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Review of: Mircea Eliade, “Contribuții la filosofia Renașterii; Itinerar Italian”, [Contributions to the philosophy of the Renaissance; Italian itinerary], București: Editura Cartea Românească Educațional, 2021.
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The topic of the paper is the notion of intuition in Descartes’ philosophy and its epistemic functions. Descartes introduces his notion of intuition in the context of a description of his method and process of knowing and doing science. Intuition is a significant component of this process. I intend to show that the main epistemic functions of intuition in Descartes’ philosophy are differentiated. Intuition is essential not only in the context of justification (the Cartesian synthetic method of proof) but also and especially in the context of discovery (the Cartesian analytic method of discovery). It plays not only a role in the foundation of the cogito but also on different stages of constructing the system of knowledge. Intuition has important functions in grasping simple natures, forming primary concepts, comprehending complex natures, forming primary propositions (including primary principles), and capturing relationships between them and building deductive reasoning (the role of intuition in deduction). Hence, intuition is the foundation for all primary stages of producing knowledge. It is active and important element of pure thinking (a priori) in human knowledge, and science. It fulfils these functions due to its specific epistemic properties. I also argue that intuition is not an autonomous and complete type of knowledge. Nor is it an intuitive thesis, but rather the basis of a justification for theses (including the cogito).
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The man’s position in relation to knowledge forms and regaining his dignity in terms of its unity as a being endowed with mind and soul is the essence of the epistemological theory of ethics. The thesis from which we start the new foundation of ethical theories is that: in conditions of freedom or adaptation / surviving, within the size of which the perception, representation, intention and action may bring about, one can see the human nature endowed with mind and soul. Knowledge theories aim the man and his entire ethical value that finds itself in the manner of government and social and moral living. Between the man’s „evil” and „good” we must explain the idea of solidarity, justice, truth and freedom. Within the universal value of the soul, the history of religions finds its place and the ethical values largely justify both the life here, and especially the one beyond. Or, in this new light it is required to see the ethical value of man and necessary alliances are needed that initially would require putting together those individual researches in various fields that complete harmonization of knowledge. This fact would imply a unity in diversity of ethical theories about man and society. Within the architecture of the new theory of epistemological ethics the value of human ethics and the role of ethics in theory of knowledge can be seen.
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Erasmus in Rotterdam analyze the forms of self-exploration and the need of a subjective pantheon, capable of replacing the classical mythology and the Christian one. The trickster goddess of Madness from the Erasmi enkomion is an ephemeral god of private happiness. The individual assumes the liberty of reconstructing his interior space.
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Essay writing by Michel de Montaigne (1533-1592) and Francis Bacon (1561-1626) are analysed in this article. The hypothesis raised is that the essay writing by F. Bacon is formal whereas that by M. de Montaigne is informal. F.Bacon regards the form of the essay as an alternative to the language of the natural sciences. He provides a reader with Essays or Counsels: Civil and Moral. The initiator of the personal essay is M. de Montaigne. He creates narrative identity and considers his own “I” as an inseparable part of the Essay. This article deals with the approach of philosophy towards literature following an analysis on the issue of truth making. Certain aspects of stylistics are discussed - applying the principle of irony and the meaning of quotations. The examination reveals how the process occurs while the author creates his/her identity and what conditions are required to consider the essay form as an alternative to philosophical discourse. Additionally this work emphasizes the origin of the essay genre which links artistic and scientific discourse.
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Essay writing by Michel de Montaigne (1533-1592) and Francis Bacon (1561-1626) are analysed in this article. The hypothesis raised is that the essay writing by F. Bacon is formal whereas that by M. de Montaigne is informal. F.Bacon regards the form of the essay as an alternative to the language of the natural sciences. He provides a reader with Essays or Counsels: Civil and Moral. The initiator of the personal essay is M. de Montaigne. He creates narrative identity and considers his own “I” as an inseparable part of the Essay. This article deals with the approach of philosophy towards literature following an analysis on the issue of truth making. Certain aspects of stylistics are discussed - applying the principle of irony and the meaning of quotations. The examination reveals how the process occurs while the author creates his/her identity and what conditions are required to consider the essay form as an alternative to philosophical discourse. Additionally this work emphasizes the origin of the essay genre which links artistic and scientific discourse.
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Jedno je nesporno u najrazličitijim pristupima Renesanse, osim rijetkih izuzetaka, za novum koji ona sobom (do)nosi, ima da zahvalimo čovjeku pod kojim se, po pravilu misli na muškarca. Ulogu žene, pri čemu se počeci Renesanse ne razlikuju mnogo od srednjovjekovnog tretiranja iste, u dramaturgiji tadašnjeg življenja nije se u bitnome mijenjala. Uglavnom spremačica i roditeljica eonima daleko od akademskih, obrazovnih, stvaralačkih i političkih djelatnosti, da i ne spominjemo neobuzdane zabave, hedonizam naprimjer i tome slično.
