Prepoved heteroglosse, ki jo je v imenu oblikovanja nekakšne komunikacijske skupnosti prvi izpeljal sam Pavel iz Tarza, tj. prepoved samoizgrajevanja, prepoved osebnega pristopa k ontološkemu misteriju, večkratno nakazuje strah pred tranzitivnostjo misterija. S tem je tudi prvič v zgodovini prišel na dan strah institucije pred posameznikom. Taisti strah se je pozneje ohranjal stoletja: naj v Poeziji molči tisti, ki govori s simboli; naj v Umetnosti molči simbolična umetnost; naj v Filozofiji molči tisti, ki misli nemisljivo, ki izreka neizrekljivo. To implicira, (...) da se naša zahteva po heteroglossi iz tega osnutka možne filozofije religije lahko in mora izpeljati na področju estetike, etike, filozofije in predvsem politike. Vprašanje možnosti heteroglosse je vprašanje svobode afirmiranja in negiranja, pravice do aritmike, do lastnosti, nenavadnosti, posebnosti. To je vprašanje pravice do nepripadanja skupnosti, v kateri Veliki hermenevtik stopa med osebnost in Mysteriumom. (shrink)

Μὴ νομίσητε ὅτι ἦλθον βαλεῖν εἰρήνην ἐπὶ τὴν γῆν· οὐκ ἦλθον βαλεῖν εἰρήνην ἀλλὰ μάχαιραν καὶ διαμερισμόν. Ζῶν γὰρ ὁ λόγος τοῦ Θεοῦ καὶ ἐνεργὴς καὶ τομώτερος ὑπὲρ πᾶσαν μάχαιραν δίστομον καὶ διϊκνούμενος ἄχρι μερισμοῦ ψυχῆς καὶ πνεύματος, ἁρμῶν τε καὶ μυελῶν, καὶ κριτικὸς ἐνθυμήσεων καὶ ἐννοιῶν καρδίας. Καὶ οὐκ ἔστιν κτίσις ἀφανὴς ἐνώπιον αὐτοῦ, πάντα δὲ γυμνὰ καὶ τετραχηλισμένα τοῖς ὀφθαλμοῖς αὐτοῦ. -/- Μὴ ἀγαπᾶτε τὸν κόσμον μηδὲ τὰ ἐν τῷ κόσμῳ· ἐάν τις ἀγαπᾷ τὸν κόσμον, οὐκ ἔστιν ἡ (...) ἀγάπη τοῦ Πατρὸς ἐν αὐτῷ. Καὶ ὁ λόγος ὃν ἀκούετε οὐκ ἔστιν ἐμὸς ἀλλὰ τοῦ πέμψαντός με Πατρός. Ὁ ἀθετῶν ἐμὲ καὶ μὴ λαμβάνων τὰ ῥήματά μου ἔχει τὸν κρίνοντα αὐτόν· ὁ λόγος ὃν ἐλάλησα, ἐκεῖνος κρινεῖ αὐτὸν ἐν τῇ ἐσχάτῃ ἡμέρᾳ. Oὕτως ἔσται ἐν τῇ συντελείᾳ τοῦ αἰῶνος· ἐξελεύσονται οἱ ἄγγελοι καὶ ἀφοριοῦσιν τοὺς πονηροὺς ἐκ μέσου τῶν δικαίων, οἵτινες δίκην τίσουσιν ὄλεθρον αἰώνιον ἀπὸ προσώπου τοῦ Κυρίου καὶ ἀπὸ τῆς δόξης τῆς ἰσχύος αὐτοῦ, διότι ἀπὸ προστάγματος Κυρίου ἀπολοῦνται, ἀπὸ δὲ πνεύματος ὀργῆς αὐτοῦ ἀφανισθήσονται. (shrink)

Preface to the print edition of the New Testament in Russian, edited and published by Dr. Andrej Poleev in Berlin, 2021, 622 pages.

O artigo em questão se detém no método baconiano, que emerge através do Novum Organum (ou Verdadeiras Indicações acerca da Interpretação da Natureza) e acena com a pretensão de possibilitar o verdadeiro progresso da ciência, que demanda, em suma, a erradicação das predisposições para o erro, dos preconceitos e das noções falsas que impedem o acesso à verdade, dos “ídolos”, enfim, segundo a leitura de Bacon, que propõe o controle científico sobre a natureza como fator determinante da harmonia e (...) do bem-estar dos homens, conforme o ideal exposto no trabalho intitulado Nova Atlântida, que converge para caracterizar o saber como uma construção coletiva, desenhando um horizonte que se impõe ao processo formativo-educacional, à medida que estabelece uma relação envolvendo conhecimento e poder que guarda raízes nas fronteiras da experiência, em cuja perspectiva a investigação em referência dialoga com a metodologia freinetiana, que sublinha a articulação entre teoria e prática e assinala o papel que cumpre o trabalho em uma aprendizagem que traz como fundamento a ação. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence (...) on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by (...) cognitive logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

