Comparisons have frequently been made between the works of Dante and Milton, more often than not by critics with a definite predilection one or the other poet. The author of this systematic comparison has approached the task without partisanship, but with a warm admiration for both poets. It is her contention that, although Dante was generally out of favor during the seventeenth century, even in Italy, Milton had read the Divina Commedia sympathetically and with care by the time (...) he came to write Paradise Lost. In substantiation Professor Samuel cites many parallel uses of language, imagery, theme, and method, while also taking note of divergences. Source materials are given in the appendixes, including Milton's references to Dante and a list of previously published comparisons. (shrink)

This essay introduces the notion of a digital concordance as a reading and research tool to explore intertextual passages online, and illustrates how a digital concordance of highly allusive texts can change how we read and research such texts. I take as example the digital concordance on Intertextual Dante, a project on Digital Dante developed in collaboration with the Center for Digital Research and Scholarship at Columbia University, which in the first phase highlights the Ovidian intertextuality in Dante’s Divina (...) Commedia. The essay traces the history of the scholarship on Dante’s Ovid, identifying its strengths and limitations, especially of the concordances in print. Since the intertextual passages in the Commedia require a reading not restricted to the obviously corresponding verses, but attentive to the broader textual contexts, I show how the digital concordance on Intertextual Dante greatly facilitates such a contextualized reading. The visualization of the corresponding passages and the search options help the study of intertextuality in the Commedia, as illustrated with examples from the site. (shrink)

"Echi danteschi nelle opere del Nolano" Articolo pubblicato in occasione del 750° anniversario della nascita di Dante Alighieri.

This essay explores the intertextual relationships of Joseph Brodsky’s poem — an occasional verse dedicated to the fifth anniversary of the poet’s enforced emigration from the Soviet Union. As is common in Brodsky’s poetics, the text is imbued with allusions to other texts, not only from Russian, but from Western belles lettres, as well. Through reminiscences of La Divina Commedia the lost homeland together with the beloved native city of Leningrad is paralleled with Dante’s “lost and accursed” Florence (...) as well as with the lost St.Petersburg of Mandelshtam and Akhmatova, among others. The Dantean undertones are exposed not only on the semantical level of the examined text but in the metrical and structural aspects of the poem, as well. (shrink)

Averroës emerged from an eminent family in Muslim Spain to become the first and last great Aristotelian of the classical Islamic world; his meticulous commentaries influenced Christian thinkers and earned him favorable mention in Dante's _Divina Commedia_. _The Book of the Decisive Treatise_ was and remains one his most important works and one of history's best defenses of the legitimate role of reason in a community of faith. The text presents itself as a plea before a tribunal in which the (...) divinely revealed Law of Islam is the sole authority; Averroës, critical of the anti-philosophical tone of the Islamic establishment, argues that the Law not only permits but also mandates the study of philosophy and syllogistic or logical reasoning, defending earlier Muslim philosophers and dismissing criticisms of them as more harmful to the Islamic community than the philosophers' own views had been. As he details the three fundamental methods the Law uses to aid people of varied capacities and temperaments, Averroës reveals a carefully formed and remarkably argued conception of the boundaries and uses of faith and reason. (shrink)

It would be hard to find a more effective visual source for understanding the political ideology that underscores Dante's relationship to Boniface VIII in the Divina Commedia than the frescoes that line the walls of the Oratorio di San Silvestro in the Basilica of the Santi Quattro Coronati in Rome. These frescoes, which depict episodes from the life of St. Sylvester and his relationship to the emperor Constantine, express as their clear subtext the thirteenth-century papacy's view of the (...) proper relationship between ecclesiastical and secular power . Their vivid dramatization of these events synthesizes and, more importantly, interprets two well-known literary sources: the life of St. Sylvester that was thought to have been composed by Eusebius of Caesarea and the text of the Donation of Constantine, the Constitutum Constantini. The account of the life of St. Sylvester that is contained in the Golden Legend also provides a readily accessible point of reference for the cycle, since it is roughly contemporaneous with it and is itself a compilation based on these earlier texts. (shrink)

