The essay presents a concise historical overview of the utopian tradition, focused on its relation with political realism. This has always been a complex and shifting relation, both for the conceptual richness and for the variety of literary works that it has produced, especially as far as the long history of the utopian genre – from classical antiquity to the XXth century – is considered. Since the publication of More’s work, «utopia» serves several purposes: in addition to the original task (...) of designing the optimal form of state, it conveys eschatological hope, disseminates the products of modern scientific and philosophical investigation, plans reformist and revolutionary projects, drafts practical experiments of building an ideal community. (shrink)

L’argomento che si intende sviluppare nel presente intervento è quello del rapporto di reciprocità tra amore e conoscenza nella riflessione mistica di Riccardo di San Vittore, autore di alcune delle pagine più belle sulla dignità conoscitiva dell’amore nella filosofia medievale. Si metterà a fuoco come la prospettiva mistica e il linguaggio metaforico descrivano un preciso percorso conoscitivo nel quale il soggetto si assimila all’oggetto conosciuto in una dinamica che, analogicamente, riprende la relazione tra amante e amato. In particolare, assumendo (...) come note le riflessioni di Riccardo circa la contemplazione, avanzate nei libri quarto e quinto del _De arca mystica_, ci si volgerà all’approfondimento della _dimensione trinitaria_, trattata sia nello scritto sopra citato, in quanto oggetto dell’ultimo tipo di contemplazione, sia, e soprattutto, nel _De Trinitate_, in quanto _fonte e figura_ dell’amore e, dunque, del suo rapporto con la dimensione conoscitiva. Si tenterà di chiarificare la visione riccardiana circa la reciprocità di amore e conoscenza e, successivamente, si mostrerà come la _forma_ di tale rapporto sia la vita trinitaria. The topic that we intend to develop in this essay is the relationship between love and knowledge in the mystical reflection of Richard of Saint Victor, author of some of the most significant pages on the cognitive dignity of love in medieval philosophy. It will focus on mystical perspective and metaphorical language and how these dimensions describe a precise cognitive strategy in which the subject is assimilated to the known object in a dynamic that takes up the relationship between lover and loved one. In particular, taking as notes the reflections of Richard about contemplation, advanced in the fourth and fifth books of _De arca mystica_, we will turn to the deepening of the Trinitarian dimension as an object of the last type of contemplation, both, and above all, in the _De Trinitate_, as a source and figure of love and, therefore, of its relationship with the cognitive dimension. An attempt will be made to clarify the Richard’s view of the reciprocity of love and knowledge and, subsequently, it will be shown how the _form _ of this relationship is the Trinitarian life. (shrink)

The fallen state of man is characterized by the disappearance of wisdom and the lack of freedom, according to Ugo and the anonymous author of Summa Sententiarum. Ugo assimilates this person to the insipid and stupid in the book of Job. Such a person should blend infused wisdom with the triple cognition of God, himself and the good to be done. This task follows a precise historical development, which is initiated by the weak in faith and which can be schematized (...) in five steps: 1) fear; 2) education; 3) wisdom; 4) history; 5) study of the Bible. Studying, man assimilates himself to God as the supreme exemplary form of wisdom and individualizes the works of condition and reparation. But whereas the anonymous author subdues the moral value of divine action to a social criterion, Ugo distinguishes three degrees of good and connects moral value to the activity or passivity of the divine will. (shrink)

La metafora della luce di origine dionisiana esaminata come strumento di conoscenza che si traduce in pratica di vita.

