Pub Date : 2019-04-22DOI: 10.1163/24055069-00402002
J. Cizek
The aim of this paper is to present a systematic reconstruction of the development of the pansophic idea in the work of Jan Amos Comenius. The concept of pansophia, rooted already in the ancient philosophical thinking, became a very popular topic of sixteenth- and seventeenth-century discussions, and it is one of the central topics of Comenius’s philosophy. It is assumed that Comenius elaborated the formulation of the pansophic program—i.e., the program for creating a universal science incorporating the findings of both the profane and the divine—at the end of 1630s. This study therefore aims to analyse all relevant Comenius’s treatises and attempts to identify the individual development phases of Comenius’s pansophic idea until its transformation into the idea of the universal reform, panorthosia. The analysis of Comenius’s treatises is complemented with a reflection on Comenius’s correspondence, which facilitates the understanding of the author’s more private motives.
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Pub Date : 2019-04-22DOI: 10.1163/24055069-00402004
John-Mark Philo
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Pub Date : 2019-04-22DOI: 10.1163/24055069-00402003
Stéphane Schmitt
This article explores the circulation of Buffon’s texts and ideas, in particular on animal species and their degenerations, from France to Germany and to Russia in the late eighteenth century. First, I outline the different agents of diffusion and their role in the biased transmission of Buffon’s conceptions. Second, I focus on the first German translation of the Histoire naturelle and examine how, through its different features, it offered to the German audience a modified version of Buffon’s work, adapted to the local demands and context. Third, I analyze a small German book on the degeneration of animals, almost wholly borrowed from that translation, published by a Russian student in Leipzig, and then translated into Russian. This case study shows the diversity of the vehicles for scientific texts and concepts, not only between two countries, but at the European level, and the oversimplifications and alterations resulting from this process.
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Pub Date : 2019-04-22DOI: 10.1163/24055069-00402001
Giuliano Mori
This article analyses Pierre-Daniel Huet’s reaction to the doctrines that he believed to favour atheism, Deism, and, generally, irreligion. Descartes and Spinoza, in particular, are guilty, according to Huet, of placing excessive confidence in the discerning power of reason and in the type of certitude it produces, which is incomparable to revealed truth and in no way superior to moral certitude that arises from authority and historical erudition. Huet counters Cartesian philosophy with sceptical fideism and opposes Spinozian exegesis by means of an innovative, although perhaps untimely, adaptation of the doctrine of ancient theology. Against the ‘atheist’ Spinoza and the cohort of deist thinkers, Huet intends to demonstrate that Moses is the author of the Pentateuch and the divulger of God’s message to all peoples, in all times, and that, as a consequence, deist ‘natural religion’ is a partially corrupted version of the Mosaic doctrine.
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401002
Laure Miolo
Jean des Murs benefited from his connections to the Collège de Sorbonne, of which he was a member at least between 1321–1324 and the end of the 1330s. His annotations in various manuscripts formerly at the Sorbonne show that he took great advantage of the college library. Although few extant manuscripts are certain to have been Jean des Murs’s own, the list of book loans in ms El Escorial, Real Biblioteca de San Lorenzo, O.ii.10, shows that he had a personal library and that he loaned his books to some of his acquaintances. This article aims at analysing some of the uses Jean des Murs made of the manuscripts available to him as well as reconstructing part of his personal library through the list of loans and extant manuscripts linked to him.
让·德斯·穆尔斯得益于他与索邦学院的关系，至少在1321年至1324年至1330年代末，他是该学院的成员。他在索邦大学以前的各种手稿中的注释表明，他充分利用了大学图书馆。虽然现存的手稿很少肯定是让·德斯·穆尔斯自己的，但《圣洛伦佐图书馆》（Real Biblioteca de San Lorenzo，O.ii.10）中的图书借阅清单显示，他有一个私人图书馆，并将自己的书借给了一些熟人。本文旨在分析让·德斯·穆尔斯（Jean des Murs）对他可用手稿的一些使用，并通过与他有关的借出和现存手稿列表重建他的部分个人图书馆。
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401005
C. Nothaft
Among the works by Jean des Murs that have yet to be printed are his Canones tabularum Alfonsii, which he wrote in 1339 during his last attested stay at the Collège de Sorbonne. One element of particular interest in this concisely worded text is Jean’s discussion of the length of the solar year, which was the first to take into consideration the consequences of the Alfonsine precession model for the length of the tropical year. Another is his approach to finding the time of true syzygy, which can be compared with some of his earlier writings on the same topic. Taken together, these writings reveal something about Jean’s development as an astronomer over time, as he adjusted his preferred method of syzygy computation in reaction to empirical data. The article concludes with a look at the chapters devoted to the calculation of eclipse times and magnitudes, which turn out to be strongly influenced by John of Genoa’s Canones eclipsium, written in 1332.