__Dante and the Blessed Virgin __is distinguished philosopher Ralph McInerny's eloquent reading of one of western literature's most famous works by a Catholic writer. The book provides Catholic readers new to Dante's _The Divine Comedy _ with a concise companion volume. McInerny argues that the Blessed Virgin Mary is the key to Dante. She is behind the scenes at the very beginning of the _Commedia_, and she is found at the end in the magnificent closing cantos of the _Paradiso_. McInerny (...) also discusses Dante's _Vita Nuova_, where Mary is present as the object of the young Beatrice's devotion. McInerny draws from a diverse group of writers throughout this book, including Plato, Aristotle, St. Bernard, St. Bonaventure, St. Thomas Aquinas, and George Santayana, among others. It is St. Thomas, however, to whom McInerny most often turns, and this book also provides an accessible introduction to Thomistic moral philosophy focusing on the appetites, the ordering of goods, the distinction between the natural and the supernatural orders, the classification of capital vices and virtues, and the nature of the theological virtues. This engagingly written book will serve as a source of inspiration and devotion for anyone approaching Dante's work for the first time as well as those who value the work of Ralph McInerny. "Dante was a literary genius with a profound understanding of St. Thomas Aquinas and the _philosophia perennis_ that structured and permeated the _Divina Commedia_. Who better to help us get beyond the surface to the depths of Dante than the most literarily genial of Thomas' twentieth century disciples, the indefatigable Ralph McInerny? Dante needed guides, from Vergil to Beatrice, to reach the summit of _Paradiso_. Fortunately, we have Ralph McInerny to accompany us on the same journey." --_Fr. Joseph Fessio, S.J., Founder and Editor, Ignatius Press_ "Weaving together poetry, philosophy and theology, Ralph McInerny shows that 'the Blessed Virgin Mary is the key to Dante.' Starting with the _Vita Nuova _and the beginning of the _Divine Comedy_, this becomes ever more explicit throughout the great poem, till the magnificent closing cantos of the _Paradiso_. The book is beautifully written, making sense of every step, however complex at times, of the great journey to the gate of heaven described by Dante in the _Commedia_, drawing on Scripture, on Aquinas, on philosophers like Aristotle, on a medley of modern and contemporary writers, with immense learning, always worn lightly and made easily accessible. Dominant are themes that concern everyone, such as love or happiness, are treated with freshness and clarity so the reader is made to feel he or she is discovering them anew. The total effect is joy induced by the incredible wealth of content of this little book and by the light it sheds on so many vital issues." --_Thomas De Koninck, Laval University_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NOTES AND DISCUSSIONS 167 they regard as the Standard of every Thing, and which they will not submit to the superior Light of Revelation?" (p. 21) is the Hume we have come to accept, Hume the philosopher, Hume the foe of superstition and enthusiasm. Indeed, upon reading the Letter it seems that one must ask himself if Hume;s desire for this position--and the financial security it would offer--has not (...) affected his response. We know that in his later life Hume flatly refused to debate the multitude of clergymen who attacked his works. Not even so respectable a philosopher as Thomas Reid could elicit a public response from him. Why then did he reply to a philosophical scoundrel such as Wishart? Of course, one could suggest that Courts and Kames and perhaps others may have urged Hume to this reply in his own interest. But that, to me, is precisely the point: Why so unusual a concern in just this case, and why one which seems to undercut some of what are thought to be Hume's most daring and creative analyses? These are not rhetorical questions, but queries of importance to those who wish to see Hume and his work whole. The Letter ]rom a Gentleman does shed important light on the Treatise. Professor Mossner was quite correct in his surmise. But I believe that it raises more questions than it answers--and for this reason too we are fortunate that it has been added to the Hume bibliography. DAVZDFATE NORTON Edinburgh, Scotland THE HEGELIAN DANTE OF WILLIAM TORREY HARRIS William Torrey Harris is remembered as the foremost American exponent of Hegelianism; as founder of the Philosophical Society (1866); as editor of the Journal of Speculative Philosophy (1867-93); as U.S. Commissioner of Education (1889-1906); and as founder, with Miss Susan E. Blow, of the first permanent public school kindergarten in America. He also gave Melville Dewey the order of the ten subiect classes of his famous book classification system, and was co-founder of the Library Journal. Harris was born in North Killingsly, Connecticut in 1835. He studied at Phillips Andovcr Academy, and at Yale University, from which he withdrew in his junior year to accept a teaching position in St. Louis, Missouri in 1857. In St. Louis he met Henry C. Brockmeyer, a German immigrant and intellectual, and under his influence began a lifelong commitment to the philosophy of Georg Wilhelm Friedrich Hegel. He states that Hegel's philosophy became the center of all his thinking, but he nevertheless ~vent on to study the works of the other great thinkers, including those of Dante Alighieri. In 1883-84 he gave a series of lectures in St. Louis on Dante, and again in 1886 at the Concord School of Philosophy. These lectures were later expanded and published as The Spiritual Sense o] Dante's Divina Commedia, in Boston, by Houghton in 1889, and reissued in 1896. 168 HISTORY OF PHILOSOPHY The form of the Divina Commedia is a massive triadic structure of written words developed by exhaustive repetition of the terza rima. Structurally it is a development of the concept of The Trinity. The reader who knew not a single word of Italian could not escape having the Trinitarian notion hammered into his consciousness. Harris, however, was more concerned with meaning than form, and so he considered the triadic format a relatively trivial matter. Harris uses the Commedia to illustrate by imaginative representation the dialectic of the Holy Trinity to the American Protestant while explaining it with Hegelian logic. In summary he writes, "The doctrine of the divine form, or the self-activity of the absolute, involves the common nature of man and God, or God as divine human. This is the great central truth (of which the doctrine of the Trinity is the symbol) on which all modern civilization is built, and it is its open secret." Dante's Inferno corresponds with Hegel's logical and ontological level, called "Sein," the realm of abstract-unconscious-being-for-another. The Purgatory corresponds with his level "Wesen," the realm of mediated being in which the self is conscious of its being-in-and-for-another... (shrink)

