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Bulgarian translation of the anonymous treatise "Tractatus de perfecto amore", ed.Gerardo Bruni, Bocca Editore, Roma-Milano, 1954 [single original manuscript: Erfurt, Wissenschaftliche Allgemeinbibliothek, Amplon. F. 77, ff. 132v-133v, written between 1410 and 1412.]. Translation from Latin by Zornitsa Radeva and Boryana Paskaleva.
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In order to demonstrate that a certain unease can be found in the general perception of a Renaissance author such as Petrarch, the text follows one of his letters written in Latin, On life’s brevity. On a larger scale, this letter is representative for an upcoming change within the mental structures corresponding to a feeling of loss and fragmentation as a result of partializedtime. Days are divided into hours, hours into minutes and seconds and, as the gap of measurement becomes smaller, it makes room for a painful realization: life is brief, even shorter than we think. Death becomes a greedy enemy as well as fleeing time does. It is crucial to point out that a heightened consciousness of time is relevant to a Renaissance author such as Petrarch and through a closer read of the cited letter, we can find an example of this conjunction of past ‘have-been’ and future ‘yet-to-be’ that is creative work to outdate a person’s earthly existence.
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Osioł kyleński, wydany w 1585 roku w Londynie, stanowi dodatek zamykający w formie miniatury główne myśli zawarte w innym z dialogów włoskich Giordana Bruna, opublikowanej tamże Cabala del cavallo Pegaseo (Kabały Pegaza). Ten ostatni tekst można natomiast czytać jako dopełnienie poprzedniego dzieła – Spaccio de la Bestia Trionfante (Wypędzenia triumfującej bestii) – traktatu moralno-politycznego ujętego w alegorycznej, dramatyzowanej formie (jak twierdzi wielu badaczy, londyńskie wydania tekstów Bruna stanowić miały ważną inspirację dla samego Szekspira), w którym bogowie Panteonu projektują niezbędną reformę konstelacji niebieskich.
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In the format of interpretation the creative laboratory of Shakespeare’s “The Tempest” is being revealed. By all accounts “The Tempest” has no specific sources. This study, however, supposes, that Shakespeare could refer to the basic concept and, from this perspective, even very closely rely on the details. Hence, it is proved, that the philosophical impulse of Shakespeare’s tragedy can be considered the introduction to the “Oration on the Dignity of Man” by Giovanni Pico della Mirandola, created for the forbidden later theological discussions on relevant topics in Rome (1486), which dealt with the possibility of moral self-determination and individual responsibility. Imposing the lines of the treatise by Pico on the images and plot of the drama by Shakespeare, we immediately notice a twisted three-dimensional image, the transition from abstract relationship to the visible processes of existence and consciousness, at the same time fantastic and real. This analysis is based on the statement, that “The Tempest” can be interpreted as the staging of memorable images of Pico. This statement is relevant to point of view, according to which Shakespeare could choose the idea of the Oration, or directly from the passage of the text. Shakespeare consciously goes beyond the ideas of Pico. If the quotations from the text of Pico are considered as a subtext, it immediately becomes evident that scene, characters and action of the play are based in some way on a complex conceptual scheme. With the underlying meaning of the Oration by Pico, “The Tempest” is a powerful creative experiment and a reasonable appeal to the uniqueness of human life and spiritual freedom of a man. Thus, this study, without resorting to discuss specific aspects of the play, aspires to promote scientific debate about its hidden meaning.
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In the format of interpretation the creative laboratory of Shakespeare’s “The Tempest” is being revealed. By all accounts “The Tempest” has no specific sources. This study, however, supposes, that Shakespeare could refer to the basic concept and, from this perspective, even very closely rely on the details. Hence, it is proved, that the philosophical impulse of Shakespeare’s tragedy can be considered the introduction to the “Oration on the Dignity of Man” by Giovanni Pico della Mirandola, created for the forbidden later theological discussions on relevant topics in Rome (1486), which dealt with the possibility of moral self-determination and individual responsibility. Imposing the lines of the treatise by Pico on the images and plot of the drama by Shakespeare, we immediately notice a twisted three-dimensional image, the transition from abstract relationship to the visible processes of existence and consciousness, at the same time fantastic and real. This analysis is based on the statement, that “The Tempest” can be interpreted as the staging of memorable images of Pico. This statement is relevant to point of view, according to which Shakespeare could choose the idea of the Oration, or directly from the passage of the text. Shakespeare consciously goes beyond the ideas of Pico. If the quotations from the text of Pico are considered as a subtext, it immediately becomes evident that scene, characters and action of the play are based in some way on a complex conceptual scheme. With the underlying meaning of the Oration by Pico, “The Tempest” is a powerful creative experiment and a reasonable appeal to the uniqueness of human life and spiritual freedom of a man. Thus, this study, without resorting to discuss specific aspects of the play, aspires to promote scientific debate about its hidden meaning.
