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Heavenly Journeys: Marsilio Ficino and Girolamo Cardano on Scipio's Dream 天堂之旅:费西诺和卡达诺谈西庇阿的梦
Q4 Arts and Humanities Pub Date : 2020-03-30 DOI: 10.5507/aither.2020.004
J. Prins
https://doi.org/10.5507/aither.2020.004 AbsTRACT The report of a dream about a disembodied soul in Cicero’s Somnium Scipionis (Dream of Scipio) is a narration of a heavenly journey that reflects a belief in the existence of a perfect harmonic world beyond the world of the senses. During the Renaissance it was used by many scholars to understand the transitory nature of earthly life and to find peace of mind. By comparing Marsilio Ficino’s interpretation of Scipio’s Dream with the one of Girolamo Cardano I will argue in this article that their fictional reports of heavenly journeys led to entirely different interpretations of the meaning of life. While Ficino, in his interpretation, focused on perfect cosmic harmony that he used as a model for a utopian view of a peaceful society, Cardano took the cacophony of his everyday life as point of departure, using the dream as a model that justifies one’s selfinterest.* **
https://doi.org/10.5507/aither.2020.004摘要西塞罗的《西庇奥之梦》(Somnium Scipionis)中关于一个无实体灵魂的梦的报道是对一段天堂之旅的叙述,反映了一种信念,即存在一个超越感官世界的完美和谐世界。文艺复兴时期,许多学者用它来理解世俗生活的短暂性,并寻求心灵的平静。通过比较马西略·菲奇诺对西庇阿之梦的解读与吉罗拉莫·卡达诺的解读,我将在本文中辩称,他们对天堂之旅的虚构报道导致了对生命意义的完全不同的解读。菲奇诺在他的解释中,专注于完美的宇宙和谐,他将其作为和平社会乌托邦观的典范,而卡达诺则以日常生活中的嘈杂声为出发点,将梦想作为证明个人私利的典范。***
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引用次数: 1
Key Aspects of Moral Character in the Situationist Challenge 情境主义挑战中道德品质的关键方面
Q4 Arts and Humanities Pub Date : 2019-09-30 DOI: 10.5507/aither.2019.007
J. Brázdil
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引用次数: 0
Plato's Three Forms of Impiety in Context: Laws X 884a-887c 柏拉图的《三种形式的不虔诚:法律》X 884a-887c
Q4 Arts and Humanities Pub Date : 2019-09-30 DOI: 10.5507/aither.2019.006
Vojtěch Hladký
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引用次数: 0
Pseudo-Aristotelés, Physiognomicus, traktát B 伪亚里士多德,生理学,第B部分
Q4 Arts and Humanities Pub Date : 2019-03-30 DOI: 10.5507/aither.2019.003
Tomáš Vítek
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引用次数: 0
Pietro Pomponazzi on the soul in the eighth lecture to the first book of Aristotle's De partibus animalium 彼得罗·庞波纳齐在亚里士多德的《动物论》第一本书的第八讲中谈到了灵魂
Q4 Arts and Humanities Pub Date : 2019-03-30 DOI: 10.5507/aither.2019.004
Tomáš Nejeschleba, P. Tříska
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引用次数: 0
The Treatise On a Sphere by Gerbert of Reims 兰斯的格伯特的《论球体
Q4 Arts and Humanities Pub Date : 2019-03-30 DOI: 10.5507/aither.2019.002
M. Otisk
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引用次数: 0
The Structure of Phronesis in Aristotle's Nicomachean Ethics 亚里士多德《尼各马可伦理学》中弗罗赛斯的结构
Q4 Arts and Humanities Pub Date : 2019-03-30 DOI: 10.5507/aither.2019.001
Roman Hloch
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引用次数: 0
On Aristotle's Conception of Fear 论亚里士多德的恐惧概念
Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.5507/aither.2019.008
Apostolos N. Stavelas
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引用次数: 1
The Arabic Commentary on the Golden Verses Attributed to Proclus, and Its Neoplatonic Context 《Proclus金诗》阿拉伯语评注及其新柏拉图主义语境
Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.5507/aither.2019.005
Anna Izdebska
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引用次数: 1
The Muses and Reflexive Nature of the World in Archaic Greek Thought 古希腊思想中的缪斯与世界的自反性
Q4 Arts and Humanities Pub Date : 2018-09-30 DOI: 10.5507/aither.2018.005
Eliška Fulínová
Department of Philosophy and History of Science Charles University, Faculty of Science Viničná 7 128 44 Prague 2 Czech Republic fulinova@cts.cuni.cz abstract In Greek mythology, the Muses are not just inspiring agents of poetical creation, but their role is first of all a cosmological one: their birth crowns the process of cosmogony, bringing the world into the manifestation. As we try to demonstrate primarily in the course of Hesiod’s Theogony, the song of the Muses celebrates and thus manifests the cosmos or the world-order through its articulation by means of the musical speech. As the world enters a new domain of appearance, new cosmological categories emerge. The first one being the beauty of the cosmos: as a world-order as well as the ordered whole, it can now manifest itself as beautiful. The second one being the possibility of fiction, of a delusive appearance: the complex reality can manifest itself in many incompatible ways, partial and thus potentially misleading. The third one being the reflexivity of the cosmos, founded on the reflexivity of the musical speech itself. The Muses are capable to manifest themselves, and even their own manifestation. By means of their song, the world becomes manifest to itself, too, and the complex system of divine powers gains a reflexive character. In the closing section, we sketch briefly what happens to this reflexivity in the domain of humans. Indeed, the mortals can gain immortality through the song of the Muses, expressed by inspired poets in human voice.*1
在希腊神话中,缪斯女神不仅是诗歌创作的激励者,而且首先是宇宙学的角色:她们的诞生为宇宙演化的过程加冕,将世界带入表现。正如我们在赫西奥德的《神权论》中所展示的那样,缪斯之歌通过音乐演讲的表达来庆祝并表现宇宙或世界秩序。随着世界进入一个新的表象领域,新的宇宙学范畴出现了。第一个是宇宙之美:作为一个世界秩序和有序的整体,它现在可以表现出自己的美。第二种是虚构的可能性,一种虚幻的表象:复杂的现实可以以许多不相容的方式表现出来,是局部的,因此可能具有误导性。第三个是宇宙的反身性,建立在音乐语言本身的反身性之上。缪斯有能力展示自己,甚至是自己的表现。通过他们的歌声,世界也变得清晰起来,神的力量的复杂系统获得了反身性。在最后一节,我们简要地描述了这种反身性在人类领域发生了什么。的确,凡人可以通过缪斯女神的歌声而获得永生,这种歌声是由有灵感的诗人用人声表达出来的
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引用次数: 0
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Aither
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