Il contributo intende discutere alcune questioni legate alla diversa visione del profeta dell'Islam in una prospettiva interculturale. In particolare si tentano di evidenziare le radici del problema concentrandosi sullo contesto storico in cui la questione ha preso forma. Emerge una critica alla maggior parte degli studiosi arabi che, storicamente, hanno evitato di affrontare lo studio di fonti non musulmane che potessero proporre visioni contrastanti rispetto alle credenze religiose condivise. Il contributo ha affrontato quindi il problema della traduzione di opere letterarie (...) occidentali in arabo, in particolare le opere in cui è implicata l’immagine del profeta dell'Islam: emerge una censura piuttosto diffusa che tende a omettere le parti considerate "offensive" per la sensibilità religiosa dei musulmani. La Divina Commedia di Dante Alighieri rappresenta il caso esemplare di questo atteggiamento. Obbiettivo del contributo è affrontare il concetto di diversità in modo costruttivo in modo da non nascondere i fatti attraverso la censura o la non conoscenza ma invocando un nuovo modo di confrontarsi nel contesto multiculturale.This paper discusses the frequent intercultural problems related to the different cross-cultural vision of the prophet of Islam. In particular, the paper highlights the roots of the problem; in fact, focusing on the historical background of the problem is extremely important. Moreover, the paper delivered criticism to the majority of Arab scholars who, historically, seemed to lack the willingness to study non Muslim sources that have a contradicting vision to their believes. The paper tackled the issue of the translation of western literary works into Arabic, especially those that tackles the image of the prophet of Islam, where the Arabic translation usually skip any “offensive” part related to the image of the prophet. For example, The divine comedy of Dante Alighieri. The paper tries to face the concept of diversity in constructive way, by never hiding the facts, as this can never be considered a solution, but a way to transform it into a very complex problem. (shrink)

Il contributo sostiene che una versione lunga e composita del Viaggio notturno del profeta e della sua ascensione, attribuita a Ibn ‘Abbas attraverso una figura più tarda conosciuta come al-Bakri, è diventata molto popolare e largamente diffusa nel tredicesimo secolo. Qui si propone una traduzione del viaggio celeste di Muhammad a partire da un importante manoscritto inedito di Istanbul copiato nella penisola araba verso la fine del tredicesimo secolo. Questa traduzione si propone come strumento per gli studiosi interessati alla tradizione (...) islamica delle ascensioni celesti e per chi si occupa delle possibile influenze musulmane sull’opera di Dante. Nonostante non si dimostri che Dante avesse avuto accesso diretto a questa fonte nel momento in cui componeva la divina commedia, ci sono prove sufficienti che le versioni di questo racconto fossero diffuse in diverse parti del Mediterraneo, prima e durante la vita di Dante. L’autore fa propria la recente ipotesi interpretativa di Bencheikh che sottolinea il ruolo fondamentale della versione di Bakri del Mi’râj per la composizione dell’ormai noto Libro della Scala, tradotto in latino e lingua francese antico in al-Andalus nella seconda metà del tredicesimo secolo.This article argues that a long and composite version of the narrative of Muhammad's night journey and ascension, one often ascribed to Ibn 'Abbas via a later figure known as al-Bakri, became especially popular and widely distributed in the thirteenth-century CE. It offers a translation of the Tour of Paradise section from a particularly important unpublished Istanbul manuscript preserving this version, copied in the Arabian peninsula near the end of the thirteenth-century. This translation could serve as a resource to scholars who are interested in the history of Islamic ascension narratives, and interested in the question of possible Muslim influences on Dante's Divine Comedy. While the author of this article does not argue that Dante must have been aware of this particular manuscript as he composed his masterwork, he claims that there is enough evidence to suggest that versions of this narrative circulated in different parts of the Mediterranean before and during Dante's lifetime. He supports the earlier conjecture by Bencheikh that the Bakri versions were likely foundational to the composition of the now famous "Book of Muhammad's Ladder" that was translated into Latin and Old French in al-Andalus / Spain in the second half of the thirteenth-century. (shrink)