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Usprkos golemoj i teško savladivoj poteškoći—slaboj očuvanosti izvorne građe — što se još uvijek postavlja kao prepreka konačnoj ocjeni franjevačke djelatnosti, osnovni sud, da su franjevci srednjovjekovnu Bosnu oplemenili zapadnoeuropskim kulturnim sadržajima, i pored toga ne može biti doveden u pitanje.
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Le propos procède d’une formule de Dante s’adressant à un ami lui-même exilé et lui rappelant le caractère injuste de l’exil (Lettre III). Sur le fond de cette protestation du cœur et d’appel à la justice, l’auteur approfondit le poids d’un exil qui frappe tous, y compris ceux qui restent chez eux ou qui ont la liberté d’y retourner. Ce rappel d’une condition profondément moderne ouvre l’ensemble thématique de ce numéro de la revue. // This essay has as a starting point a formula of Dante addressing an exiled friend of him with the intention of evoking the unjust character of exile. (Letter III) On this emotional background, the author weights the implications of an exile that affects all of us, including those who stay at home or have all the liberty to return. This analysis of a very modern condition opens the main file of this issue of Alkemie.
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This paper analyses the philosophical programme of Feliks Jaroński, a professor of the Jagiellonian University, the programme he formulated in the first two decades of the nineteenth century. This is depicted against the backdrop of the transformations in the philosophical culture of the turn of the eighteenth and nineteenth centuries, especially with regard to the impact of the Scottish philosophy of common sense, Kantianism, and traditionalism. The latter approach broke down the minimalistic and secularist tendencies of the Enlightenment. The present paper addresses the current interpretations and formulates its own position by linking Jaroński’s attainment with a long tradition of philosophia recentiorum, a trend initiated in the 1750s, but remained still an academic standard in the beginning of the nineteenth century. It is constantly modified by assimilating the changing philosophical authorities. Despite its ecclectical character, it has preserved its maximalist aspirations (while retaining metaphysics) and openness to religion, or even to Christianism. Eventually, this paper has combined it with the standards of the philosophical and scientific culture of the origins of the twenty-first century, the culture that questions the standard character of naturalism founded on the ideal of scientific philosophy narrowly understood.
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In the text, which consists of the first two parts of the second chapter of Descartes Politico, Antonio Negri defines the change in the thought of René Descartes which took place at the end of the third decade of the 17th century. A crucial category in Descartes’ thought –conjuncture — is connected closely with the economic downturn and deep crisis of the Renaissance project. Negri tries to capture the moment of birth of the “baroque” Descartes and points to a dynamic tension between Descartes’ philosophy (at that particular moment) and a libertine worldview. This ambiguous relation with libertinism (which is the answer to the decline of Renaissance hopes and aspirations) is, according to Negri, the starting point for the Cartesian search for a way to overcome the crisis.
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Ovi tekstovi su predviđeni kao zapisi, zapamćenja i ulomci koji su predavani još 1979./80. godine, kao i tekstovi prisjećanja i elemenata koje sam zapamtio predajući niz godina filozofiju u srednjim školama te na sveučilištu Hercegovina (Fakultetu društvenih znanosti). Naravno, nije riječ o povijesti filozofije, već o tekstovima koji su zapisani, zacrtani u mnogim udžbenicima i hrestomatijama, pa je tako ovaj tekst – čitateljski, koji može poslužiti u pojedinim slučajevima kao podsjećanje na izvođenje nekih nastavnih jedinica.
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This article deals with the philosophical thought of Francesco Petrarca, the Italian humanist, poet and scholar. He is the first great representative of Renaissance humanism, but it is not easy to find original ideas in his philosophy. An important thought (not typical for the Renaissance) is on the weak possibilities of human cognition. One of the themes of Petrarca’s treatise “On His Own and Many Other People’s Ignorance is the problem of the beginning of the world and time. All the arguments that are presented by Petrarca one can find in Plato’s Timaeus, Cicero’s treatise “On the Nature of Gods” and Augustine’s “The City of God”. Petrarca accepts Cicero’s opinion that the world had a temporal beginning, only God is eternal. So he meets the problem of time when there was no time. There is no investigation of the problem in Petrarca’s treatise, but there is a reference to Augustine’s opinion on it. Augustine shows that the proposition about the creation of time by God implies the proposition that there was a time before time. One cannot think of time co-eternal with its Creator as well. Those propositions are incompatible. Petrarca gives no last answer to the questions, but presents us with the possibility to inquire into the problem.
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The present paper stakes out the destiny of certain ideas on scientific methods and epistemic and ontological representations that spread in 17th century Europe like a cultural epidemiology of representations against a deist, theosophical, empiricist and occult maze-like background. Our intellectual history study evaluates the family resemblances of auctoritas of three polymaths: Francis Bacon, Jan Baptist Van Helmont and Demetrius Cantemir along the cultural corridors of knowledge. If Francis Bacon was a theoretical founder of doctrines and Jan Baptist Van Helmont was a complex experimenting spirit, Demetrius Cantemir was an able disseminator of philosophy in South Eastern Europe and a creative synthetic spirit bridging the Divan ideas of Western and Eastern minds caught up in the busy exchange of ideas of the Republic of Letters.
