Edizione e traduzione italiana della Questio de aqua et terra di Dante Alighieri.

Más allá que se conozcan o no las ideas de Sigmund Freud, e inclusive si se las conoce, se esté o no de acuerdo con ellas, su teoría sobre la estructura y funcionamiento de la psiquis sigue siendo, hasta ahora, la única existente. Se podrá arguir que dicha teoría carece del adecuado apoyo neurobiológico, y que, dada la imposibilidad de demostrarla, no puede ser aceptada en el ámbito científico. De los argumentos anteriores, el primero es falso, puesto que y como (...) podrá comprobarse en el primer capítulo de PSIQUIS, Freud se adelantó en decenas de años a varios investigadores del SNC, que por sus descubrimientos, fueron nominados o merecieron un Premio Nobel. En cuanto al segundo argumento, es verdadero a medias, pues si bien no basó sus conclusiones en experimentos de laboratorio, sí elaboró una trama argumental tan acabada y magnífica que con una herramienta adecuada, como la que se presenta y pone en práctica en este nuevo libro, se transforma en ciencia pura. PSIQUIS representa la primera teoría científica sobre la estructura y funcionamiento del aparato psíquico, apta para contribuir desde la ciencia, a las bases de la Psicología, la Psiquiatría, la Psicolingüística, las Ciencias Cognitivas en general, de la Filosofía en donde siempre lo 'mental' tiene tanta gravitación; y aún del Psicoanálisis mismo. Hasta la edición de este libro, la teoría de Freud era la única existente. (shrink)

Este estudio del lenguaje natural, realizado desde la observación, permite analizar los aspectos subjetivos que le dan origen al lenguaje, y que posibilitan su adquisición y comprensión. Como tal constituye la primera teoría realmente original aparecida en los últimos 55 años, luego que Chomsky nos hiciera conocer su gramática generativa (1957), con la diferencia que, en este caso, tiene el soporte de una lógica también original, la Lógica Transcursiva. Esta lógica se basa en una modificación de la lógica policontextural de (...) Günther (1959), la primera y única herramienta conocida, para abordar los aspectos subjetivos, o aquellos de los que no se ocupa la ciencia tradicional. En este trabajo, además, se hace una introducción a la primera teoría de la psiquis con base científica, cuyo único antecedente lo constituye el Proyecto que Freud concibiera en 1895. (shrink)

La formación docente es indispensable para responder a los requerimientos de la compleja sociedad actual. De su conocimiento, iniciativa, praxis y creatividad depende el éxito o el fracaso del sujeto que aprende. Al modificar el rol del docente se transforma la actitud de los estudiantes. ¿Cómo entender la formación filosófica transdisciplinar? Este texto responde a este y otros cuestionamientos: ¿cuáles son los planteamientos pedagógicos afines a la era digital? ¿en qué medida las TIC se encuentran al servicio de una filosofía (...) educativa transdisciplinar?, ¿cómo se explica ese enfoque en la formación del docente?, ¿cuál es la función de la formación en la innovación educativa?, ¿cómo formar para la ciudadanía mundial?, ¿cuáles son las contribuciones de las nuevas ciencias para la formación educativa? El crecimiento exponencial de la ciencia y de la tecnología nos obliga a pensar en procesos formativos innovadores. En tal sentido, resulta imprescindible el estudio de estas problemáticas. (shrink)

‘Abandon all hope, ye who enter here’ is, as we all recognize, the inscription over the gate of Dante's hell; but we perhaps forget what precedes that memorable line. Hell, the inscription says, was built by divine power, by the highest wisdom, and by primordial love. Those of us who remember Dante's vivid picture of Farinata in the perpetually burning tombs or Ulysses in the unending and yet unconsuming flames may be able to credit Dante's idea that (...) Hell was constructed by divine power; and if we understand ‘wisdom’ in this context as denoting an intellectual virtue only, then we might agree that only divine wisdom is capable of making something like Dante's hell. (shrink)