Nel 1949 lo studioso di lingue semitiche Enrico Cerulli pubblicò un volume, intitolato Il “Libro della scala” e la questione delle fonti arabo-spagnole della Divina Commedia, che segnò gli studi danteschi, per lo meno per quanto riguarda il dibattito sulle fonti arabo-islamiche del medioevo europeo. Le ricerche di Cerulli su Dante si presentavano come una analisi di fatti di trasmissione culturale. Ma l’autore si era già affermato, nella prima parte della sua carriera, in un più controverso ambito di (...) competenze: alto funzionario dell’amministrazione coloniale italiana e vice-governatore dell’Africa Orientale Italiana, è stato rilevante studioso di lingue del Corno d’Africa, cioè le lingue delle colonie italiane. Questo saggio vuole connettere gli studi danteschi di Cerulli alle responsabilità coloniali e post-coloniali dell’autore, attraverso la ricostruzione della sua biografia intellettuale. Difatti, da queste ricerche Cerulli ricavò il concetto di unità della civiltà mediterranea, formula di evidente valore politico in rapporto all’Italia del secondo dopoguerra. Il saggio prova a offrire anche uno stato dell’arte del dibattito attuale sulle fonti arabe di Dante. In 1949, Enrico Cerulli, an Italian scholar of Ethiopic-Semitic languages, published a volume entitled The “Book of the Ladder” and the Problem of Divine Comedy’s Arabic-Spanish Sources, which was to become a landmark in the discussion on the knowledge held by medieval Europe of Arabic-Islamic culture. His investigation was an analysis of cases of cultural transmission. However, Cerulli had established himself during the first half of his career in a more controversial domain: he was a senior official of Italian colonial administration and he was already well known as an expert of Italian colonies’ languages and traditions. This essay, through a survey of Cerulli’s intellectual biography, aims to bridge his research on Dante and his involvement in colonial and post-colonial governmental decisions. In fact, Cerulli summarised the outcomes of his studies in the concept of unity of Mediterranean Civilisation: such a formula has undeniable political meaning in Italian secondo dopoguerra. The essay also offers a short state-of-the-art regarding current discussions on Arabic sources of Dante’s Middle Ages. (shrink)

How are we to view the work of Plato in relation to the pre-Socratics? What sort of liaison is there between La Divina Commedia and the Summa Theologica of the Angelic Doctor? What relevance has Newton’s system of natural philosophy to 18th century poetry and prose? These are cognate questions; they take us to the heart of science, philosophy, and literature. It is with the last case that Mr Davie is concerned.

This chapter contains sections titled: Philosophy as a “professional” project Philosophy and faith Theory of knowledge Metaphysics The eternity of the world The unicity of the intellect.

El drama de lo político atraviesa la Divina Comedia de principio a fin, y es uno de sus hilos conductores: formas de gobierno, hábitos sociales, virtudes, pasiones y vicios políticos aparecen censados, analizados y evaluados, con rigor, a lo largo de toda la magna obra. Los sextos cantos de las tres partes de la Commedia —Inferno, Purgatorio y Paradiso— se ocupan de ese drama de forma intensa: como círculos concéntricos, abarcan un espacio cada vez mayor: Florencia, Italia, el (...) —siempre difuso— Imperio (es decir, el mundo políticamente organizado, la oecumene). El presente artículo analiza esos cantos desde una perspectiva que, insistente, da base y unidad al conjunto: la división de la ciudad, la guerra civil. (shrink)

L’avventura ultraterrena di Dante, definita divina da Boccaccio, si fa in Borges commedia di vita. È soprattutto nell’interpretazione esistenziale del viaggio ultraterreno dantesco che risiede l’irresistibile forza di attrazione dell’ateo Borges per la teologia poetica di Dante, un viaggio alla scoperta di un’umanità, di cui l’incontro con il poeta restituisce affreschi indelebili di grande intensità.