Jean des Murs的作品中有他的Canones tabulaum Alfonsii，这是他在1339年最后一次被证实住在索邦学院期间写的。在这篇措辞简洁的文本中，有一个特别令人感兴趣的元素是Jean对太阳年长度的讨论，这是第一次考虑到Alfonsine岁差模型对热带年长度的影响。另一个是他寻找真正syzygy的时间的方法，这可以与他早期关于同一主题的一些作品进行比较。总之，这些著作揭示了Jean作为一名天文学家随着时间的推移的发展，他根据经验数据调整了自己喜欢的syzygy计算方法。文章最后介绍了专门计算日食时间和震级的章节，这些章节受到了热那亚的约翰于1332年撰写的《Canones食》的强烈影响。
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401006
Jean-Patrice Boudet
Jean des Murs wrote two astrological predictions: a prognostication for the conjunction of the three superior planets—Saturn, Jupiter, and Mars—in 1345 and a letter to Pope Clement vi concerning the conjunctions of Saturn and Jupiter in 1365 and of Saturn and Mars in 1357. The prognostication was probably written when Jean des Murs was in Avignon, working with Firmin de Beauval on the calendar reform sponsored by Clement vi. The letter on the conjunctions of 1365 and 1357 was necessarily addressed to Clement vi before his death in 1352. In this article we try to ascertain the Alfonsine astronomical substratum of these astrological judgments in order to understand their reasoning, context, and motivations, but also to gauge their significance and impact from the mid-fourteenth century to the following.
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401003
Karen Desmond
Within the mid-fourteenth century Parisian manuscript Paris, Bibliothèque nationale de France, latin 7378A, three as yet unedited music treatises are found, copied in a tiny, highly abbreviated script in a section of the manuscript devoted mostly to the music treatises of Jean des Murs. The incipits of the three treatises are as follows: ‘Omnes homines natura scire desiderant’, ‘Partes prolationis quot sunt’, and ‘Celebranda divina sunt officia in ecclesia’. Lawrence Gushee suggested that Jean des Murs may be their author, since Jean listed a book loan of a work authored by him with incipit ‘Omnes homines’ in the manuscript El Escorial, Real Biblioteca de San Lorenzo, O.ii.10, that contains his autograph annotations. This article focuses on the content of the second treatise, which appears to be closely related to Jean des Murs’s own Compendium artis musicae. The Compendium begins: ‘Partes prolationis quot sunt? Quinque’, whereas the answer to the same opening question posed in the BnF lat. 7378A treatise is ‘Quattuor’. The text of this treatise is considered as a witness to early ars nova theory as it relates to the theories propagated in Jean des Murs’s early works, and to the transmission of these texts within the layer of BnF lat. 7378A that is devoted to works by Jean des Murs and his contemporaries on music and astronomy.
在十四世纪中期的巴黎手稿《巴黎国家图书馆》（Bibliothèque nationale de France，latin 7378A。这三篇论文的主题如下：“Omnes homines natural scire desiderant”、“Partes prolationis quot sunt”和“Celebranda divina sunt official in ecclesia”。Lawrence Gushee认为Jean des Murs可能是他们的作者，因为Jean在手稿El Escorial，Real Biblioteca de San Lorenzo，O.ii.10中列出了一本他创作的带有“Omnes homines”的作品的图书借阅，其中包含了他的亲笔签名。本文着重讨论了第二篇论文的内容，这篇论文似乎与让·德·穆尔斯自己的《音乐艺术简编》有着密切的关系。《纲要》开头说：“党的宣传是什么？”？Quinque”，而BnF平台7378A论文中提出的相同开场问题的答案是“Quattuor”。这篇论文的文本被认为是早期阿新星理论的见证，因为它与让·德斯·穆尔斯早期作品中传播的理论有关，并与这些文本在BnF平台7378A层内的传播有关，该平台专门介绍让·德斯·穆尔及其同时代人在音乐和天文学方面的作品。
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401001
C. Nothaft, Karen Desmond, Matthieu Husson
This is article serves as the introduction to a special issue on the intellectual activities of Jean des Murs, a mathematician, astronomer-astrologer, and music theorist active in France in the first half of the fourteenth century.
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Pub Date : 2019-01-23DOI: 10.1163/24055069-00401004
E. Witkowska-Zaremba
The title of this paper draws attention to the description of the diagrams given by Jean des Murs in his Musica speculativa (Version A). He defines them as ‘sensible figures’ very much appreciated by mathematicians, because the truth which is in the intellect is, thanks to them, properly transmitted to the judgment of sight and hearing. This description refers the reader to three other questions that are crucial for understanding the treatise. These are: the place of music among the mathematical disciplines; the epistemological/cognitive process leading from intellect to sight, and then to hearing; and, finally, the structure of the treatise Musica speculativa as a reflection of the epistemological process leading from the numerical paradigm of the Pythagorean system to the actual sounds discernible by hearing. This study discusses the role of diagrams contained in the Musica speculativa, which are not so much memory aids (as is the case, for instance, with the manus Guidonis), but rather analytical tools and visual representations of mathematical theorems and operations, which constitute an integral part of the texts and give insight into the structure of the transmitted doctrine.
本文的标题让我们注意到Jean des Murs在他的《Musica speculativa》(版本A)中对图表的描述。他将图表定义为“感性的图形”，这非常受到数学家的赞赏，因为智力中的真理，由于它们，正确地传递给了视觉和听觉的判断。这一描述将读者引向对理解这篇论文至关重要的另外三个问题。它们是:音乐在数学学科中的地位;从智力到视觉，再到听觉的认识论/认知过程;最后，论文《思辨的音乐》的结构反映了认识论的过程，从毕达哥拉斯系统的数字范式到听觉可分辨的实际声音。本研究讨论了《思辨音乐》中包含的图表的作用，这些图表与其说是记忆辅助工具(例如，手册Guidonis)，不如说是分析工具和数学定理和运算的可视化表示，它们构成了文本的一个组成部分，并提供了对传播教义结构的洞察。
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