“But when you meet her again,” he observed, “in Heaven, you, too, will be changed. You will see her spiritualized, with spiritual eyes.”1Dante is not a philosopher, although George Santayana sees him as one among a very few philosophical poets.2 The Divine Comedy deals in terza rima with issues that are philosophically urgent, including the relation between reasoning well and happiness.3And as one of the few great epics in Western literature, the Comedy offers its readers the pleasures of world-class poetry, (...) fabulous beasts from classical literature, good people and sinners from Dante’s Italy, and the prolongation in verse of Thomas Aquinas’s summa Theologiae and Summa contra Gentiles. In some ways, Dante’s epic .. (shrink)

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophical virtue. Finally, in his climactic Paradise, Dante (...) performs his own self-angelizing. The upshot of this journey is Dante's prophecy of an egalitarian transhumanism. (shrink)

Uno de los aspectos que resaltan en la obra de Dante es su persistente manera de atacar a la Iglesia Romana y la Divina comedia abunda en ataques directos a una serie de Papas en cuyas obras corruptas Dante acusa la decadencia de la institución eclesiástica y la crisis de la concepción política medieval. Los argumentos de Dante contra el papado corren principalmente por dos vías. La primera, se dedica a evidenciar la corrupción del clero y sus (...) inconvenientes, siendo la Divina Comedia la más completa recopilación de estos ataques. La segunda se embarca en un profundo cuestionamiento al poder temporal que se ha arrogado el Papado Medieval, situación a la que se culpa de los problemas de corrupción que vive el mundo -entre los que se cuentan la anarquía italiana. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how this understanding defines philosophy’s and theology’s respective scopes of authority in guiding human conduct. I show that, while Dante devalues the philosophical authority associated with the traditional Aristotelian emphasis on the significance of contemplative activity, he does so in order to highlight philosophy’s ethico-political authority to guide human conduct toward its “earthly beatitude.” Moreover, I argue that, although Dante subordinates earthly beatitude to (...) spiritual beatitude, he nonetheless maintains that philosophy’s authority to reveal a path to spiritual beatitude requires its fundamental independence from theology. (shrink)

L. Gazziero, « Dante », in M. Lewis and D. Rose (ed.), The Bloomsbury Italian Philosophy Reader, London, Bloomsbury, 2022, p. 29-42: Even if Dante's work involves a fair amount of autobiographical material and occasionally fashions itself as a record of personal experiences, his writings reveal surprisingly few facts about his life. With one exception though, etc.

Between Schelling’s Über Dante in philosophischer Beziehung (1803) and the Dantean drafts of die Weltalter (1811-1815) stand the transitional texts of his middle period, the Philosophie und Religion (1804) and Freiheitsschrift (1809). His short essay on Dante contrasts an ancient conception of the closed cosmos with the modern universe as dynamic and expanding, then claims to extract from the Divine Comedy its eternal, threefold form. This article considers these schemata as they relate to the Philosophie und Religion and (...) the Freiheitsschrift, disclosing an enduring Dantean influence which first predicts, then persists throughout this stage of Schelling’s philosophical development. (shrink)

The presence of quotations from the Laus heremiticae vitae contained in Peter Damian’s letter 28 in Paradiso XXI has led scholars to claim that Dante was familiar with the writings of the hermit and cardinal who lived in the 11th century. Instead, the author believes that Dante had only read the Laus heremiticae vitae, which circulated independently of the other works of Peter Damian, whose writings were otherwise unknown to Alighieri. This conclusion is reached on the basis of (...) the poor quality of the information Dante offers on Peter Damian’s biography, which derives from the traditions of Ravenna and not from Fonte Avellana, where he could have found the manuscripts of the hermit and cardinal’s works. (shrink)

A review of Paul Stern's Dante's Philosophical Life: Politics and Human Wisdom in Purgatorio (University of Pennsylvania Press, 2018).