Resumen: No solo Platón y Aristóteles son recordados en la Firenze comunal. También está Epicuro, que mencionan Dante, Boccaccio y Villani. Pero ¿existió un epicureísmo florentino? En su imaginario viaje de la Commedìa, Dante y Virgilio -con la ayuda divina- logran entrar en la Ciudad de Ditis, donde se encuentran los heréticos. Dentro de sepulcros llenos de fuego, deberían estar los miembros de todas las sectas y también los seguidores de Epicuro, que era conocido a través de Cicerón. En (...) realidad, el poeta pone en evidencia a connotados gibelinos. Habla con Farinata degli Uberti e interviene también el padre de Guido Cavalcanti, al que da una ambigua respuesta que, en mi opinión, es un rayo de esperanza para uno que es tachado de sostener la “opinión de los epicúreos”. Más bien podría ser un averroísta, lo que acomuna a todo un grupo de intelectuales de la época que niegan la inmortalidad del alma.: Not only Plato and Aristotle are remembered in the communal Firenze. Epicurus also, mentioned by Dante, Boccaccio and Villani. But was there a Florentinian Epicureism? In their imaginary trip from the Commedia, Dante and Virgil -with divine help- manage to enter Ditis City, where the heretical are. In tombs full of fire, should be members of all sects and also the followers of Epicurus, who was known through Cicero. In fact, the poet brings out notorious Ghibellines. Talks with Farinata degli Uberti and also intervenes with Guido Cavalcanti's father, to whom gives an ambiguous answer, that is in my opinion, a ray of hope for one that is labeled as support the “Epicureans’ opinion”. Rather, he could be an averroist, which brings together a whole group of intellectuals of the time who deny the immortality of the soul. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante’s Vision and the Circle of KnowledgeAnthony RodaDante’s Vision and the Circle of Knowledge, by Giuseppe Mazzotta; 328 pp. Princeton: Princeton University Press, 1993, $37.50.Future students of Dante, The Divine Comedy, literature, criticism, the history of ideas, theology, philosophy, and many other disciplines will be in permanent debt to Giuseppe Mazzotta for his keen study of Dante’s Vision and the Circle of Knowledge. While tracing the principal streams (...) of Western thought which irrigate Dante’s fertile genius, Mazzotta reconstructs the intellectual topography of Dante’s Europe and show how “l’altissimo poeta” reorders and refines it and arrives at a radical reformulation of the foundation of knowledge in contrast to the standard philosophical and theological currents of the times. This new vision of the foundation of knowledge is the central concern of The Divine Comedy which for Mazzotta provides a world view no less monumental than the synthesis of the classical and Judeo-Christian traditions of Thomas Aquinas. Perhaps, more so, for he argues Dante’s great epic provides not only an alternative epistemology but one which captures much more adequately the human historical experience.Vico’s insights, a thorough familiarity of Dante’s sources and his alert appreciation of the unique treatment these sources receive in the context of “la commedia divina” supply Mazzotta with a theoretical framework for his own brilliant critical, historical, and etymological analyses. He marshals these researches around his overriding concern to show that inherent within the Comedy is the view of “poetry as nothing less than the foundation of all possible knowledge” (p. 3). Dante’s radical claim is designed to provide an account which accords with the educational and intellectual development of the individual within history. Consequently for Mazzotta, Dante’s poetic (metaphorical) mode attempts to reconcile what must have been an intellectual and moral landscape of hopeless contradictory systems and projects. Dante’s poem [End Page 194] provides a vivid survey of the breakdown of human bonds, human projects, and human justice and suggests a corrective that escaped the methods of reason, as well as those of the mystic’s. Since both of these are at bottom antihistorical, they attempted to deny conflict and uncertainty (Dewey’s ultimate traits of experience).The above comments should suggest both the general appeal as well as, and I must emphasize, the high level of scholarship Mazzotta exhibits in his project which is arranged into three parts. The first part (Chapter 1–5) is devoted to “poetry and the arts of language,” and a quick glance at these chapters reveals that it is concerned with that part of the liberal arts called the trivium (grammar, rhetoric, and dialectic). In addition to their educational role, the author examines the role and intricate connections these disciplines have to the central social structures of the times. Consequently, these are not mere sterile academic exercises but serious attempts that show the intimate connections between methods of knowing (discourses) and social structures, especially authority in all of its modes (moral, intellectual, political, etc.). Further, by virtue of this, he shows the need for a reexamination of knowledge which does justice to the lived experiences of the individual and to which the second part (Chapters 6–8) is devoted. Briefly, this means coming to terms with language, memory, imagination, dreams and visions, and that great nightmare, human history. It also invokes the aesthetic (poetic/metaphorical) foundations of all knowledge in contrast to the Cartesian dismissal. The claim, however, enlightening for the Comedy, is controversial as a general tenet and demands will be forthcoming for an evaluation, even though there is much good work in philosophy which lends support to it, e.g., Stephen Pepper’s World Hypotheses, R. G. Collingwood’s The Principles of Art, and Lewis E. Hahn’s A Contextualistic Theory of Perception, etc.In the last part (Chapters 9–11) Mazzotta argues that Dante’s final organizing vision figures the world sub specie ludi. These chapters examine the problems and experiences of order, transgression and exile which for Mazzotta demand a Theologia Ludens whose roots are imbedded deep in Aristotle’s Ethics and expressed by the virtue of eutrapelia, “a... (shrink)