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The Assayer of Galileo Galilei is a classical text of the Italian literature. It was written in the context of discussions on comets and is a response, word by word, to the Libra astronomica ac philosophica signed by Lotario Sarsi but in fact written by Orazio Grassi. From the formal (i.e. rhetorical) point of view the Assayer is an example of the judicial, defensive speech. However, in the book one can also see the presence of the epideictic speech. The epideictic speech praises the methodological values of the Copernican vision of the universe, and blames those involved in the Aristotelian and Ptolemaic approaches. In the sixth section of the Assayerthere is a famous group of four rhetorical periods in which one can notice the presence of the new interpretation of the antique metaphor of the book. The rhetorical exercise developed in this essay tries to disentangle the complex node of this metaphor and gives its new interpretation. It seems that for Galileo the metaphor is not a trope but passes to the topica. At the end some considerations on dialectics of Galileo are also proposed.
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The article investigates the works of Cennino Cennini, Filippo Villani, and Leon Battista Alberti as initiators of Italian Renaissance art history. They were the first to investigate speculative problems of art against the background of art history. In their critical works on ancient, medieval and Renaissance art, the principles of a historical approach to art can be traced. They also introduced into art criticism and history the art of ancient Greece and Rome, and assessed critically new trends in the development of art commenced in the 13th century.
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Giordano Bruno has been described as a philosopher, a mathematician, a poet and a mage: all of these terms depict a different aspect of the multi-faceted thinker he was. The development of his original and anti-dogmatic views is partly due to a constant confrontation with different philosophical, scientific and religious doctrines that Scholasticism did not share. Our aim in this article is to clarify the role of the Islamic tradition and its figures in relation to the thought of Giordano Bruno. There is no comprehensive study about this topic, though academics found a consistent connection between the philosophy of Bruno and Latin Averroism.Other topics concerning the Nolan philosopher and the Arabic sources deserve our attention: for example, aspects regarding the Western reception of Islamic science and pseudoscience (astronomy, astrology and alchemy in particular). Philological investigations establish that Bruno read Latin translations of Arabic works and found theories of medieval Muslim thinkers on secondary sources: in fact, he was familiar with authors like al-Ghazali, Avempace and Averroes, as he mentioned them in his works. In order to understand to what extent the Islamic tradition influenced Bruno, we analyzed and contextualized his references concerning the Arabs and the Persians. We concluded that he had an interest in the scientific and philosophical theories of the Muslims, but his overall view on Islam was vague and conditioned by the beliefs of his historical period. Moreover,we highlighted that Averroes was the only Islamic thinker who significantly influenced Bruno; though, the thought of the Nolan has more points in common with Averroism, rather than with the actual philosophy of Averroes.
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The proportional eight spike compass, invented by Fabrizio Mordente (1532–1608), is an instrument that much interested Giordano Bruno (1548–1600). It could measure the infinitesimal fractions of the angular degrees and calculate the proportions between lines, geometric shapes and solids, working on the proportionality and commensurability of angles and segments. This new precision in calculations confirmed Bruno’s thesis of the existence of the physical minimum as opposed to the Aristotelian thesis of the infinite divisibility. So far scholarship has mainly tackled the philosophical and historiographical aspects of this issue; we on the other hand will investigate the mathematical and geometric implications of Bruno’s claim.
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The relationship of tradition towards Bruno is twofold, and the analysis of this relationship will show that Bruno is interpreted either as a pioneer of new science or as a mystic, mage, and follower of hermetic tradition. Following these two viewpoints, Bruno’s ars memoriae will be interpreted either as a mere memory technique in the service of empirical science or as an occult, magical art. This paper aims to open up and analyse the ways by which we can approach and understand Bruno and his method, that goes beyond the mentioned strict division. In the period of Renaissance, which represents an incredible combination of tradition and the new, magic and science do not exclude one another; in search for knowledge, each method finds its proper place. Ars memoriae is precisely that: a universal method that allows knowledge to be understood in its multiplicity. In this paper, we will present some of the key elements of Bruno’s philosophy, by exploring different interpretations and perspectives, and show why Bruno was understood and interpreted in the way in which he was and why is it necessary to access the ars memoriae by striving to unite scientific and magical elements. In Bruno’s thought there are many places where scientific and magical are not only not opposed to each other, but are complementary, and represent an inseparable whole within which knowledge is commonplace both to former and latter. The task, therefore, is not to analyse ars memoriae in detail, but to examine possible approaches to that method. Understanding of Bruno depends upon understanding his method of ars memoriae.
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