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The personality of Juraj Dragišić, a prominent writer in Italy at the end of the fifteenth and early sixteenth century, until recently was wrapped like a secret. About him we knew very little, and what we knew was quite indefinite and uncertain.
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The personality of Juraj Dragišić, a prominiet winter in Italy at the end of the fifteenth and early sixteenth century, until recently was wrapped like a secret. About him we knew very little, and what we knew was quite indefinite and unceratain.
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Im Hintergrund dieses Artikels stehen zwei Schriften, die mit ihrer Einfachheit aber auch Denktiefe den paradigmatischen Rahmen für die echte Lebensqualität darstellen. Es geht um Boethius’ (480–525) Trost der Philosophie und um Erasmus’ (1465–1536) Lob der Torheit. Durch das ernsthafte philosophische Denken und die intelektuelle Anstrengung wies Boethius hin, dass der eigentliche Sinn und Wert des menschlichen Lebens auf der Lebensverantwortung und seiner Ethik beruht. Andererseits zieht Erasmus in seinem satirischen Nachdenken über die Torheit die Folgerung, dass die echte Weisheit erst in der Erkenntnis der eigenen Beschränkteit und in der gelassenen Versöhnung mit dem illusionären Charakter des Lebens besteht. Mit diesem Artikel wird es versucht zu zeigen, dass die ausgeglichene Kombination der Wertpostulate aus diesen zwei Schriften ein gutes paradigma für Lebensqualität darstellt.
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The subject of this paper is the notion of the infinity in "De docta ignorantia" by Nicolaus Cusanus. Nicolaus formulates his famous teaching about the impossibility of differentiation between infinite and finite (nulla proportio itnter infinitum et finitum) and states that the logic based on the law of noncontradiction is valid only in conditions of correlation, i.e.under the conditions of set time, space and relation. Absolute infinity could be examined only through the method of learned ignorance (docta ignorantia). As we take into consideration the concepts of infinity, unity,being and essence, according to which the idea of the absolute maximum presents itself, we conclude that in Nicolaus’ philosophical program the absolute maximum is the absolute infinity– inseparable and integral – which comprises everything within itself.
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Wciąż zastanawia mnie, dlaczego Jezus nigdzie nie definiuje Królestwa Bożego. Tyle mówi o nim, ale nigdzie nie ma konkretu. Zamiast definicji – same wywrotowe rzeczy. Utopii trzeba szukać – a u Jezusa Bóg sam znajduje ludzi; utopia jest gdzieś tam – a Jezus mówi, że jest tu; w utopii doskonalimy się, rozwijając umysł – a u Jezusa doświadczamy przebaczenia, aby sami przebaczać… Wszystko zdaje się być na opak. Nie tak, jak człowiek by pomyślał czy zaprojektował. Inaczej. Nie ma i nie może być definicji Królestwa Bożego. Mamy tylko konstytucję tego Bożego Państwa – błogosławieństwa. A ich też nie pojmę, dopóki nie zacznę nimi żyć. I zrozumiałem, że Królestwo Boże to nie definicja, nie słowa, lecz obecność. Królestwo Boże jest tam, gdzie jest Jezus. On daje nam swoją zmartwychwstałą obecność.
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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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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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Originally written as a philosophical work, Ibn Tufayl’s Hayy ibn Yaqzan incorporates in its story many elements that could be regarded as elements of the civilizational process in modern times. In this paper we will analyze these elements of the civilizational process and try to reassemble them into a clear theory of civilization. In order to conduct these analyses, the elements found in the story will be contrasted and perceived through the concepts of civilization found in the works of Ibn Khaldun and Arnold J. Toynbee. The resulting conclusion will point out many similarities between these authors in conceiving civilizations, especially in the notions of the development of intellect and the unity of humankind. But it will also show us the crucial divergence in the importance and existence of society and its binding elements such as ‘aṣabiyya. Still, Ibn Tufayl’s uniqueness and originality will be seen in his tripartite definition of existence and his own take on the goal/s of the civilizational process.
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The paper presents the first polish translation of Galileo’s letter on tides written in the begining of the year 1616 to cardinal Alessandro Orsini. The text of translation is organized in a new way, and integrated with the index of matters.