Drawing primarily upon Dante’s three major philosophical treatises (De vulgari eloquentia, Convivio, and Monarchia), this essay explores how Dante’s ethico-political philosophy operates within the crucial tension between the phenomenology of time as the condition for the possibility of human moral development and yet also as, metaphysically speaking, the privation and imitation of eternity. I begin by showing that, in the De vulgari eloquentia, Dante’s understanding of the poetic and rhetorical function of the illustrious vernacular is tied to (...) his political philosophy in a way that depends upon a rich but ultimately unresolved tension between (a) the demand that only an atemporal, unchanging vernacular would be suitable for the tasks of universal monarchy and (b) the recognition that only a temporal, localized, and changing illustrious vernacular could possibly bring about the existence of the universal monarchy. In the second half of the essay, I will turn to Dante’s treatment of the providential grounding for the independence of spiritual and temporal authority in Convivio and Monarchia. I will argue that Dante’s understanding of divine providence provides common justification for the temporal and spiritual authorities whose independence he otherwise insists upon. Finally, drawing on the letter to Cangrande della Scala (the authorship of which is disputed), I will discuss how, for Dante, the providential ground for the legitimacy of temporal authority can only be discerned through the allegorical interpretation of history itself. In light of my discussion of these themes in Dante’s political philosophy and its dependence on his understanding of divine providence, I will conclude with a brief reflection on how Dante’s understanding of divine providence might help us better appreciate important aspects of the neglected legacy of Renaissance humanism in the history of early modern philosophy. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how, for Dante, this understanding defines philosophy’s and revelation’s respective scopes of authority in guiding human conduct. Specifically, I show that, although Dante subordinates our earthly beatitude to spiritual beatitude in a way that seems to suggest the subordination of the authority of philosophy to that of revelation, he in fact limits philosophy’s scope to an arena in which its authority is not only (...) legitimate but also crucial to the cultivation of the higher, spiritual beatitude of human activity. (shrink)

The Divine Comedy is a poem of Dante Alighieri representing, allegorically, the journey of a soul towards God, in the framework of Dante’s metaphysics of the divine light. However, besides metaphysics, we can find in the poem several passages concerning the natural phenomena. Here we discuss some them, in order to investigate Dante’s knowledge of Physics and, in particular, of Optics.

We discuss the philosophical problems attendant to the justice of eternal punishments in Hell, particularly those portrayed in Dante’s Inferno. We conclude that, under Dante’s description, a unique version of the problem of Hell (and Heaven) can be posed.

There is a close connection between Dante’’s portrayal of usury in the Inferno and wider scholastic argumentation on the subject. Reading Dante’’s account in light of the scholastic critique of usury reveals a conceptual depth and clarity to the former which has, in the absence of such a reading, remained unfortunately opaque. Dante’’s treatment is informed by three of the four main scholastic arguments against usury, which are cen- tered around the themes of the nature and purpose (...) of money, the relation between labor and a just recompense, and the medieval vision of society as an harmonious whole. Each of these themes are weaved by Dante into his poem in a range of diverse ways, yet the final (social) element is arguably a unifying factor. In this regard, his account of usury can be read in continuity with other critiques of ‘‘bad commerce’’ which are in evidence throughout the Inferno. (shrink)

Based upon the concept of Law qualified in Monarchia, II.50, Dante was not only a general philosopher (a lover of knowledge) as well as a political disputant in his times, but also his primary contribution (not always obvious) in legal speculation could be demonstrated. In fact, if his thought reflected the platonic ordo sapientiae through a deep intersection between téchne and episteme (phronesis) toward a linguistic koiné, could we say the same thing on his concept of justice as a (...) rational ars boni et aequi? This essay aims to depict Dante as legal theorist of his times and theorist of Justice beyond them, adopting the hermeneutical point of view, not just as an interest into textual interpretation but referring his use of language as form of life and his works an inexhaustible sources of education for legal philosophy. (shrink)

L’articolo illustra il modo in cui Dante ha utilizzato le fonti medievali nel campo dell’ottica e degli exempla dei bestiari per costruire analogie al fine di ragionare delle ricchezze e della nobiltà. Il testo analizza, in particolare, Purg. XVII 1-9, Cv. II iv 16-17, III vii, ix, alcuni frammenti della canzone Le dolci rime e il relativo commento in Cv. IV. Alla fine dell’articolo si espone il contrappunto filosofico che Dante offre alle vicende storiche del suo tempo.

A review of Maria Luisa Ardizzone's Reading as the Angels Read: Speculation and Politics in Dante’s Banquet. Toronto: University of Toronto Press, 2016. xii 1 454 pp. $95.