La lectio divina es un ejercicio ascético y espiritual usado por la comunicad cristiana en las asambleas litúrgicas. Desde los Padres del Desierto su práctica nunca se ha extinguido como ejercicio espiritual. Ahora parece haber vuelto con fuerza como ejercicio de lectura de la Palabra de Dios. La primera parte del artículo recrea los datos históricos fundamentales, la segunda explica su validez para los cristianos y las comunidades de nuestro tiempo.

This paper illustrates how external symbol grounding can be studied in simulations with large populations. We discuss how we can simulate language evolution in a relatively complex environment which has been developed in the context of the New Ties project. This project has the objective of evolving a cultural society and, in doing so, the agents have to evolve a communication system that is grounded in their interactions with their virtual environment and with other individuals. A preliminary experiment is presented (...) in which we investigate the effect of a number of learning mechanisms. The results show that the social symbol grounding problem is a particularly hard one; however, we provide an ideal platform to study this problem. (shrink)

This paper illustrates how external symbol grounding can be studied in simulations with large populations. We discuss how we can simulate language evolution in a relatively complex environment which has been developed in the context of the New Ties project. This project has the objective of evolving a cultural society and, in doing so, the agents have to evolve a communication system that is grounded in their interactions with their virtual environment and with other individuals. A preliminary experiment is presented (...) in which we investigate the effect of a number of learning mechanisms. The results show that the social symbol grounding problem is a particularly hard one; however, we provide an ideal platform to study this problem. (shrink)

In this paper we address the problem of short-term electric energy prediction using a time series forecasting approach applied to data generated by a Paraguayan electricity distribution provider. The dataset used in this work contains data collected over a three-year period. This is the first time that these data have been used; therefore, a preprocessing phase of the data was also performed. In particular, we propose a comparative study of various machine learning and statistical strategies with the objective of predicting (...) the electric energy consumption for a given prediction horizon, in our case seven days, using historical data. In this paper we have tested the effectiveness of the techniques with different historical window sizes. Specifically, we considered two ensemble strategies, a neural network, a deep learning technique and linear regression. Moreover, in this study, we tested whether the inclusion of meteorological data can help achieve better predictions. In particular, we considered data regarding temperature, humidity, wind speed and atmospheric pressure registered during the three-year period of data collection. The results show that, in general, the deep learning approach obtains the best results and that such results are obtained when meteorological data are also considered. Moreover, when meteorological data is used, a smaller historical window size is required to obtain precise predictions. (shrink)

Análise da commedia dell’arte a partir de uma perspectiva histórico-crítica, enfatizando-se as várias maneiras de sua apropriação no século XX.Partindo de elementos da commedia dell’arte, serão ressaltados os temas da migração do teatro de praça para o teatro fechado e a ampliação do modelo da commedia dell’arte para outras formas artísticas do século XX, como o cinema mudo, o circo e o carnaval.

The practice of “lectio divina”–-devotional reading of the biblical text–-is popular these days. While people have explored this practice within Roman Catholic history, little research has been conducted regarding the character of devotional Bible-reading within evangelical traditions and its relationship to what is currently identified as lectio divina. The present article seeks to offer some reflections regarding the practice of devotional Bible-reading in evangelical Christianity and to do so using the categories commonly employed to describe lectio divina. (...) First, it will demonstrate how the devotional reading of Scripture has been regarded as a recognized spiritual practice in the history of evangelical Christianity, a practice that was expected to be employed in association with certain attitudes and assumptions. Next, the article examines the each of the elements of classical lectio divina–-reading, meditation, prayer, contemplation, and action. Finally, the article concludes by offering a few suggestions regarding more recent developments in evangelicalism and on the use of the practice of devotional Bible reading today. (shrink)