The book "Unnoticed Revolution. Richard Burthogge's Constructivist Idealism" focuses on the theory of cognition developed by Richard Burthogge, the seventeenth-century English philosopher and author, among other works, of the "Organum Vetus & Novum" (1678) and "An Essay upon Reason and the Nature of Spirits" (1694). Burthogge’s ideas had a minimal impact on the philosophy of his time and have hitherto not been the subject of a detailed study. Nevertheless, his writings contain a highly original concept of constructivist idealism, which, (...) when seen from a historical perspective, turns out to have anticipated the crucial points of that proposed a century later by Kant. It is because at the core of Burthogge’s epistemological position lies the claim that the external object of cognition is never presented to the mind directly, but always under the 'modus concipiendi', a particular form of conceptualisation of the external reality, performed in the manner and with the means determined by the structural and functional properties of the human cognitive powers. As a result, Burthogge clearly anticipates Kant in claiming that the external world is unknowable in itself, being accessible to the human mind only through the ‘phenomena’ that the mind itself co-produces. The need for deeper analysis of the works by the ‘forgotten’ philosophers of the seventeenth and eighteenth centuries has been recognised for at least ninety years. The discussed book tries to meet these expectations. Its direct aim is to increase our knowledge of early modern British philosophy. At the same time, the restoration of the memory of the idealist doctrine, anticipating by almost a century that of Kant, should enable us to draw some new conclusions about the internal logic and immanent dynamic of the development of the whole post-Cartesian thought. (shrink)

Francis Bacon’s theory of matter is a controversial topic among historians. I agree with the viewpoint, which suggests that although Bacon changed his views on atomism repeatedly, he never rejected it completely (Partington, Urbach, Gemelli). I will substantiate this interpretation by paying more attention to the usually neglected allegorical works and by investigating why Bacon changed his mind on atomism in his Novum organum. I shall reconstruct Bacon’s various opinions in chronological order to establish his final evaluation of atomism (...) and his reasons for it. Given that Bacon never embraced a matter theory identical with Greek atomism, I shall here define atomism in the broadest sense, as a corpuscular matter theory that posits final and indivisible particles. Following this semantic delimitation, two successive Baconian opinions will be distinguished: the first took the atom to constitute an ontological and causative-operational principle; the second deprived the atom of this causative-operational ability, but did not touch its ontological priority. At the same time, I will investigate the question concerning the coexistence of atomism and pneumatism in Bacon’s theory, a point that has been discussed in the influential interpretations by Kargon and Rees. I shall argue that Bacon did not regard these two doctrines as incompatible. (shrink)

The paper focuses on the epistemology developed by Richard Burthogge, the lesser-known seventeenth-century English philosopher, and author, among other works, of Organum Vetus & Novum (1678) and An Essay upon Reason and the Nature of Spirits (1694). Although his ideas had a minimal impact on the philosophy of his time, and have hitherto not been the subject of a detailed study, Burthogge’s writings contain a highly original concept of idealistic constructivism, anticipating (relatively speaking) Kant’s idealism. At the same time, (...) some interesting implications for the issue of self-interpretation and self-identity can be derived from his account of the mind. At the core of Burthogge’s epistemological position is a remarkable idea of structural and functional similarity between the three human cognitive faculties, that is between reasoning, sensation and imagination. Accordingly, every cognition, intellectual as well as sensuous, contains in its structure an object-directed operation of apprehending and thus can be viewed as an intentional act in a broad sense of the term. An immediate consequence of this claim for both mind and object is that they cannot be reduced to a pure stream of sense data, but on the contrary are to be considered ontologically independent from the content of a cognitive act. Furthermore, an object of cognition is never presented to the mind directly, as it is in itself, but always under the modus concipiendi, a particular form or manner of conceiving, specific to human cognitive powers due to their internal structure. As a result, Burthogge clearly anticipates Kant in claiming that it is impossible to know reality in itself, and in situating human consciousness as if in between two unknowable spheres: the external and internal one. Since these restrictions are imposed not only on external, but also on internal cognition, that is on self-knowledge, they lead to considerable difficulties regarding the mind’s identity. Basically, two principal strategies to address this issue are available in the post-Cartesian framework of seeing the mind as an ontologically independent entity, and both of them appear to be ineffective when employed in Burthogge’s epistemology. First, the mind identity can be grounded in some extra-mental factors, preferably in matter. However, with no access to the external world in itself, and with the scope of knowledge restricted to mental phenomena, the mind’s identity cannot be defined in terms of relationship with the reality of which it knows nothing except that it exits. The second option is to explain personal identity by referring it to the intrinsic properties of the mind. Nevertheless, this strategy also faces insuperable obstacles, and for the same reasons as the former does. Since self-knowledge is no exception to the structural-functional principles imposed on cognition, the mind can also be known only under the subjective conditions of conceiving. It is, therefore, just as unknowable in itself as the external things are. The main purpose of the paper is to explore this aspect of Burthogge’s philosophy. (shrink)

