Logica Magna Part 1 Fasc 1 Tractatus de Terminis.

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)

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)

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...

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.

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)

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)

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)

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)

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. His argument runs as follows: 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. Then B is valid because the opposite of its conclusion is incompatible with its premise. In accordance with the standard doctrine of (...) ampliation, Paul takes A to be equivalent to 'Everything that is or will be true will be false'. But he proceeds to argue that it is possible that B's premise ('A will signify only that everything true will be false') could be true and its conclusion false, so B is not only valid but also invalid. Thus A and B are the basis of an insoluble. In his Logica Parva, a self-confessedly elementary text aimed at students and not necessarily representing his own view, and in the Quadratura, Paul follows the solution found in 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 Swyneshed's solution, which stood out against this ''multiple-meanings'' approach in offering a solution that took insolubles at face value, meaning no more than is explicit in what they say. On this account, insolubles imply their own falsity, and that is why, in so falsifying themselves, they are false. We consider how both types of solution apply to B and how they complement each other. On both, B is valid. But on one (following Swyneshed), 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)

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)

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)

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)

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)

En este trabajo se analiza la vigencia del pensamiento educativo de Félix Varela en Cartas a Elpidio. En particular se estudian sus ideas acerca del método científico en la enseñanza y de la subordinación del bien individual al bien común. Asimismo se toman en consideración las condiciones y el momento histórico en que fue escrita, su alcance local, nacional y latinoamericano en correspondencia con el actual ámbito de la Universidad de Ciencias Médicas y otras personalidades de la cultura. Mediante (...) la revisión bibliográfica de diversas fuentes utilizadas se obtuvieron datos favorables para este análisis. The validity of Felix Varela´s educative thought in Letters to Elpidio was analyzed in this work. His ideas about the scientific method in teaching and the subordination of individual good to common good were particularly studied. The conditions and the historical moment in which it was written, its local, national and Latin-American repercussion in regards to the updated field of the University of Medical Sciences and other personalities of the cultural field were taken into consideration. Favorable data for this analysis were obtained through bibliographic revision of different sources. (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)

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)