Reconciliação Divina, Humana e Planetária: o desafio do amor divino diante da crise existencial humana e ecológica (Divine, Human and Planetary reconciliation: the challenge of divine love against the human and ecological existential crisis) Pretende-se, num primeiro momento, fazer um estudo sobre o modelo salvífico da reconciliação, apresentando (1) as causas do afastamento humano, (2) a barreira do pecado, (3) a obra de Deus em Cristo, bem como (3) sua manifestação de amor. Num segundo momento, abordar-se-á a respeito do (...) a specto subjetivo da reconciliação, isto é, a re-ação cristã ao modelo. Num terceiro momento discorrer-se-á a respeito da nova relação de igualdade que o ser humano pode experimentar. Três aspectos importantes serão abordados com relação a esta nova relação proposta por Deus: (1) a Reconciliação com Deus, (2) a Reconciliação humana e (3) a Reconciliação em dimensões cósmicas/planetárias, onde toda natureza está em sintonia com Deus e a humanidade . A intenção do artigo é apresentar o amor divino como solução capaz de validar esta relação reconciliatória divina; ação esta que através da entrega de Cristo é estendida ao ser humano uma nova forma de vincular-se a Deus e de mudar o mundo no qual habita. Este amor entregue dá-se de forma incondicional a todos que, animados pela boa nova da reconciliação, aceitam sua mensagem eficaz e dispõem-se a construir um mundo melhor, sempre movidos pela entrega primeira de Cristo. Palavras-chave: reconciliação; amor divino; salvação; meio ambiente.At first, it is intended to do a study about this reconciliatory theology, stating (1) the reasons for the human separation, (2) the barrier of sin, (3) the work of God in Christ, as well as (4) his expression of love. A second time, it will raise about the subjective aspect of reconciliation, ie the christian re-action to the model. A third time will be about the new relationship of equality that the human being can experience. Three important issues will be spoken concerning to this new relationship proposed by God: (1) the reconciliation with God, (2) the human reconciliation and (3) the cosmic/planetary reconciliation, where all nature is in harmony with God and humanity. The article’s intention is to present the divine love as a solution able to validate this divine and reconciliatory relationship; an action that inaugurated by death of Christ on the cross, becomes real and effective for all mankind. This love delivered, which is offered indiscriminately, happens unconditionally to all that, excited by the good news of reconciliation, accept your effective message and is willing to construct a better world, always moved by the delivery of Christ. Keywords: reconciliation; divine love; salvation; environment. (shrink)

This manuscript discusses the author’s experience implementing a secularized version of Lectio Divina, a medieval monastic contemplative reading practice, in an introductory philosophy classroom. Following brief discussion of Lectio Divina’s history and a description of how the practice was modified for the classroom, I discuss three benefits (increased attention to cognitive and noncognitive reactions to the text, willingness to engage with the material in novel ways, and the opportunity to engage in independent disciplinary practice) and three potential challenges (...) (the time required, student engagement, and the practice’s perceived religiosity) arising from the exercise. Following this, I discuss potential modifications to the exercise that instructors may wish to consider, namely strategies for addressing students’ status as novice meditators, focusing textual selections on course materials, and having students engage in some aspects of the practice as homework. (shrink)

Anne Finch Conway es una de las filósofas del siglo XVII que discutió con los filósofos destacados de su época. La única obra con la que contamos de esta autora es Principia Philosophiae Anticissimae et Recentissimae o The Principle of the Most Ancient and Modern Philosophy. En este artículo me propongo dar cuenta del rol que la naturaleza humana tiene en su metafísica, de modo de encontrar un lugar más específico para el dolor y el sufrimiento en un mundo que (...) parece ante todo gobernado por el amor recíproco y la simpatía. El concepto de hombre microcosmos y la relación de este con Cristo tiene una importancia poco destacada por la bibliografía sobre nuestra filósofa. Con esta meta, presentaré su metafísica prestando especial atención a la sustancia creada y su relación con la sustancia media, Cristo, y la sustancia primera, Dios. De este modo, además, daré cuenta de la responsabilidad que la naturaleza humana tiene con el mundo de la creación, por lo cual me permito mencionar también lo “ecológico” en el pensamiento de Conway, ya que el perfeccionamiento de la naturaleza humana es el perfeccionamiento de toda la naturaleza. (shrink)

