ABSTRACT This article interprets a recently recovered manuscript, Tratado de astronomía y la reformaçión del tiempo, composed by Antonio Sánchez in New Granada c.1696, in the context of the Spanish and Renaissance cosmographies. Sánchez’s Tratado proposes a spherical astronomy, in which celestial bodies – including comets — move in orbs containing pyramidal knots that explain the changing speed observed in the motion of planets. From this astronomy and following the peninsular style of repertorios, Sánchez derives two major conclusions: the corrected (...) length of the solar year and a revised birth date of Jesus. Taking as center of reference Vélez, where Sánchez was based, these claims led to conclusions in domains ranging from calendric astronomy to eschatology, including the incorporation of the indigenous peoples into salvation narrative and a demonstration of the arrangement of the celestial orbs at the Last Judgment. Sánchez’s Tratado constitutes an expansion of the Spanish mathematical cosmography that sheds light on the production of knowledge in the Spanish-American world and, at the same time, provides elements to reassess our understanding of the global circulation of Renaissance and early modern ideas. (shrink)

in recent years, the research on Schopenhauer has shown a change in the interpretation of his main work, «The World as Will and Presentation», from (1) a normative and linear instruction which guides the reader from idealism to mysticism, pessimism and nothingness to (2) value-free and independent descriptions of the world with all phenomena (like idealism, mysticism, nothingness etc.) in it. thus Schopenhauer’s main work has become an empirical or baconian approach—something like a «philosophical cosmography»—. this fundamental change of (...) interpretation radically puts into question what Schopenhauer means by characterizing his main work as an «organic system». the present paper attempts to give an answer to this question, reviewing the self-reflexive, methodological and metaphilosophical hints which Schopenhauer gives in the first volume of his «World» («as Will and presentation»). (shrink)

The paper deals with the beginning and the main properties of the science of nature (he peri physeos historiê). According to Themistius (DK 12 A 7), the founder of this kind of Ionic philosophy is Anaximander of Miletus because he was the first who wrote about nature (especially a cosmography and a cosmogony) and developed three main principles of nature: 1. Nature has a mathematical structure (Arist. De coelo I3 295b10-14.32); 2. nature has a physical structure (DK 12 A (...) 10-11); and 3. nature follows natural laws (DK 12 A 9). The origin of this introduction lies in the prolongation of primitive expectations of constancy. It is especially argued that the shift from mythos to logos is characterized by the depersonalization of nature and the introduction of theoretical terms. In fact, the "apeiron" of Anaximander seems to be something similar to a theoretical term, because Anaximander seems to have realized that the explanans of nature cannot be one of its explananda like water (Thales) or air (Anaximenes). (shrink)

Iberian repertorios de los tiempos stemmed from Medieval almanacs and calendars. During the sixteenth century significant editorial, conceptual and material changes in repertorios incorporated astronomy, geography, chronology and natural philosophy. From De Li’s Repertorio (1492) to Zamorano’s Cronología (1585), the genre evolved from simple almanacs to more complex cosmological works which circulated throughout the Iberian-American world. This article claims that repertorios are a form of syncretic knowledge rather than “popular science” by relying on the concept of “knowledge in transit”. Elaborating (...) on this perspective, I present how repertorios ended up delivering a worldview from existing materials, a fact so far unnoticed by scholarship. At the same time, repertorios should not be considered an exclusively Iberian phenomenon, but the full scope of their nature as a form of syncretic knowledge should include their networks with migrants, indigenous, mestizos, and criollos across the Atlantic. In this sense, I try to trace the paths connecting productions in the Americas with Iberian repertorios. (shrink)