ABSTRACTThis paper examines the theory of artefacts presented by the 15th-century thinker Paul of Venice, paying special attention to the views of authors often referred to as ‘nominalists’ (e.g. O...

This paper analyzes Paul of Venice’s theory of measurement of natural properties and changes. The main sections of the paper correspond to Paul’s analysis of the three types of accidental changes, for which the Augustinian philosopher sought to provide rules of measurement. It appears that Paul achieved an original synthesis borrowing from both Parisian and Oxfordian sources. It is also argued that, on top of this theoretical synthesis, Paul managed to elaborate a quite original theory of intensive properties that (...) marks him out not only from the nominalist framework of his Parisian sources but also from the usual realist treatments of the problem. Finally, it is shown that, to a certain extent, Paul undertook to apply the mathematical and logical tools inherited from the Calculatores tradition to empirical problems of natural philosophy, leading to reevaluate his role in the evolution of scientific thought in early 15th-century Italy. (shrink)

An obligation, in the sense in which it was of interest to medieval logicians from about the early thirteenth century to the end of the scholastic period, is, according to Paul of Venice, a relation limiting one to take some statement affirmatively or negatively. This relation is based on the actions of two individuals: one obligates the other by first putting forward a sentence which the respondent agrees to affirm or deny for a limited time. The sentence the respondent (...) agrees to affirm is called the positum; that which he agrees to deny, the depositum; and his act of agreeing, the admissio. After this relation is established between the opponent and respondent, the opponent proceeds by putting forward a series of sentences to which the respondent replies by granting, denying, or doubting — all in accordance with certain rules the two individuals have previously accepted as governing their exchange. If the respondent at any time grants what is inconsistent with the sentence he agreed to uphold, or responds in a way that violates the accepted rules, the exchange comes to an end. The respondent has failed in his obligation. (shrink)

Published in 1913, Thomas Mann's _Death in Venic_e is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions. In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in (...) Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth. Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete. (shrink)

In the 1330s Roger Swyneshed formulated a solution to semantic paradoxes based on the distinction between correspondence with reality and self-falsification as truth-making factors. Since Swyneshed states that some valid inferences are not truth-preserving, his view implies the question of the general definition of validity which he does not address explicitly. Logical works attributed to Paul of Venice contain developments of Swyneshed's contextualist semantics substantially modified by the assumption that sentential meanings are objective propositional entities. The main goals of (...) this paper are to show the correlations between the ontological and logical developments of Swyneshed's semantics in the works of Paul of Venice and to outline a context-sensitive formal semantics that could serve as a model of this family of semantic theories. (shrink)

From philosophy of science, epistemology, and ethics to political philosophy and philosophy of mathematics, Philip Kitcher has made outstanding contributions to every philosophical discipline. With Deaths in Venice: The Cases of Gustav von Aschenbach, he continues his journey into philosophy of literature he undertook back in 2007 with his book Joyce’s Kaleidoscope. Written in his clear, precise, and occasionally almost poetic style, Deaths in Venice is not only an inspiring new interpretation of Thomas Mann’s famous novel Death in (...) Venice but also a rich insight into the connection between philosophy and art, that is, literature and music. Original and thought provoking in his treatment of this much discussed... (shrink)

The history of the interpretations of The Merchant of Venice, both on the stage and in critical comment, and of the reactions it has evoked in its readers or viewers, is surely unique in the Shakespeare canon. Interpretations of Hamlet are numberless, but the contentions expend themselves within the intellectual realm. The Merchant of Venice reaches down into deep emotional levels, involving commitments and shrouded reticences of the soul. When conscience and the play come together, a drama takes (...) place. Sigurd Burckhardt has clearly perceived the problem, without exploring it. “Audiences,” he writes, “persist in feeling distressed by Shylock's final treatment, and no amount of historical explanation helps them over their unease.” We cannot join unreservedly in the joyful harmonies of the last act. “Shylock spooks in the background, an unappeased ghost.”. (shrink)

Venice and Padua are neighboring cities with a topographical and geopolitical distinction. Venice as a port city opened up towards Byzantium whereas Padua as a university city was a place of Humanism and research. The contributions analyze works of art as aesthetic formulations of their places of origin, which also have an effect on their surroundings. International experts investigate these two concepts and how the exchange worked.