Nasreddin Hoca gercek bir kisi midir, yoksa, Hoca’nin dusunce duzenini seven toplumun kendi icinden yarattigi bir simge kisilikmidir? Bu konu uzerine eski ve yeni gorusler ileri surulmustur.[i] Genellikle 13 cu yuzyilda yasadigi soylenir. Nasreddin Hoca’nin bu dogum tarihi ile birlikte, Deneyli Bilim’in kurucusu oldugu ongorulen Ingiliz soylusu Francis Bacon, Baron Verulam (1561-1626) dan soz etmek gerekir. Bacon’un yazdigi Instauratio Magna Novum Organum[ii] kitabi, deneyli bilimlerin baslangici olarak gosterilir. Bu iki kisi, Nasreddin Hoca ve Baron Bacon’in, dusunce kimlikleri nelerdir? Yarattiklari (...) deyimlerin kimlik ayrintilari nelerdir? Bu kimlikleri ne gibi yollarla ve hangi amaclar ile edinmislerdir? Ne yolda kullanmislardir? Bu sorularin karsiligini, okuyucunun vermesi gereklidir. Okuyucunun verecegi karsilik, okuyucunun kendi kimliginin ortaya cikmasina, ya da, en azindan, okuyucunun oz dusuncesel kimligini sorgulamasina neden olacaktir. (shrink)

The paper focuses on the theory of cognition developed by Richard Burthogge, the lesser known seventeenth-century English philosopher, and author, among other works, of Organum Vetus & Novum (1678) and An Essay upon Reason and the Nature of Spirits (1694). Although his ideas had a minimal impact on the philosophy of his time, and have hitherto not been the subject of a detailed study, Burthogge’s writings contain a highly original concept of idealistic constructivism, anticipating Kant’s idealism. Therefore, a closer (...) examination of his philosophy can not only deepen our understanding of early modern British thought, but may also shed new light on the internal dynamics of the development of the whole post-Cartesian epistemology. (shrink)

"Theory of modus concipiendi in Richard Burthogge’s Epistemology" The paper focuses on the epistemology of Richard Burthogge, the lesser known seventeenth-century English philosopher and author, among other works, of the Organum Vetus & Novum (1678) and An Essay upon Reason and the Nature of Spirits (1694). Although his ideas had a minimal impact on the philosophy of his time, and have hitherto not been the subject of a detailed study, Burthogge’s writings contain a highly original concept of idealistic constructivism. (...) The most important claim of this approach is that the external objects are never presented to the mind directly, as they are in themselves, but always under the modus concipiendi, a particular form of conceiving or conceptualising, performed by the human cognitive powers (both intellectual and sensuous) in the manner and with the means determined by their structural and functional properties. Thus, Burthogge clearly anticipates Kant in claiming that the external world is unknowable in itself, being accessible to the human mind only through the phenomena that the mind itself co-produces. The paper provides an outline of the theory of modus concipiendi, including its historical context and idealistic consequences, preceded by the brief presentation of Burthogge’s epistemology. (shrink)

The original New Testament documents disappeared very early, probably before the end of the first century, as they are not even quoted in the post-apostolic period and are not even mentioned as having been seen by anyone anywhere. The surviving manuscripts that have come down to us are copies of copies. And these copies have many errors. Therefore, textual criticism is used in order to restore the primitive form of the text before the errors and changes produced by the hands (...) and minds of copyists. A Herculean effort has been made to arrive at the form of the text that circulated or was known in the early years of Christianity. Textual critics, for example, raised many hypotheses and theories such as textual types, with the aim of pointing to handwritten copies that could be closer to what was thought to be the first century text. Editions of "Novum Instrumentum Omne" by Erasmus of Rotterdam, which went on sale March 1, 1516, and "The New Testament in the Original Greek (1881)" by Brooke Foss Westcott and Fenton John Anthony Hort" represent the effort of scholars to give the public an edition of the Greek New Testament based on the best and oldest surviving Greek manuscripts. The present research intends to describe the beginning of the textual criticism of the New Testament with emphasis on the edition of the Greek New Testament of Erasmus of Rotterdam, in the researches of the scholars B. F. Westcott and F. J. A. Hort and in the theory of the textual types. (shrink)

