The short catalogue of the manuscripts of the monastery of St. John the Forerunner tu Bazelonos written by Minoïdes Mynas in February 1845 is edited and the entries matched with the only other known catalogue penned by A. Papadopulos-Kerameus in 1909, based on a visit to the monastery in 1884. Two of the manuscripts contained in the catalogue of Mynas can be identified ; the rest is probably lost. An inscription contained in manuscript nr. 39 of the monastery (...) and transcribed by Papadopulos-Kerameus identifies Manuel I. Komnenos as the founder of the convent. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:New Light from Arabic Sources on Galen and the Fourth Figure of the Syllogism NICHOLAS RESCHER The Problem of the Origin of the Fourth Figure FLYING IN THE FACE of the long-standing tradition--going back in Europe to Renaissance times--which credits Galen of Pergamon with the origination of the fourth syllogistic figure, recent authorities have almost to a man evinced doubt about Galen's claim to this innovation. Heinrieh Scholz speaks (...) of "the Galenian syllogistic figure which has been attributed to him, probably wrongly." i j. W. Stakelum concludes his careful discussion of the matter with the categorical assertion that "Galen did not teach the fourth figure." ~ I. M. Bochenski--following Lukasiewicz (see below)--says that the fourth figure "was only ascribed to Galen by a misunderstanding." : William Kneale (also following Lukasiewicz) writes that "it is easy to see how misunderstanding.., by some Arabian philosopher... could have given rise to the tradition that Galen added a fourth figure to Aristotle's syllogistic theory." 4 The currently received account of the matter is that of Jan Lukasiewicz who, in his book on Aristotle's Syllogistic (1951; 2d ed., 1957), presents the known reports about Galen and the fourth figure as follows (I list them in the order in which they came to light) : 1) Several passages in Averroes' (d. 1198) Middle Commentary on Prior Analytics credit Galen with introducing a fourth figure (ad Anal. Pr. I, 5; I, 8; I, 23). These passages, known in Europe through a Renaissance Latin translation of a Hebrew version, provided the basis upon which Zabarella in his work, De Quarta Syllogismorum Figura (in his Opera [Leiden: 1587], pp. 41-53), popularized the "Galenian figure" in European logic. 2) In 1844 Minoides Mynas published in the Preface to his edition of Galen's EisagSg~ dialektik~ an anonymous Greek fragment (late, perhaps 6th century) which states that certain "later scholars" transformed the indirect moods of the first figure added by Theophrastus and Eudeffms into a new fourth figure, citing Galen as the originator of this doctrine.~ 1Abriss der Geschichte der Logik (Miinster: 1931), trans, into English by K. F. Leidecker, ConciseHistory of Logic (NewYork: 1961);p. 38ofthe Englishversion. "Why 'Galenian' Figure?" The New Scholasticism, XVI (1942),289-296. s Formale Logik (Miinchen-Freiburg:1956; 2nd. ed., 1962), trans, into English by Ivo Thomas, A History of Formal Logic (Notre Dame: 1961);p. 142of the Englishversion. Williamand Martha Kneale, The Developmentof Logic (Oxford: 1962),p. 184. Alsoprinted in Karl Kalbfieisch, ~ber Galen s Einleitung in die Logik, 2~. Supplementband der Jahrbi~cherfi~r klassische Philologie (Leipzig:1897), p. 707. This datum casts some 28 HISTORY OF PHILOSOPHY 3) A Greek fragment was found around 1858 by Karl Prantl in a logical work of the Byzantine scholar Ioannes Italus (llth century) which says that Galen taught the existence of a fourth figure, adding sarcastically that he (Galen) thought thus to appear cleverer than the older logical commentators (presumably Theophrastus and Eudemus are intended), but fell far short.6 4) In 1899 Maximilian Wallies published7 an anonymous Greek scholium (of perhaps the 6th or the 7th century) on Ammonins' commentary on Prior Analytics which states that Galen "says in his Apodictic that there are four figures, because he looks at the compound syllogisms consisting of four terms (i.e., with three premisses )" rather than the simple (three-term, two-premiss) syllogisms of Aristotle. (The scholiast goes on to explain at some length how such compound syllogisms can be sorted into four groups.) It is readily seen that, given these data, two possibilities stand before us: a) Galen did actually invent the traditional fourth figure. Reports (1)-(3) are correct, and the anonymous scholiast of (4) was put on the wrong track by the fact that Galen also said that compound syllogisms of four terms can be classed into four groups. b) Galen did not invent the traditional fourth figure. Only after his time when once the indirect moods of the first figure had--somehow--become systematized into a separate "figure," was this credited to Galen by a mistake along the lines described by the anonymous scholiast. Thus (4) alone is right, and (1)-(3) are mistaken. Which of... (shrink)

The paper presents some pages of history of the First Ukrainian Theater of The Donbas - The All-Donbas State Ukrainian Drama Theater "Donderzhdrama". It covers its setting-up and operation milestones from the foundation in 1928 to 1935 when the Theater ceased to exist while merging with Artem Ukrainian Mobile Theater, based in Artemivsk. The author draws a conclusion that Donderzhdrama is the first independent Ukrainian theater in the Donbas rather than a branch of Franko Theater. From its foundation in 1928 (...) the Theater was based in the city of Stalino, having no permanent premises. It also faced such great problems as lack of funds and a clean-cut repertory plan as well as actors' turnover. Recollections about the operation in Stalino date back to only 1928 and 1929. In 1930-1934 the Theater performed outside Stalino, touring cities of the region and Ukraine. It is acknowledged that there are no archive documents regarding the setting up of Donderzhdrama as the first Ukrainian stationary theater of the Donbas. The Donderzhdrama staff comprised such actors as P. Poliova, R. Raisova, P. Shenchenko, L. Usatenko, D.I. Zhukov, Y. Khutorna, D. Gaidamaka, I. Avdienko, N. Reiska, Y. Shostakivska, O. Gorska, L. Zadniprovskyi, N. Bilodidova, stage directors Tetentiev, D. Shkliarskyi, Y. Shneiderman et al. In 1928 Donderzhdrama was headed by Stage Director D.I. Shkliarskyi. In 1931 Maria Adamska, a future Distinguished Artist of Ukraine, who was 15 at the time, embarked upon her creative career at the Theater. The Theater repertory included such plays as I. Mykytenko's "Personnel", Kirshon's "Humming Rails", Dniprovskyi's "Apple Captivity", Kulish's "Myna Mazalo", "First Horse Army", "Mine "Maria", "Street of My Joy", "Squadron Ruin", "My Friend" and others. (shrink)