With an overwhelming volume of studies on Venice's port architecture and coastal protection, the challenge remains to convey to lay readers how the science of hydraulics was applied. This article reports an experiment in creating a vivid narrative of the movement and effects of sand over a relatively short period of twelve years (1610-1622), which, in this case, started with the fifteen-year-old carcass of a shipwreck at risk of capsizing. I emulate how the erosion of sandbanks triggered by the (...) stranded wreck affected the subsequent silting of the canal. This, in turn, influenced the relationships between land and sea, access and obstruction, and arrivals and departures. Such a microhistory of sand offers a broad picture of the maritime know-how and technology that came into play. Finally, the essay reflects on microhistory's potential to explore port architecture’s technicalities. This approach yields an understanding of the exquisitely practical, in-depth details of the engineering response to significant, contemporary, normal, and catastrophic events. (shrink)

Paul of Venice joined the Austin Friars at an early age and was sent by them from Padua to study at Oxford in 1390. When he returned, full of ideas and laden with books, he began his prodigious writing career with several books on logic, including the Logica Magna, which runs to some half a million words. The current volume contains the final treatise, on insolubles - that is, logical paradoxes. After surveying fifteen previous solutions, Paul develops his own, (...) based on the idea that such propositions falsify themselves. Besides a critical edition of the Latin text, the volume also contains an English translation, a detailed commentary, excerpts from two other logical works of Paul, and a substantial introduction. The introduction describes the fourteenth-century background to Paul's treatise; it also gives a detailed rebuttal of a recent claim that the Logica Magna is not by Paul because its content clashes with genuine works of his. All in all, the volume greatly enhances our understanding of the development of logic, in particular of the semantics of propositions, during a crucial century in its history. (shrink)

The complex interaction between colonizer and colonized has attracted increasing attention among historians in the post-colonial period of the last fifty years. This perspective is also adopted by Maria Georgopoulou (hereafter: M. G.) in her treatment of the encounter between Venice and the Byzantine heritage of the territories the latter occupied shortly after the Fourth Crusade. M. G's. main thesis may be summarized as follows. Venice manipulated Crete's Byzantine heritage and assimilated it into her own rhetoric in order (...) to undermine the Byzantine presence in the island and to support and legitimize her own colonial rule. This was achieved mainly by the appropriation of Byzantine traditions in civic and religious ceremonies and the symbolic colonization of urban space, expressed in architectural designs, the use of buildings and spatial patterns. All these served as bold statements of control over the local Greek population and the Jewish communities. The same strategy of urban planning was implemented in the other main cities of the colonial empire (26). In addition, M. G. argues that there was yet another channel of appropriation of Byzantine culture, art and imperial heritage by Venice, resulting from the Byzantine impact of the Venetian colonial territories on the political and cultural identity of the Adriatic city. Until now this issue has been examined in numerous studies primarily focused on the relationship between Constantinople and Venice. (shrink)

In this paper, I focus on Paul of Venice’s plurality of forms and souls, i.e., his “two total souls” theory. I argue that this specific theory is a result of Paul’s reception of various positions originating from fourteenth-century Parisian philosophers like John of Jandun, the Anonymous Patar, Nicole Oresme, John Duns Scotus, and Walter Burley. By receiving these positions and by making use of merely parts of their doctrines, Paul creates a theory of the hylomorphic compound that fits well (...) within an Aristotelian framework of an Averroistic flavor. Although his position is not Averroistic in any strict sense, it mirrors quite well the growing interest in an Averroistic interpretation of Aristotle in Padua at his time. By looking at some of his successors, such as Gaetano da Thiene, Nicoletto Vernia, and Agostino Nifo, I show that Paul is on the borderline between a traditional, scholastic philosophical psychology or hylomorphism of Parisian origin and an Averroist reading of philosophical psychology or hylomorphism, which had its promoters in fifteenth-century Padua. (shrink)