Das Anliegen der vorliegenden Studie ist der Entwurf eines wirklichkeitstreuen Modells der Kommunikation. Ebenfalls hat uns interessiert, die konstitutiven Regeln der Kommunikation zu bestimmen und einige Wirksamkeitsnormen und moralische Normen, die mit wünschenswerten sozialen Kommunikationsformen assoziierbar sein könnten, zu identifizieren. Die Kommunikation ist ein facettenreiches und zugleich interpretationsoffenes Phänomen, welches zahlreiche unterschiedliche theoretische Modelle erlaubt. Sie kann von den Psychologen als selbstständigen Verhaltenstyp, von den Soziologen als entscheidenden Sozialisierungsfaktor, von den Anthropologen als kulturhervorbringendes und -verbreitendes Mittel, von den Semiologen als (...) Prozess der (Um-)Konfiguration der verschiedenen Bedeutungen von Bedeutungsträgern usw. gedeutet werden. Das vorliegende Interpretationsmodell der Kommunikation ist allgemein, zum Teil auch hermeneutisch, indem es a) den Kommunikationsprozess als solchen und nicht etwa als eine gesonderte Instanz desselben berücksichtigt, b) eine einzige, nämlich die interaktive Perspektive auf die Kommunikation hervorhebt und c) zweckgemäß die Kommunikation in einen normativen, intelligiblen Rahmen überträgt, wobei sich eine empirische Beschreibung der Kommunikationsfakten zwecks Feststellung allgemeingültiger Gesetze von selbst erübrigt. Diesem theoretischen Modell entsprechend ist die Kommunikation eine Interaktion oder eine wechselseitige semiotische Interaktion, innerhalb derer die involvierten Personen mithilfe von Zeichen komplementäre Verhalten manifestieren, die bestimmten (sozialen) Regeln unterworfen sind. Demzufolge ist die Kommunikation kein individuelles Spiel, sondern ein Team-Spiel. Ihre Protagonisten spielen alle genauso wichtige Rollen, und von ihrer Teilnahme hängt beides, Gelingen und Misslingen der Kommunikation, gleichermaßen ab. Nachdem wir den Begriff der Kommunikation im allgemeinen erklärt hatten, galt unser Interesse der Definition und der Klassifizierung der exklusiven Ausführungsmittel des oben beschriebenen Prozesses, das heißt, der Zeichen. Die semiotische Literatur behandelt die Zeichen sowohl als (stoffliche, mentale oder gemischte) Objekte als auch als Funktionen. Für unsere Demarche haben wir es vorgezogen, die Zeichen als in Wirklichkeit existierende Reize zu beschreiben, die auf Grund von sozialen Konventionen stets auf „etwas Anderes” als auf sich selbst hinweisen. Dieses gemeinte „Andere“, die Bedeutung des Zeichens, ist nichts anderes als die Gesamtheit seiner Anwendungen. Die Natur des Verhältnisses von Zeichen und (willkürlicher, notwendiger, durch Analogie oder Ähnlichkeit begründeter) Bedeutung hat uns dann erlaubt, vier Zeichenkategorien auszumachen und zu beschreiben: Wörter, Indizien, Bilder und Sinnbilder. Was die Erläuterung der konstitutiven Faktoren der Kommunikation anbetrifft, haben wir im Einklang mit den Forschungen angesehener Semiotiker mit sechs grundlegenden Parametern gerechnet: Sender, Empfänger, Mitteilung, Code, Kommunikationssituation und Kommunikationskanal. Doch war das wirklich die einzige treffliche Option? Hätte der Kommunikationsprozess nicht ausgehend von anderen – wenigeren oder mehreren – Faktoren analysiert werden können? Gewiss kann die Kommunikation auch mittels weiterer Variablen verstanden werden – und die Fachliteratur ist nicht müde geworden, die Vorzüge anderer Beschreibungsmuster zu zeigen –; von den sechs semiotischen, von Roman Jakobson eingeführten Parametern kann man indes nicht wegsehen. Sie erlauben allemal eine ziemlich genaue Bestimmung der durch die Protragonisten der Kommunikation durchgeführten Handlungen. In Übereinstimmung mit der allgemeinen Methode der Handlungstheorie haben wir jeden konstitutiven Faktor der Kommunikation mit je einem Handlungspaar korreliert, zum einen beim Sender, zum anderen beim Empfänger. Die Berücksichtigung der Sprache und implizite der Kommunikation im Kontext der Handlungstheorie ist keine bahnbrechende Unternehmung, da sie unter anderem schon John Austin, John Searle und Jürgen Habermas als Ausgangspunkt ihrer Analyse der Sprechakte gedient hat. Auch die Korrelation der Kommunikationsparameter mit einer Handlung ist kein Novum, indem sie auf analoge Weise bereits durch die Versuche einiger Semiotiker wie Roman Jakobson und Karl Bühler, die Funktionen der Sprache bzw. des linguistischen Zeichens zu systematisieren, unternommen wurde. Unser origineller Beitrag besteht aus der Korrelation jedes Faktors der Kommunikation mit einer Interaktion, das heißt mit einem Paar von komplementären Handlungen, so dass jeder Handlung des Senders eine Handlung des Empfängers entspricht. In diesem Sinne haben wir Sender, Empfänger, Mitteilung, Code, Kommunikationssituation und Kommunikationskanal in spezifischen Interaktionstypen (Sichentlarven – Nachvollziehen, Einflussnahme – Antwort, Sendung – Empfang, syntaktische Informierung – syntaktisches Verständnis, Bezeichnung – „Mitbezeich-nung“ bzw. Anknüpfung einer soziale Beziehung – Beibehaltung einer soziale Beziehung) inszeniert. Nachdem wir den Kommunikationsprozess als Totalität von sechs Interaktionstypen beschrieben hatten, haben wir auf drei mögliche Ordnungen der Kommunikationsformen verwiesen, wobei die Einteilungskriterien jeweils die verschiedenen gebrauchten Zeichentypen, die Art der Beziehung zwischen Sender und Empfänger bzw. der sich spontan manifestierende soziale Abstand zwischen den Kommunizierenden waren. Indem unsere Demarche darauf abzielte, die Eigentümlichkeiten verbaler vs. nonverbaler, formaler vs. informaler, der individuell, gruppenweise oder öffentlich stattfindenden Kommunikation auszumachen, haben wir die Akzente auf die Pragmatik der Kommunikation gesetzt und somit einige Hinweise auf den Erwerb spezifischer Kommunikationsfähigkeiten geben können. Das von uns vorgeschlagene theoretische Modell hat also nicht nur ein besseres Verständnis der Kommunikation beabsichtigt, sondern auch die Feststellung eines vollständigen Regelwerks der Kommunikation. Diese Regeln wurden als Formen des zu erwartenden sozialen Verhaltens behandelt – sowohl im normativen als auch im antizipativen Sinne – und wurden im Gefolge von John Searle in zwei Hauptklassen eingeteilt: konstitutive und normative Regeln. Die konstitutiven Regeln bestimmen die von ihnen logisch-abhängigen Verhaltensweisen und legen die Bedingungen der Kommunikationsakte fest, während die normativen Regeln die vorgegebenen, unabhängigen Verhaltensweisen berücksichtigen und die wünschenswerten Bedingungen für ihre Vollziehung festlegen. Um die konstitutiven Regeln ausmachen zu können, sind wir davon ausgegangen, dass der Prozess der menschlichen Kommunikation kein naturhafter, sondern ein institutioneller ist. Mit anderen Worten ist die Kommunikation das Ergebnis einer sozialen Vereinbarung und eben kein unabhängiges Phänomen, das nur von außen zu beschreiben wäre. Je nachdem, wie die notwendigen Regeln, welche die soziale Vereinbarung definieren, respektiert oder verletzt werden, haben wir fünf mögliche Situationen identifiziert: die vollkommene Kommunikation, die teilweise geglückte Kommunikation, die Nonkommunikation, die relative und die absolute Antikommunikation, wobei man hinzufügen muss, dass die erste und die letzte Situation Grenzerfahrungen ohne jegliche Referenz darstellen. Die konstitutiven Regeln der Kommunikation wurden mit allen sechs spezifischen Interaktionstypen korreliert (Sichentlarven – Nachvollziehen, Einflussnahme – Antwort, Sendung – Empfang, syntaktische Informierung – syntaktisches Verständnis, Bezeich-nung – „Mitbezeichnung“ bzw. Anknüpfung einer soziale Beziehung – Beibehaltung einer soziale Beziehung), so dass sie wenigstens aus einem bestimmten Gesichtspunkt ein konsistentes und vollständiges System bilden können. Im Unterschied zum System der konstitutiven Regeln sind hier die Kommunikationsnormen nicht erschöpfend behandelt worden. So wurden aus der Vielfalt der Vorschriften, die zu erwünschten Ergebnissen in der Kommunikation führen könnten, nur einige im Rahmen der vorliegenden Studie angegangen. Diese betreffen die Wirksamkeit und die moralischen Aspekte der Kommunikation und wurden ihrerseits mit den oben angeführten sechs Interaktionstypen korreliert. Dabei waren nicht so sehr die unausweichlichen Lücken im Inventarisieren der Normen, welche die Genauigkeit und die Ökonomie der Kommunikation gewähren, am problematischsten, sondern vielmehr der Grad an moralischer Relevanz, den die Kommunikationsakte beanspruchen können. Wir sind fest davon überzeugt, dass die Handlungen der Kommunizierenden eher davon abhängen, inwiefern sie moralische Verpflichtungen eingehen, und eben nicht davon, was für einen Gewinn sie dadurch erzielen, da keine der berücksichtigten Handlungen sich der Moral gänzlich entziehen können. Ob „neutrale Metaregeln“ für den Fall, dass einige moralische Eingrenzungen mit den Wirksamkeitsnormen kollidieren, vonnöten sind, sei dahin gestellt. Ein theoretisches Modell kann nur dann als nützlich bezeichnet werden, wenn es neue Forschungsansätze bringt und neue Forschungswege ermöglicht. Unter diesem Blickwinkel hat die vorliegende Studie zwei mögliche Fortsetzungen: die Ergänzung der Gesamtheit der normativen Regeln der Kommunikation (im allgemeinen), bzw. das Unterteilen des allgemeinen Modells der Kommunikation in stereotypen Mustern wie der politischen oder didaktischen Kommunikation usw. Schließlich hängen Gelingen und Anwendbarkeit der vorliegenden Studie in pragmatischer Sicht eben davon ab, inwiefern sie dem Leser / Benutzer als Wekzeug zur Verbesserung seiner Kommunikationsleistungen dienen kann. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

