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Non sum Oedipus, sed Morus 非俄狄浦斯,莫罗斯
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901002
E. Bacchi
This article aims to investigate the representative strategies of Moriae Encomium by taking into account the link between Erasmus’ Moria and Thomas More’s portrait as it emerges both from the Encomium Moriae and from the Utopia. Specifically, I will focus on the crucial role of Erasmus’ concept of omnium horarum homo as an ethical and aesthetic model applied to the definition of More’s nature. This approach, which explores the intertextual construction of Morus-Moria’s identity, shall allow me to stress the relevance of the metaphor of mundane masking in Erasmus’ Encomium and More’s Utopia. By considering Erasmus and More’s paradoxical combination of Plato, Cicero and Lucian of Samosata, I will show how the image of the world theatre becomes the symbol of Erasmus’ philosophia civilior based on the rhetorical and moral idea of decorum.
本文旨在通过考察伊拉斯谟的莫里亚与托马斯·莫尔的肖像之间的联系,探讨莫里亚的代表性策略,因为莫里亚既是从莫里亚的安可姆中产生的,也是从乌托邦中产生的。具体来说,我将关注伊拉斯谟的omnium horarum homo概念作为一种伦理和美学模式在定义莫尔的本性中的关键作用。这种方法探索了莫里亚身份的互文建构,使我能够强调伊拉斯谟的《安可姆》和莫尔的《乌托邦》中世俗遮蔽隐喻的相关性。通过考察伊拉斯谟和莫尔对柏拉图、西塞罗和萨摩萨的鲁西安的矛盾结合,我将展示世界戏剧的形象是如何成为伊拉斯谟的文明哲学的象征的。
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引用次数: 0
Erasmus and Calvin on the Foolishness of God: Reason and Emotion in the Christian Philosophy, by Kirk Essary 伊拉斯谟与加尔文论上帝的愚蠢:基督教哲学中的理性与情感
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901010
William P. Weaver
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引用次数: 0
Between Erasmus and More, Abraxa(s), an Anamorphic Name 在伊拉斯谟和莫尔之间,Abraxa(s),一个变形名称
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901003
B. Perona
Before Utopus conquered the island, it was called Abraxa. To create its initial name, Thomas More shortened the name of a deity, invented by the Syrian Christian gnostic teacher Basilides, Abraxas. This note seeks to explain this change by studying the occurrences of the word Abraxas in Erasmus’ work (edition of St Jerome’s works, Praise of Folly). Abraxa then appears as an anamorphic name, an effort of wisdom and a sign of pride. The utopian wisdom is condemned to death. The dialogue between Erasmus and More through this word shows how much the anamorphic woodcuts of Ambrosius Holbein are an excellent illustration of what Abraxa/Utopia is: an ironic invention of a self-conscious pride.
在乌托图斯征服这个岛之前,它被称为Abraxa。为了创造它最初的名字,托马斯·莫尔(Thomas More)缩短了一个神的名字,这个名字是由叙利亚基督教诺斯底派教师巴利德斯发明的,阿布拉克斯(Abraxas)。本文试图通过研究“Abraxas”这个词在伊拉斯谟作品中的出现来解释这一变化(圣杰罗姆作品的版本,《愚蠢的赞美》)。然后,Abraxa作为一个变形的名字出现,是智慧的努力和骄傲的标志。乌托邦式的智慧被判了死刑。通过这个词,伊拉斯谟和莫尔之间的对话表明,安布罗修斯·霍尔拜因的变形木刻是一个很好的例子,说明了什么是Abraxa/乌托邦:一个自我意识骄傲的讽刺发明。
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引用次数: 0
Abbreviations 缩写
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901005
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引用次数: 0
Érasme de Rotterdam. La Formation du prince chrétien (Institutio principis christiani), by Mario Turchetti (ed. and transl.)
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901008
Merry E. Low
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引用次数: 0
Truth and Irony: Philosophical Meditations on Erasmus, by Terence J. Martin 真理与讽刺:对伊拉斯谟的哲学思考,特伦斯·j·马丁著
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901009
M. Moore
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引用次数: 0
Erasmus and His Amanuenses 伊拉斯谟和他的阿曼人
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901011
A. Blair
This Margaret Mann Phillips lecture of 2018 examines Erasmus’s relationships with his amanuenses, building on the work of Franz Bierlaire (1968) and others. It especially considers when and why members of Erasmus’s familia appeared in print in his works. Mention of servants functioned in a variety of ways to allay the author’s responsibility for features of the text that might be criticized. Manuscript evidence also shows Erasmus working with his amanuenses in the preparation of publications and indexes in particular.
玛格丽特·曼·菲利普斯(Margaret Mann Phillips)2018年的讲座以弗朗茨·比尔莱尔(Franz Bierlaire,1968)等人的作品为基础,探讨了伊拉斯谟与他的阿曼努内斯的关系。它特别考虑了伊拉斯谟家族成员何时以及为什么出现在他的作品中。提到仆人的作用多种多样,可以减轻提交人对可能受到批评的文本特征的责任。手稿证据还显示伊拉斯谟与他的阿曼努内斯合作,特别是在出版物和索引的编制方面。
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引用次数: 2
The Stoic Origins of Erasmus’ Philosophy of Christ, by Ross Dealy 伊拉斯谟基督哲学的斯多葛派起源,罗斯·迪利著
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901006
Kirk Essary
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引用次数: 0
Recent Works on Marriage in Early Modern Europe 近代欧洲早期婚姻研究的最新著作
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901007
Reinier Leushuis
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引用次数: 0
Erasmus and Aesop 伊拉斯谟和伊索
IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES Pub Date : 2019-03-13 DOI: 10.1163/18749275-03901004
W. Regier
Erasmus was a fluent Aesopian. In books and letters he cited Aesop’s fables to explain, admonish, and insult. The Adagiorum Chiliades alludes to more than seventy different fables, including two adages about Aesop: “Ne Aesopum quidem trivisti” (2.6.27); and “Aesopicus sanguis” (2.6.63). The great adage “Scarabeus aquilam quaerit” (3.7.1) begins with Aesop’s fable. Erasmus’ own contributions to collections of fables were printed in Antwerp, Basel, Louvain, Strasbourg, Paris, and Venice. This paper examines Erasmus’ use of Aesop, identifies the fables Erasmus favored, and places his versions of fables in the history of Aesop transmission.
伊拉斯谟是一个流利的伊索寓言人。在书籍和信件中,他引用伊索寓言来解释、告诫和侮辱。《千年寓言》提到了70多个不同的寓言,其中包括两个关于伊索寓言:“新伊索寓言”(2.6.27);《血之Aesopicus sanguis》(2.6.63)。伟大的谚语“圣甲虫阿奎拉姆夸尔特”(3.7.1)始于伊索寓言。伊拉斯谟自己对寓言集的贡献在安特卫普、巴塞尔、鲁汶、斯特拉斯堡、巴黎和威尼斯印刷。本文考察了伊拉斯谟对《伊索寓言》的使用,确定了伊拉斯谟所喜爱的寓言,并将他的寓言版本置于《伊索寓言》的传播史中。
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引用次数: 0
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Erasmus Studies
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