In response to Frontiers’ 2020 Call for Papers on “Stereotypes and Intercultural Relations: Interdisciplinary Integration, New Approaches, and New Contexts,” my paper integrates the scientific study of stereotypes with a literary-theatrical exploration of stereotyping. The focus is on Tibor Egervari’s post-Auschwitz adaptation of Shakespeare’s anti-Semitic comedy The Merchant of Venice, with a very brief look at his related work on Christopher Marlowe’s The Jew of Malta and his 1998 collaboration with conductor Georg Tintner on a touring production of composer (...) Viktor Ullmann’s and librettist Peter Kien’s one-act opera, The Emperor of Atlantis, or Death’s Refusal, composed in the “model” concentration camp Terezín, in 1943–1944. Egervari’s theater art critically deconstructs what he calls “the Old Jew” stereotype in specific ways highly readable using the Stereotype Content Model and Behavior from Intergroup Affect and Stereotypes map. Theater performance can sometimes embody the forceful dynamic traced by the BIAS map, from cognition to affect to behavior. Egervari’s original adapation, which sets The Merchant of Venice in Auschwitz, reveals this dynamic clearly. My interdisciplinary study of Egervari’s theatrical-cultural work validates the SCM and BIAS map for literary studies and interprets the Shylock stereotype in the terms of those models and through the lens of Egervari’s anti-Nazi adaptation of Shakespeare’s Merchant. (shrink)

(http://philpapers.org/profile/112741 )[http://www.academia.edu/7765592 ] :"When Shakespeare was writing 'The Merchant of Venice', most people believed that the sun went round the earth. They were taught that this was a divinely ordered scheme of things, and that -in England- God had instituted a Church and ordained a Monarchy for the right government of the land and the populace. 'The past is a foreign country; they do things differently there.'- L.P.Hartley. ".

This essay looks at early‐modern Venice hydroculture as a case of episteme from below. The forms of water knowledge it developed were multilayered and collective in their essence and solidly rested on a social experiential basis that was rooted in labour (especially fishing) and practices (especially water surveying and engineering). In accordance with the city's republican esprit (and correspondent political values), its episteme emerged as the encounter and negotiation between various institutions and groups: the fishermen of San Niccolò in (...) Venice, the practitioners of the water magistrature and political authorities. This essay explores the institutional settings of this water culture, seen as an instance of bottom‐up epistemic construction. It especially addresses three historical instances: firstly, a seventeenth century program to map public waters in order to block their alienation for private fish farming; secondly, water officers’ interviews with fishermen aimed to assess the state of the lagoon hydromorphology and, thirdly, fishing regulations. Venice communitarian and circular forms of knowledge production are here contrasted to an opposite paradigm, which was embodied by the Galileian mathematician and Rome courtier, Benedetto Castelli. His interactions with the Republic of Venice on water management and his approach to hydraulic problems are revealing of an elitist and abstract understanding of scientific knowledge that guided political decisions from above without taking in any consideration the opinions of the ‘vulgar’. While his science was the expression of a top‐down political epistemology, Venetian water knowledge was more egalitarian. It left room for exchange, inclusiveness and bottom‐up codification; it valued the gathering of different experiences (including the fishermen's practical knowledge of their waters) and rested on a concrete and systemic (organicist) understanding of natural‐anthropic processes. (shrink)

The French philosopher Simone Weil worked on (but did not finish) Venice Saved, a tragedy about the conspiracy to overthrow the Republic of Venice in 1618. It has been largely ignored and has never been published in an English translation. Interest in Weil’s work has increased massively since her death and continues to grow, so that publishing this play in English will enable readers to expand their view of a writer whose work is in fragments. We have also (...) translated the notes that Weil wrote about Venice Saved and her sketches for the unwritten scenes, and have written four introductory chapters on: Weil’s life and significance; how the play came to be written and what it has to say; Weil’s view of tragedy; the issues raised by writing an English version of this play. There are endnotes, suggestions for further reading, and a bibliography of all works used in writing the introductory material. (shrink)

For the Venice Architecture Biennale 2010, curator Rietveld Landscape has been invited by the Netherlands Architecture Institute (NAI) to make a statement about the potential of landscape architecture to contribute to resolving the complex challenges that our society faces today. These challenges call for innovation; for a culture centred on design skills and cooperation between scientists and creative pioneers. The installation ‘Vacant NL, where architecture meets ideas’ calls upon the Dutch government to make use of the enormous potential of (...) inspiring, unoccupied buildings from the 17th, 18th, 19th, 20th and 21st centuries for innovation within the creative knowledge economy. Images of the installation can be found here: www.rietveldlandscape.nl/en/projects/439. (shrink)