Divus Augustus Pater. The cult of divine Augustus under the rule of the Julio-Claudian dynasty -/- Summary The cult of divine Augustus was one of the most important phenomena of ideological nature under the rule of the Julio-Claudian dynasty. The crucial point of its development was the apotheosis conducted on 17 September 14 AD. The new cult was derived greatly from numerous borrowings from the rites of various gods of the Roman Pantheon. As divus, Augustus received a separate priest, a (...) private priestess, and a college of priests. The first flamen Augustalis became Germanicus. The holder of this title enjoyed many privileges. It seems unlikely, however, that flamen Augustalis controlled the entire cult of divine Augustus. This was the role of the emperor as both the supreme priest and the inheritor of political power. Sodales Augustales also had special cult functions. This religious fraternity had a mixed private-state character just like many of the institutions of the early principate. It was a cult college of gens Iulia and, most of all, of Augustus. From its beginning it enjoyed high prestige. The members of this religious fraternity were recruited among the Senate elite and the family of the emperor. Sacerdos divi Augusti occupies a different place in the priesthood established to worship Augustus. This female priesthood, despite its humble cult and political role, is of great interest to scholars. In spite of discerning investigations by researchers, there seem to have been only two priestesses in the Julio-Claudian dynasty – Julia Augusta, the widow of the creator of the principate, and Antonia Augusta. There is even no certainty that the latter had preformed the function at all. Augustus, as a god, was given a separate temple under a Senate decree. However, the construction work went slowly ahead. Therefore, divus Augustus was initially worshipped in other places of worship. At first, it was the temple of Mars Ultor. He was also worshipped in the sacrarium on the Palatine. One encounters certain difficulties when trying to identify the places of Augustus’ worship in Rome. Ultimately, there seem to have been two sacraria in the capital of the Empire. There is no certainty, however, whether yet another temple was located next to the templum novum divi Augusti on the Palatine. In trying to analyse the phenomenon of the divinity of the Roman emperors, and Augustus in particular, it is necessary to refer to the genesis of Emperor worship. Within the framework of official religion it is important to distinguish such elements as genius and numen. Although the consecratio act conducted by the Senate meant the crossing of the boundary between the human Augustus and the divine Augustus, it is important to remember that Augustus had prepared his apotheosis for a long time and already enjoyed divine honours during his lifetime. Certain elements of Augustus worship developed under his rule continued to exist for some time after the death of the creator of the principate. Augustus divinity was guarded by the law of maiestas. At the beginning of the rule of Tiberius it mostly protected divus Augustus himself. Gradually, despite some opposition, the law began to serve the ruling emperor. There is little certainty of how many cases were brought under the crimen laesae maiestatis against those who insulted the divine Augustus. The issue of trials for offending the law of maiestas is accounted for one-sidedly by ancient historians, which complicates the work of contemporary researchers. There is, however, no denying that for Tiberius (Augustus’ successor) the trials on the charge of maiestas turned out to be a trap. The cult of divus Augustus was approved throughout the Empire. Nevertheless, some weaker voices of opposition could be heard. These were present in the Senate circles cherishing the memory of the last defenders of the Republic, as well as among some ethnic and religious communities. The latter included Judaism and emerging Christianity. The political consequences of Augustus’ deification were very serious. He significantly contributed to the ruling of the Julio-Claudian dynasty for over 50 years. The main reason for that was the fact that in the Rome of that time the tradition of power succession was not yet well-grounded. Directly after the principate creator’s death, his consecratio took place – he was assigned priests and many godly honours and a temple was erected in his honour. These actions obviously took place under Augustus’ successor Tiberius who, during his rule, constantly tried to emulate the divine predecessor and referred to his decrees on numerous occasions. Tiberius was the emperor who contributed to the cult of his adoptive father to the greatest extent. However, one cannot fail to notice that his actions were somehow ambiguous. It has to be remembered that, in addition to his sincere respect for the divine Augustus, Tiberius also tried to use the authority of the creator of the principate to strengthen his power. This is exemplified by the motto imprinted on coins: DIVVS AVGVSTVS PATER. Caligula took a different approach to the Augustan cult. When assuming power after Tiberius, he was in a different position. The 20-year rule by Augustus’ successor greatly contributed to the strengthening of the idea of the principate ’s stability in the minds of the Romans. This allowed Caligula to pay less heed to the Senate aristocracy, as well as other institutional elements of the Republic. Under these circumstances, the cult of Augustus underwent modifications. Divus Augustus still remained at the heart of the religious propaganda of the Roman state and gens Iulia, but also other members of the family of the young Emperor received a number of honours drawing them closer to the world of gods. Drusilla, for that matter, was made a diva. By this, the idea of domus Augusta received a new confirmation. Caligula himself did not cease to participate in, and support, the rites performed to worship his divine grandfather. The available sources lead us to believe that Augustus constituted for the young princeps a role model and a character to which he often compared himself with. For Claudius, the use of the cult of divine Augustus was important as a tool to strengthen political power. But due to the fact that his personal links with divus Augustus were rather weak, Claudius focused on the cult of his grandmother Livia, Augustus’ wife. He also emphasised the function of sacerdos divi Augusti which his mother Antonia Augusta was to fulfil. Claudius faced the task of the ‘reconstruction’ of the cult of Augustus which had deteriorated, especially during the second part of Caligula’s rule. Claudius took a different direction in imitating Augustus than his two predecessors. Augustus’ model was very capacious, allowing him to find examples which could be adjusted to fit his own political goals and personality. Claudius avoided the stiffness characteristic of Tiberius and, at the same time, respected Augustus’ traditions which he Caligula inadvertently abused. Claudius’ attitude to Augustus is not quite clear. Undoubtedly he kept alive the memory of the first princeps, however, there is a lack of testimony about the new honours conferred on divine Augustus during the rule of this Emperor. Almost all of them concentrate around the person of Claudius or his family. There are, however, no honours conferred on the creator of the principate. This type of attitude caused the cult of divine Augustus to be eclipsed by the cult of the ruling Emperor. Nero, the last representative of the Julio-Claudian dynasty descended, unlike Claudius, directly from the line of Augustus. The new emperor deified his predecessor by using the model of Augustus’ apotheosis. In the first part of his rule he drew greatly from the Augustus model of exercising power. Nero ’s ideological platform seems to be the richest in comparison with other emperors of the Julio-Claudian dynasty. The tradition of links with divus Augustus was, however, only one of many different elements. With time, the tradition appeared to play a still smaller role. The departure from the Augustus model took place on many levels. Some of the steps were very radical, whereas others were less significant. The most serious was the elimination of the members of gens Iulia and gens Claudia, and those who could prove their kinship with both the houses. The devastation in Nero ’s closest family put an end to the concept of domus Augusta. Formally, the Emperor did not renounce the divine creator of the principate but, in practice, the idea of the new domus Augusta no longer aimed at presenting Augustus’ descendants united in a single family. Nero was now alone and any creation of ideological concepts of power under those circumstances had to be based around him. These actions ended in disaster. By giving up the Augustan model, Nero lost the support of the army and, as a result, lost power. Apart from the worship of the state religion in the capital, divus Augustus was the subject of a provincial and municipal cult. Here, the worship of divine Augustus was often a continuation, sometimes in an extended form, of the honours Augustus had been granted during his lifetime. In the cult of divus Augustus, in the provinces one can observe a mutual interweaving of elements copied from the capital model and local traditions. The beginning of the provincial cult of Augustus dates back to the rule of Tiberius. The crucial point for the establishment of the provincial cult in the West was the request of the citizens of Hispania Tarraconensis to build a temple for divine Augustus. It is important to emphasise here that he was appointed on a local initiative. In the East, the genesis of the provincial cult is related to the functioning of koinon. In comparison with the western regions, the cult here was characterised not only by longer history but also an extensive system of priesthood and rich ritual. The intensity of development of municipal and private cult in the West depended on the level of social and economic development of the regions. It assumed the most complex forms in the provinces with well-developed city life – generally in the eastern provinces. Whereas the cult of divine Augustus in the western municipal provinces was similar in character to the cult of the principate’s creator in Italy. The greatest testimony to the cult’s development comes from relatively strongly romanised and, at the same time, the wealthiest regions which had been part of the Empire for a long time. These included the mainly proconsular Africa, Spain and Narbonese Gaul. The sources coming from these regions constitute not only an illustration of the development of the cult of divine Augustus and members of domus Augusta, but are also a sign of the processes of romanisation of great numbers of city populations. It is necessary to note that outside Rome we do not encounter an isolated cult of divine Augustus. Whenever we deal with information concerning temples or rituals dedicated to the deified creator of the principate, other members of the family are also worshipped. In fact, during the whole rule of the Julio-Claudian dynasty we actually deal with the cult of divine Augustus in close association with the worship of domus Augusta – domus divina. (shrink)