The Divine Comedy of Dante Alighieri, and its initial part of Inferno, includes several medical terms and descriptions, whose accuracy sometimes overcomes that of a layman. The genial poet has used locutions illustrating pain and sorrow more than forty times in Inferno alone, with words like dolor, dolente and doloroso, that have caused perplexity among translators. The panoply of translations – here we are dealing only with the English versions – will prove that not only the contextual meaning but (...) also the historical setting might create interpretative difficulties. Without obviously giving medical value for granted to all verses that include words like dolor and its derivates, however Dante’s work has been as well under the focus of medical scholars, with many publications of interest. Through comparing the original text mainly with the Oxford’s English version, we have tried to bring into the reader’s attention the painful sensations that Dante abundantly inflicted upon his characters, as an indirect way to test the poet’s perception of this strange and infernal sensation. (shrink)

The aim of the essays of this book is to explain the situation of the philosophical studies, in Italy, during the first half of the XIV century, that is the Dante's years.

La Divine Comédie est le récit poétique d'une vision, d'une expérience surnaturelle qui se fait toujours plus intense, et que le langage peine toujours davantage à traduire. La mission de Dante consiste à rapporter cette vision. La question que nous pose la Divine Comédie réside dans la différence entre l'intraduisible et l'indicible: y a-t-il un intraduisible dicible? Ou en d'autres termes : quelle est, au-delà du topos de l'indicible poétique, et au-delà de la figure rhétorique de la prétérition, la (...) signification conceptuelle de l'expression du "dire" dans la Divine Comédie? (shrink)

One widely discussed feature of Paradiso 33 is Dante’s emphasis on his failure to represent in words and memory his pilgrim’s exalted vision of the Trinity. Against other interpretations of this canto, I will discuss why, despite the fact that the language of failure seeks to reinforce the poetic illusion that revelation’s authority is grounded in an unmediated access to divine truth, the theophantic moment “represented” in Paradiso 33 instead shows that revelatory experience is nothing but a product of (...) the impulse of natural reason to exceed its own legitimate scope—that is, the theophantic moment illustrates natural reason’s inherent tendency to overstep its own limits. Consequently, I shall argue, the poema sacro’s carefully constructed representations of the pilgrim’s revelatory insight are in fact grounded in Dante’s proto-humanist understanding of the authoritative role of natural reason in representing to ourselves the possibilities of our own spiritual and earthly beatitudes. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

"Echi danteschi nelle opere del Nolano" Articolo pubblicato in occasione del 750° anniversario della nascita di Dante Alighieri.

Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth value, I take (...) my move from chapter 9 of Aristotle’s Poetics, where he holds that poetry is imitative of reality, not in the sense of history – which relates what has happened – but rather, in so far as it expresses “the kinds of things that might happen, that is, that could happen because they are either probable or necessary.” The probable admits variations of degree. By means of an examination of the Meinongian concepts of assumption and objective (i.e. state of affairs), which also allow different modes of gradation, I introduce, with examples drawn from Dante’s Divine Comedy and The Description (Tradimento) by Machiavelli, a theory of degrees of truth that makes it possible to apply the concept of probability to literary as well as to historical texts. Finally, I connect the universal character of the literary text with the ontological notion of incomplete object and argue that a fictional object, as it is incomplete, is not an individual but a type. (shrink)

This dissertation was written for the purpose of displacing the negative stereotype of video games being deemed as ‘lowbrow’ entertainment within critical and academic circles, when in actuality the medium has the ability to tell a captivating story through a unique lens unlike the narratives that are traditionally found in a film or a novel. Most of the criticism that games have received in the humanities come from literary scholars who have denounced the medium’s attempts to adapt seminal pieces of (...) literature such as Dante’s Divine Comedy. To counter this assumption, I will be engaging with a video game that has not been marketed as a direct adaptation of the Comedy, but rather uses Dante’s writing as a source of inspiration to enhance its own ludonarrative experience. The game I will be examining in close proximity to the Comedy is the Japanese role-playing game Shin Megami Tensei III: Nocturne released by the studio Atlus in 2003. Nocturne is an incredibly viable case study for this investigation because it exemplifies how, through the unconventional adaptation process of transmediality, a distant text like an RPG can transform the material of a medieval poem to best fit its digital stage while still referencing its source material. In this context, I intend to establish a methodological basis for the transmedial analysis of literature and video games through the creative insight of the Comedy and Nocturne, so that new meaning can be uncovered from both texts and further research can thus commence on relative instances of ludic adaptation. (shrink)