This paper focuses on Paul of Venice’s realist theory of direct knowledge. In the second half of the 13th century human knowledge was standardly viewed as a process of abstraction enabling the human intellect to grasp the essences of corporeal things, regardless of the matter in which they are embodied. This process was achieved thanks to the mediation of mental entities (species intelligibiles) representing the dematerialised objects in the intellect. By the late 13th and early 14th centuries, however, some (...) authors began to regard this account as unsatisfactory. These authors held that assuming the existence of mediating species (considered themselves as objects of knowledge) amounts to thinking that between ourselves and the world there is a barrier preventing us from acquiring knowledge of reality in itself. Paul of Venice is aware of the sceptical accusations made against the theory of species in the 13th and 14th centuries. Nevertheless, he is a firm advocate of the existence of species. He claims that knowledge, despite coming about through species, is not indirect. Quite the contrary: we have immediate access to reality, and the individual objects that constitute it, precisely because our senses (which are purely passive) receive impressions direct from outside, thanks to species. He points out that species are not object of knowledge. They are not known at all during the cognitive process, as they are a mere means (a mechanical means, so to say), not an image nor a representation of anything, and therefore they are no obstacle between ourselves and the world. Thus, we are able to know reality exactly as it is in itself and, under ordinary conditions, our perceptions are practically infallible and cannot produce false knowledge. (shrink)

This paper answers the questions ‘what is the Merchant of Venice?’ and ‘how may it accomplish its purpose?’ I argue that the usual treatments of this play are inadequate and show how the play is a comedy through which the passions appropriate for the good human being are engendered. What is raised and ridiculed are our own temptations to lesser joys and less sweet uses mimetically roused in us by the action and characters of the play. What is whetted (...) but left unsatisfied is our higher love for justice. Thus the play provides a catharsis (purification) of desire and sympathy. (shrink)

In his Quadratura, Paul of Venice considers a sophism involving time and tense which appears to show that there is a valid inference which is also invalid. Consider this inference concerning some proposition A : A will signify only that everything true will be false, so A will be false. Call this inference B. A and B are the basis of an insoluble-that is, a Liar-like paradox. Like the sequence of statements in Yablo's paradox, B looks ahead to a (...) moment when A will be false, yet that moment may never come. In the Quadratura, Paul follows the solution to insolubles found in the collection of elementary treatises known as the Logica Oxoniensis, which posits an implicit assertion of its own truth in insolubles like B. However, in the treatise on insolubles in his Logica Magna, Paul develops and endorses a different solution that takes insolubles at face value. We consider how both types of solution apply to A and B : on both, B is valid. But on one, B has true premises and false conclusion, and contradictories can be false together; on the other (following the Logica Oxoniensis), the counterexample is rejected. (shrink)

This essay argues that the many allusions to the golden fleece motif in The Merchant of Venice provide us with the key to unlocking the meaning of its plot, one that Shakespeare has deliberately shrouded in mystery but at the same time has made available to us.

ABSTRACT Italian historiographers of the second half of the seventeenth century often establish parallels between early modern republics, comparing Genoa and Venice with the United Provinces, considered as similar political entities despite their evident political differences. The article, taking into account four different sources, investigates the meaning of those comparisons, published when the absolutist model was taking root all around Europe. In the twilight of the republican state, when the power and reputation of the Italian republics was maybe at (...) its weakest, those comparisons served both as a way to boost a supranational republican identity, and to question the strength of the classical republican constitution. This survey explores how these authors claim that, in order to survive in the Europe of absolute monarchies, those republics have to undergo a radical political change. Only by avoiding splitting the sovereignty among too many subjects, and reinforcing the monarchical element in their constitution, these republican states, no more based on the principle of equality, could compete in the new seventeenth-century political scenario. For this reason, Italian authors looked with great interest, and often celebrated the Dutch republic, considered a stronger government than that of Venice, even if it was regarded as an imperfect republic. (shrink)