In Christ Brings All Newness: Essays, Reviews, and Reflections, Robert P. Imbelli, a theologian with a storied vocation as a priest of the Archdiocese of New York, offers a rich theological corpus explicitly grounded in Vatican II’s transformative vision. A scholar who bore witness to the unfolding of the council while studying in Rome, Imbelli carries the torch of its teachings through over five decades of preaching and teaching. With a Ph.D. in theology from Yale University, he has cultivated a (...) nuanced and sober understanding of the Catholic imagination, reflected in his previous award-winning work, Rekindling the Christic Imagination. In this current volume, Imbelli delves into the inexhaustible newness of Jesus Christ, examining how this novum has been, and ought to be, the pulsating heart of Catholic thought and praxis. The collection is poised as a bridge spanning scholarly exegesis and pastoral ministry, calling believers to re-encounter the transformative presence of Christ in an era where such a center often seems perilously close to erosion. (shrink)

The main aim of Samuel Hartlib was to provide an advancement of learning finalized to the amelioration of the material conditions of men and the pursuit of a religious peace, i.e., the unification of the Protestants. To this aim, inspired by Comenius, he devoted his efforts or gathering knowledge by the creation of a society or office of learned men (in technical fields, philosophy, and theology), and by the establishment of a network of correspondents (the Hartlib Circle). The method of (...) discovery underlying his program of advancement of learning was inspired by Bacon’s Novum Organum and by Jacopo Aconcio’s method of analysis, while the categorization and transmission of knowledge had to be based on commonplace books and artificial languages. His plan of economic improvement, to be fulfilled mainly through the amelioration of husbandry, was motivated by the Puritan Millenarianism to which he adhered. (shrink)