By reconsidering all the available sources (from Simon du Val’s inquisitorial summons of November 1276 to the Continuatio brabantina, from the Fiore to the X canto of Dante’s Paradiso, from William of Tocco to Peckham’s letters) the article calls into question the thesis – still widely shared – according to which Siger of Brabant died in Italy, and more precisely in Orvieto, at the Papal Court, before November 1284. Above all, from a doctrinal point of view, it shows how (...) it is completely implausible that Peckham could refer to Siger of Brabant when, in his letter to the University of Oxford of November 10, 1284, he mentions two Seculars as the main defenders or ‘inventors’ of the thesis of the uniqueness of the substantial form in the human compound. The end of Siger in Italy could thus be, for the most part, a ‘black legend’, like that of the poisoning of Thomas Aquinas on behalf of Charles of Anjou. The article closes by showing some possible implications, even of a methodological nature, of this different approach. (shrink)

O presente artigo pretende mostrar como o filósofo e ensaísta de sobrenome árabe, origem judia e religião católica Fabrice Hadjadj se utiliza de dois autores italianos, a saber, Dante Alighieri e Lorenzo da Ponte, para aprofundar as suas reflexões sobre a noção de Paraíso. No primeiro caso, Hadjadj elabora um encontro entre Dante e Nietzsche, articulando uma compreensão de Paraíso que, na perspectiva hadjadjiana, ultrapassaria as críticas de Friedrich Nietzsche. No segundo, o autor explora o conceito de “redenção”, (...) presente na ópera “Don Giovanni”. Após a exposição da interpretação do filósofo em cada caso, constatamos que a leitura de Dante promove, para Hadjadj, um deslocamento do paraíso do exterior para o interior e que Don Giovanni explicita, segundo Hadjadj, a dinâmica redentora do Paraíso, à medida em que o convite à máxima felicidade não é fruto de uma conquista pessoal ou do cumprimento de um preceito moral, mas um dom que vem do Alto. Finalmente, constatamos o caráter transdisciplinar da leitura que Hadjadj faz de Da Ponte e Dante, considerando-os como autores cujas obras exprimem realidades profundas que precisam ser desveladas e que podem envolver e auxiliar àqueles que leem o texto contemporaneamente. (shrink)

This review shows Agamben as reading Dante and misunderstanding the Jesus event.

This essay discusses five main topoi in the Divine Comedy through which teachers might encourage students to explore the question of the Divine Comedy’s treatment of philosophy. These topoi are: (1) The Divine Comedy’s representations in Inferno of noble pagans who are allegorically or historically associated with philosophy or natural reason; (2) its treatment of the relationship between faith and reason and that relationship’s consequences for the text’s understanding of the respective authoritativeness of theology and philosophy; (3) representations in the (...) Divine Comedy that relate to the question of the practical value of philosophical (not to mention theological) speculation; (4) the text’s treatment of the respective merits of practical and contemplative activities; and (5) its implicit defense of philosophy’s authority with respect to ethical and political questions. (shrink)

Paradiso 2’s sustained direct address warns readers unprepared for its complexities to “turn back to see your shores again…for perhaps losing me, you would be lost,” but then offers the “other few” who crave “the bread of angels” the promise of a marvel that would rival the deeds of the mythological hero Jason. I will argue that, by appearing to impose this choice on its readers, this direct address in fact activates the craving for the bread of angels (for who, (...) by obeying the interpretive imperative to make such a decision, would not also be one who thereby does choose to pursue the bread that is promised in return for this obedience?). In other words, the very act of interpreting the representation of readers as divided into those who are capable of allegorical interpretation and those who are not constructs and activates the will of a single readership for the Divine Comedy and, consequently, challenges us to provide an articulation of what it means even to read or to misread the Divine Comedy. (shrink)

