lacking. To fill this gap, this study aims to extend evidence about the original HFS factorial validity by analyzing the Italian version. The final sample was composed of 523 randomly enrolled participants [139 males, 384 females (...) ] aged from 18 to 82 years who completed the Italian version of the HFS. The confirmatory factor analysis showed good fit indices for the original hierarchical factor solution and a significant decrease in model fit was found for all of the competing models. Also, the Italian version of the HFS revealed good reliability and very good psychometrical properties. Findings suggest that the Italian version of the HFS can be considered a reliable and good psychometrically based instrument for the assessment of dispositional forgiveness of the Self, Other, and Situation. (shrink)

Rather than having been designed to function as a slave market, the Agora of the Italians appears to hâve functioned as a multifaceted recreational facility for the members of the Roman collegia of the island. That is, it functioned as a combined palaestra, bath, banquet hall, and gladiatorial arena, such as thèse probably existed at the turn of the second-first centuries B.C. Architecture lly, the building enjoys distinct similarities with the ludii gladiato- rii at Pompeii and at Rome.

Petrarch In exactly a hundred years had passed since Jacob Burckhardt published his famous essay The Civilization of the Renaissance in Italy, ...

This volume deals with the psychological, metaphysical and scientific ideas of two major and influential Aristotelian philosophers of the Italian Renaissance - Nicoletto Vernia (d. 1499) and Agostino Nifo (ca 1470-1538) - whose careers must be seen as inter-related. Both began by holding Averroes to be the true interpreter of Aristotle's thought, but were influenced by the work of humanists, such as Ermolao Barbaro, though to a different degree. Translations of the Greek commentators on Aristotle (Alexander of Aphrodisias, Themistius (...) and Simplicius) provided them with new material and new ways of understanding Aristotle - Nifo even put himself to learning Greek - and led them to abandon Averroes, especially as regards his views on the soul and intellect. Nevertheless, both Vernia and Nifo engaged seriously with the thought of medieval scholars such as Albert the Great, Thomas Aquinas and John of Jandun. Both also showed interest in their celebrated contemporary, Marsilio Ficino. (shrink)