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The Assayer of Galileo Galilei is a classic of Italian literature. This is not only because of its formal qualities - in fact The Assayerbelongs to the most important current of Italian literature, which aims at drawing the map of what people know and what people do not know (I. Calvino). The Assayer was written in the context of the discussion on comets, and responds, paragraph by paragraph, to the Libra astronomica ac philosophica firmed by Lotario Sarsi (the pen-name of Orazio Grassi). Many authors have commented this book, so important for the methodology of modern science, and Galileo's rhetoric was always indicated as one of the most significant components of this 'opera'. From the formal (i.e. rhetorical) point of view The Assayer is an example of the judicial, defensive speech. Nevertheless, in the book one can notice the presence of the epideictic speech, to which belongs the famous tale/apologue of sound. In this essay a rhetorical and narratological analysis of the apologue in question is proposed. Different interpretations of the tale are discussed, and the special attention is paid to the argument attributed to the pope Urban VIII. The tale seems to be the founding narrative of the way in which the scientist confronts himself with the nature - the point which A. Banfi expressed in his conception of copernican model of man.
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The article considers hylozoism of the Renaissance natural philosophers as the doctrine of the spirituality of matter in line with natural philosophy of that time and pantheism which identifies God and nature. Genesis of hylozoism knowledge indicates that a vivid supporter of hylozoism in the Renaissance was Giordano Bruno, who affirmed the existence of the soul in all things.
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The letter of Marsilio Ficino was published under the title Dubitatio utrum opera philosophica regantur fato an providentia and summarised his tenets of Platonist-Humanist philosophy as it were. Based on his book of letters, this writing is part of a correspondence in which Ficino responds to Ioannes Pannonius of Buda, who, in his letter to Ficino – also published by the book of letters – criticised Ficino’s views. Literary criticism has been trying to identify the persona of Ioannes Pannonius for long. In the highly influential study of Florio Bánfi, Joannes de Varadino (Giovanni Unghero, Giovanni Varadino), that is, John of Várad, Augustine monk is identified as the supposed person. Bánfi’s views were reconsidered by Klára Pajorin in 1999, who reckoned that Ioannes Pannonius is John Vitéz the Younger. The author of the present study wishes to enhance the idea of Valery Rees (1999) who thinks that Ioannes Pannonius was created as a fictitious character by Ficino, and thus, the author reckons that the letter came in handy primarily against Savonarola and his followers because the correspondent from Buda raises those very topics on the bases of which Ficino can elaborate the sole decorous model of behavior, the path that should be followed by the fictitious addressee as well.
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This article focuses on Blumenberg`s interpretation of Copernican Revolution in modernity. The study starts from the possibility in traditional systems to lead to such revolution, and on the other side it tries to corelate Copernicus thought with posterity within the modernity`s boundaries. Considering this, the study underlines and investigates also the concepts of change and motion, that will finally provide better tool for modernity to differentiate by former theories. The basic idea of this article resides in rejecting all causal interpretation of Copernican revolution - on the contrary, Blumenberg assumes that the new paradigm was possible through inherent determinations, according to Copernic's own ideas and to modernity as an epoch, as well.
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“Conflict” in the Works of Michel de Montaigne. The “philosophical” style specific to Montaigne’s Essays, totally devoid of demonstration and system, gives the reader the possibility of “essaying” an experience of his own reading, based on the idea that “Words belong half to the speaker, half to the hearer” (III, 13). Following Montaigne’s idea that selfishness is the basis of solidarity between men (the basis of society), we can detect two levels in this political conception: 1) on the one hand, the relationship between the individual subject and his own complex state; 2) on the other hand, the relationship of the individual to otherness. For Montaigne, the first level is a priority and, as his own political experience shows, the individual subject has above all the duty to remain true to himself and to his own temperament. The duty to serve others is secondary, occasional and moderate. To complete the ideas that can constitute a “map” of Montaigne’s political philosophy, we have analyzed – quantitatively and qualitatively – the contexts in which the French philosopher used the word “conflict”. The examples confirm the predominance of the interior level of the individual subject and less of the relationship of the individual to otherness. To be active in the public sphere, the individual needs modesty and moderation in the expression of his opinions, as well as a rational evaluation when he wishes major changes; otherwise, they risk doing more harm than good to others. The individual must struggle internally with the weapons of reason, so as not to give in to irrational desires – such as revenge or carnal desires – which would affect others, which is virtue. An inner balance is necessary, and the others will gain from this.
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