As Francis Bacon put it on the frontispiece of his Novum Organum, grafting an apocalyptic vision on a research program, multi pertransibunt et multiplex erit scientia. The development of science becomes steadily associated with the end of earthly life, a theme that would resound deeply in Western thought up until Goethe’s Faust. What grounds then the multiplicity of knowledge? What is the common trunk out of which all realms of knowledge unfold, like the burgeoning branches of the celebrated tree? (...) After the Augustinian imprint of the first Christian centuries and after the admirable effort of the high scholastics’ Aristotelian and Christian synthesis, the seventeenth century undertakes new scientific work with the need of a new steady ground. All the big names of the modern era, Francis Bacon, Galileo, Descartes, Robert Boyle, Spinoza or Leibniz, found themselves engaged in the search for a common trunk of wisdom, each of them nourishing the intimate conviction that they possessed the philosophical core which would satisfy the learned men’s newly found appetite for indefinitely extending knowledge. In doing this, all of these masters needed to confront the philosophical tradition that they received, reworking and merging together the old structures of science through this epistemological prism of the search for the unity of knowledge. (Vlad Alexandrescu). (shrink)

The philosophy of Francis Bacon was interpreted in various ways in the seventeenth century. In England, his utopian project and natural history became the basis for the projects of religious pacification, pedagogical reformation, and scientific cooperation of Hartlib, Comenius and Charleton. In the hands of Evelyn, Wilkins, and Wren, moreover, Bacon’s ideal of cooperative science engendered the birth of the Royal Society, and his natural history guided the experimental activities of Boyle and Hooke. In France and the Netherlands, attention was (...) paid to Bacon’s natural history especially within the circle of friends of Descartes. In the second half of the seventeenth century, though Bacon’s historical approach was gradually supplanted by mechanical-mathematical science in Europe, Baconianism still served as a source of arguments in the Dutch Cartesian context, as to his theory of error and as a source of criticisms to Aristotelianism. (shrink)

Many current problems surrounding science revolve around the complex epistemological framework that shapes a new vision of knowledge about reality. The traditional epistemological positions are characterized by the explanation of nature by means of concatenated facts; that is, as bricks attached to each other giving shape to the edifice of science. A conception of this nature showed that the idea of certainty was nothing more than a mere illusion, opening the way, on the contrary, to the idea of the uncertainty (...) of knowledge based on the descriptions of quantum physics, also a product of the non-reductionist conception of reality, thus criticizing the specular representation. This article addresses the main problems surrounding the critical conceptions that the emerging epistemology reveals about knowledge, pointing towards a much more complex vision of reality. (shrink)

This essay examines Qoheleth’s Catalogue of the Times poem in Eccl 3:2–8. I argue that the two most common scholarly interpretations of the poem’s overall meaning fail to sufficiently account for its literary context and that an underdeveloped alternative reading is to be preferred. When we read the poem in light of two other closely related passages, 1:4–11 and 3:9–15, it becomes clear that a poem ostensibly about “time” is much less concerned with “timing” than is typically thought, but instead (...) signifies Qoheleth’s frustration with the inevitable equilibrating tendency embedded into every human task. (shrink)