A Divina Comédia, de Dante Alighieri, é uma obra influenciadora, já que, no decorrer do tempo, continua sendo relida, revisitada e reproduzida de diferentes maneiras: filmes, pinturas, best-sellers, teatros entre outros modos. Graças à vastidão de seu sentido, muitos estudiosos dela se valem para criar outras obras, a exemplo do filósofo Giorgio Agamben, que se valeu de aspectos a ela subjacentes para retomá-la e efetuar estudos filosóficos. Por ser continuamente lida, relida, retomada, ser influência para inúmeros autores e instigante (...) para muitos estudos a seu respeito, ela continua viva no tempo, o que a faz uma obra canônica. E disso também advém o seu caráter rizomático, como é vista por muitos autores. Palavras-chave : Divina Comédia. Giorgio Agamben. Literatura. Relações de poder. ABSTRACT The Divine Comedy, written by Dante Alighieri, is an influential work, since over time, it continues to be reread, revisited and reproduced in different ways, such as: movies, paintings, bestsellers, theaters among other manners. Due to the expanse of its meaning, many scholars make use of it to create other works, as an example the philosopher Giorgio Agamben, who drew upon its underlying aspects to retake it and make philosophical studies. For being continuously read, reread, retaken, influencing many writers and thought-provoking for many studies about it, it is still alive in time, what makes it a canonical work. And it also accrues its rhizomatic character, as it is seen by many authors. Keywords : The Divine Comedy. Giorgio Agamben. Literature. (shrink)

A vontade humana, em razão da sua indeterminação e da sua capacidade interna de produzir atos volitivos contrários e de querer objetos contrários, é aquilo que nos distingue como seres humanos em relação à natureza e nos faz semelhantes a Deus. A vontade divina, por ser infinitamente perfeita, pode, com um único ato volitivo, querer simultaneamente e produzir objetos contrários (a e -a). Portanto, Deus, no mesmo instante da eternidade, pôde, com a sua potência absoluta, ter querido a e/ou (...) -a, o que implica que pôde ter querido este mundo e/ou outro e outros mundos, que são lógica e realmente possíveis. Esta potência divina para, com um único ato volitivo, querer objetos contrários é a causa da contingência radical de todos os entes criados. PALAVRAS-CHAVE – Vontade. Dndeterminação. Contingência. Vontade divina. Mundos possíveis. ABSTRACT Human will, because of its indetermination and internal capacity for producing contrary volitive acts e for willing contrary objects, is that which makes us different from nature and similar to God. The divine will, since it is infinitely perfect, with a sole volitive act can will simultaneously and produce contrary objects (a and -a). Therefore, God could have willed in the same instant of eternity, with his absolute potency, a and/or -a, what implies that he could have willed this world and/or another and other worlds, which are logically and really possible. This divine potency for willing, with a sole volitive act, contrary objects is the cause of the radical contingency of all created beings. KEY WORDS – Will. Indetermination. Contingency. Divine will. Possible worlds. (shrink)

Em sua correspondência com Arnaud, Leibniz mostra como o recurso à vontade divina é fundamental para garantir o espaço da contingência no interior de uma metafísica que não permite a indeterminação. No entanto, ainda resta perguntar se a bondade divina, uma das perfeições incluídas na noção de Deus, não torna necessário aquilo que Leibniz chamara de contingente. Por isso faremos um exame da concepção leibniziana de vontade divina, sobretudo a distinção entre vontade antecedente e vontade consequente, visando (...) determinar até que ponto a bondade divina implica ou não um necessitarismo universal. (shrink)

Este ensayo sobre la lectio divina no presenta una hipótesis novedosa, ni entra en pormenores de escuela, sino que pretende hacer una exposición sintética, con un marcado enfoque patrístico, acerca de la lectura creyente de la Palabra inspirada. En un primer momento se realiza una meditación histórica sobre el tema y posteriormente se propone un itinerario metodológico sobre la lectura creyente de la Escritura, a partir de un texto de Orígenes de Alejandría.

Искусственный интеллект – последняя, хотя и иллюзорная надежда продажных и провалившихся режимов как на Западе, так и на Востоке остаться на плаву: ведь тонущий хватается и за соломинку. Но всё течёт и всё изменяется, и никаким деспотиям и деспотам не удастся остановить ход истории, как бы они этого не желали и тому не противились. Хотя у истории нет конца, но их история и история совершённых ими предательств уже закончилась. Plaudite, cives, plaudite, amici, finita est comoedia: „Рукоплещите, граждане, друзья, комедия окончена.“.