This Handbook contains forty essays by an international team of experts on the antecedents, the content, and the reception of the Dionysian corpus, a body of writings falsely ascribed to Dionysius the Areopagite, a convert of St Paul, but actually written about 500 AD. The first section contains discussions of the genesis of the corpus, its Christian antecedents, and its Neoplatonic influences. In the second section, studies on the Syriac reception, the relation of the Syriac to the original Greek, and (...) the editing of the Greek by John of Scythopolis are followed by contributions on the use of the corpus in such Byzantine authors as Maximus the Confessor, John of Damascus, Theodore the Studite, Niketas Stethatos, Gregory Palamas, and Gemistus Pletho. In the third section attention turns to the Western tradition, represented first by the translators John Scotus Eriugena, John Sarracenus, and Robert Grosseteste and then by such readers as the Victorines, the early Franciscans, Albert the Great, Aquinas, Bonaventure, Dante, the English mystics, Nicholas of Cusa, and Marsilio Ficino. The contributors to the final section survey the effect on Western readers of Lorenzo Valla's proof of the inauthenticity of the corpus and the subsequent exposure of its dependence on Proclus by Koch and Stiglmayr. The authors studied in this section include Erasmus, Luther and his followers, Vladimir Lossky, Hans Urs von Balthasar, and Jacques Derrida, as well as modern thinkers of the Greek Church. Essays on Dionysius as a mystic and a political theologian conclude the volume. (shrink)

Beckett’s philosophical indebtedness has long been recognised – especially in conjunction with Dante, Descartes and Geulincx. In this article, I examine Beckettian universal values of Enlightenment, which will be exposed as self-serving mystifications that rationalize and instrumentalize the meaning of life. In this context, the awareness of the Enlightenment nature of Beckett’s writing in Waiting for Godot will be analysed along with the freedom appeal of his reader as he strives to attain the enlightenment.

The development of Christian mysticism is deeply bound to poetics. This examination first considers Platonic poetry, Hebrew creation, and Christian kenosis as sources of poetic mysticism, before turning to an elaboration of the role of rhythm, language, and the poetic imagination. The appraisal then considers the historical development of mystical poetry, beginning with early Christian reflection on the figurative and lyrical use of scriptural language to express a deep personal relationship with God. The development of vernacular mysticism, and its adoption (...) of this scriptural model, is then explored through a detailed consideration of four mystical poets (Dante, Jacopone, Hadewijch, and Angelus Silesius). The interaction of poetic form and spiritual content is elaborated throughout, with the aim of demonstrating how poetics allows the mystical writer to achieve a result for the reader otherwise not possible in discursive forms of communication. (shrink)

La storia di un’idea che ha attraversato i secoli, dal mondo pagano e poi cristiano fino alle soglie dell’età contemporanea, passando per il lungo millennio medievale: l’intelligenza del diavolo, che si manifesta nella preveggenza e in capacità cognitive fuori dal comune. Ma qual è la natura di questo potere? Com’è possibile che Lucifero, principe degli angeli e sommamente sapiente, abbia peccato? E ciò significa che l’intelligenza è intrinsecamente demoniaca? Conoscenza e bontà possono convivere, e si può essere al contempo intelligenti (...) e malvagi, o addirittura malvagi perché intelligenti? Tutti interrogativi che si raccolgono attorno alla figura teologica del diavolo e al suo “scandaloso” potere cognitivo. Una questione che si muove tra filosofia, teologia, letteratura, scienza e mito, tessendo le fila di una storia intellettuale che vede spesso come protagonisti autori e testi poco noti, ma capaci di raccogliere il testimone di auctoritas come Agostino d’Ippona e Anselmo d’Aosta, Dante e Tommaso d’Aquino, Cartesio e Voltaire. (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...) to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

This review shows how during COVID 19, poetry and theology both can soothe us. The collection of essays in this anthology is wide ranging engaging with Dante; right up to Wallace Stevens and Denise Levertov. The reviewer thanks the Ramakrishna Mission for providing him with a hard copy of this book. In passing; in the spirit of IndianLivesMatter, one notes that Prabuddha Bharata has never missed an issue from 1896 till date. In his long stint as reviewer for the (...) Ramakrishna Mission's mouthpiece; this reviewer had to perforce castigate authors. In this review which draws to an end his decade long pro bono career as a reviewer at Prabuddha Bharata; the reviewers bids his constant reader adieu. (shrink)