Primul Război Mondial a fost un eveniment de neaşteptat, o dramă prin care au trecut milioane de oameni. La începutul secolului XX mulţi credea că Belle Epoque ( Epoca cea Frumoasă) a început şi nu are sfârşit. În opinia multor oameni de cultură ale acelor timpuri această epocă trebuia să dureze o veşnicie. O perioadă de pace şi linişte, o perioadă în care oamenii nu credeau că războiul va mai fi o prezenţă în viaţa lor. De cele mai multe ori (...) istoria ne oferă evenimente surprinzătoare, hazard sau nu istoria este plină de evenimente de neînţeles. Declanşarea Primului Război Mondial în acest moment ne este uşor explicabilă, dar în aceea epocă nimeni nu a perceput acest eveniment, pe care îl putem denumi un accident nefericit al istoriei. Războiul nu a lăsat în urma lui numai glorie, au fost şi momente pline de suferinţă şi de un tragism rar întâlnit. (shrink)

This chapter deals with Thomas Browne’s most famous work, Religio Medici, and especially with his account of Charity. The first paragraph focuses on Browne’s specific account of the relationship between natural and supernatural. This view is inspired by Bacon, Sebunde, and Montaigne, and is crucial to understand the background of Browne’s view about the virtue of Charity. The second paragraph is about Browne’s specific understanding of Charity, which seems to be a middle stage between the traditional, Scholastic doctrine, and (...) the Kantian idea of moral law, independent from the practical law and the desire of the subject. The third paragraph deals with Religio Medici’s reversal of the traditional “order” of Charity, as well as Browne’s accounts of abnegation and friendship as an effective way for a charity to the self which meets many aspects of Foucault’s ἑπιμέλεια έαuτου. The fourth paragraph is about Browne’s analogical understanding of medicine and morality, as well as his use of the meditatio mortis. (shrink)

L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...) Arcadie » des architectes et peintres. En parallèle, l’article explore les modalités par lesquelles les architectes-pensionnaires de la Villa Médicis à Rome s’approprièrent les découvertes archéologiques concernant les antiquités grecques, et l’impact des échanges des architectes-pensionnaires de la Villa Médicis à Rome avec les membres de l’École française d’Athènes sur leurs vues restaurées de monuments antiques grecs. Une attention particulière est accordée à l’analyse de l’osmose entre architecture et archéologie. La seconde moitié du xixe siècle constitue un moment où les échanges et la collaboration entre archéologues et architectes acquièrent une place dominante, et Athènes est l’endroit par excellence où la rencontre entre ces deux domaines porte ses fruits. Durant toute cette période, les collaborations entre archéologues et architectes travaillant sur des monuments antiques, à Athènes ou ailleurs en Grèce, deviennent très importantes. Ces collaborations ont fourni les fondations pour des ouvrages d’une importance majeure pour leurs deux champs respectifs, mais aussi pour l’histoire de l’art en général. (shrink)

Come è emerso dall’analisi filosofica e dalla ricerca nelle scienze cogni- tive, la maggior parte dei concetti, tra cui molti concetti medici, esibisce degli “effetti prototipici” e non riesce ad essere definita nei termini di condizioni necessarie e sufficienti. Questo aspetto rappresenta un problema per la pro- gettazione di ontologie in informatica, poiché i formalismi adottati per la rap- presentazione della conoscenza (a partire da OWL – Web Ontology Langua- ge) non sono in grado di rendere conto dei concetti (...) nei termini dei loro tratti prototipici. Nel presente articolo ci concentriamo sulla classe dei disordini mentali facendo riferimento alle descrizioni che ne vengono date nel DSM-5. L’idea è quella di proporre un approccio ibrido, in cui i formalismi delle ontologie sono combinati a una rappresentazione geometrica della conoscenza basata sugli spazi concettuali. (shrink)

La ricerca medica è afflitta da un problema di comunicazione. Comunità distinte di ricercatori si servono di terminologie diverse e spesso incompatibili per esprimere i risultati del loro lavoro, generando in questo modo problemi di integrazione tra database ogniqualvolta si presenti la necessità di inserire i dati medici nei computer. In un primo momento i problemi di integrazione tra database venivano risolti caso per caso, in seguito si è fatta strada l’idea di realizzare un’unica tassonomia di riferimento in cui (...) tradurre, una volta soltanto, tutti i vari sistemi di classificazione. Funzionando come una sorta di lingua franca, questa tassonomia di riferimento avrebbe automaticamente garantito ad ogni database calibrato su di essa la compatibilità con tutti gli altri. È curioso come gli informatici abbiano chiamato il sistema centrale di classificazione che stavano proponendo un’ontologia, riconoscendo così l’esistenza di più di un’affinità tra il lavoro di costruzione che un simile sistema comportava e la vecchia metafisica. Il presente articolo descrive un tentativo di sfruttare le risorse della filosofia per risolvere problemi che sorgono, in particolar modo, nel campo dell’integrazione delle terminologie mediche. Vengono delineati in particolare i contorni di un’iniziativa che è il frutto della collaborazione tra l’Istituto di Ontologia Formale e Informatica Medica e la società di software belga Language and Computing, iniziativa che prevede la messa alla prova di un’ontologia fondata su solidi principi filosofici nel contesto di potenti strumenti software per l’elaborazione di testo medico. (shrink)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines (...) took place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

Around the middle of XVI th century, in the Florence of Grand Duke Cosimo I de’ Medici, Bernardo Segni (Firenze, 1504–1558) translated and commented some Aristotelian works in the Florentine vernacular. His works represents a very important innovation in the panorama of Italian Aristotelianism, because they are the product of circles outside the university world and are the first attempt to translate in Italian the works of the great Greek philosopher. In this paper, I’ll examine some aspects of his (...) works, in particular of his translation of Nicomachean Ethics. (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)