In lieu of an abstract, here is a brief excerpt of the content:Notes and Discussions AGOSTINO NIFO'S EARLY VIEWS ON IMMORTALITY Various historians of Renaissance philosophy have taken some notice of the prolific author and important philosopher of the late 15th and early 16th centuries, Agostino Nifo (1470-1538), x but no one has yet studied his writings in a methodical and exhaustive fashion. 2 He not only published philosophical works in logic, physics, psychology and metaphysics, but he also authored treatises (...) on humanist topics? Recent scholars have tended to concentrate their attention on his psychological doctrines, no doubt because he was one of the major opponents of Pietro Pomponazzi (1462-1525) during the immortality controversy.4 Nifo published his De Immortalitate Animae in 1518 as a reply to the De lmmortalitate Ardmae, On the year of Nifo)s birth, see Bruno Nardi, Saggi sull'aristotelismo padovano dal secolo xav al xvl ('Florence, 1958), p. 284, n. 8. There is contemporary evidence that he died on January 18, 1538. See Bartolommeo Capasso, "Le cronache de li antiqui ri del regno di Napoli di D. Gaspare Fuscolill0," Archivio storico per le province napoletane, I (1876), p. 538. The standard bio-bibliography still remains Pasquale Tuozzi, "Agostino Nifo 9 le sue opere," Atti e memorie della R. Accademia di Scienze, Lettere ed Arti in Padova, Nuova scrie, XX (Padua, 1904), pp. 63-86. But see also Giuseppr Tommasino, Tra umanisti e filosoft (Maddaloni, 1921), Porte I, pp. 123-147; and Edward P. Mahoney, "A Note on Agostino Nifo," Philological Quarterly (forthcoming). z See Franeeseo Fiorentino, Pietro Pomponazzi; Studi storici su la scuola bolognese e padovana del secolo xvI (Florence, 1868); Carlo Giacon, La seconda scolastica: 1 grandi commentatori di San Tommaso (Milan, 1944); Etienne Gilson, "L'affaire de l'immortalit6 de l'fime ~t Venise at* d6but du xvIe si~ele," in Umanesirno europeo e uraanesimo veneziano, ed. Vittore Branea (Florence, 1963), pp. 31-61; Miehele Giorgiantonio, "Un nostro filosofo dimentieato dcl '400 (Luea Prassicio e Agostino Nifo)," Sophia, XVI (1948), pp. 212-214 and 303-312; Bruno Nardi, Saggi sulraristotelismo padovano dal secolo x]v al xvI (Florence, 1958); idem, Sigieri di Brabante nel pensiero del Rinascimento Italiano (Rome, 1945); Giovanni di NapoH, L'immortalitd delranima nel Rinascimento ('Turin, 1963); John Herman Randall, Jr., The School of Padua and the Emergence of Modern Science (Padua, 1961); Wilhelm Risse, Die Logik der Neuzeit, I (Stuttgart, 1964); Eugenio Garin, La cultura [ilosofica del Rinascimento Italiano (Florence, 1961); idem, Storia della filosofia italiana, II (Turin, 1966). See Nifo's De Armorum Literarumque Comparatione Commentariolus (Naples, 1526); De Pulchro et Amore (Rome, 1531); De Re Aulica (Naples, 1534); and Prima Pars Opusculorum (Venice, 1535). The second of these works has been studied by Jules Houdoy, La beaut~ des femmes dans la litt#rature et darts rart du xII" au xvIe si~cle; Analyse du livre de A. Niphus du Beau et de l'amour (Paris, 1876). 4 For recent discussion of the immortality controversy, see Etienne Gilson, "Autour de Pomponazzi, ProbMmatique de l'immortalit~ de l'~me en Italic au d~but du xvIe si~.cle," Archives d'histoire doctrinale et litt~raire du moyen dge, Ann6e 1961, pp. 163-179; Giovanni di Napoli, op. cit., especially pp. 227-338; Paul Oskar Kristeller, Eight Philosophers of the Italian Renaissance (Stanford, 1964), pp. 72-90; Bruno Nardi, Studi su Pietro Pomponazzi (Florence, 1965); Martin Pine, "Pomponazzi and the Problem of 'Double Truth'," Journal ot the History of Ideas, XXIX (1968), pp. 163-176; Harold Shulsky, "Paduan Epistemology and the Doctrine of the One Mind," lournal of the History of Philosophy, VI (1968), pp. 341-361. [451] 452 HISTORY OF PHILOSOPHY (1516) of Pomponazzi, who had argued that personal immortality cannot be philosophically demonstrated, s But while these scholars correctly point out that Nifo abandoned an Averroist interpretation of Aristotle concerning the unity of the intellect and the immortality of the soul for the position which they assume to be Thomistic, they are not precise as to just when Nile made the shift.6 They have not observed that in his first two printed works, namely, the commentary on Averroes' Destructio Destructionum (1497) and the early commentary on the De Anima (1503), Nifo explicitly accepts Averroes as the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 115-120 [Access article in PDF] Commentary Seeing Cultural Conflicts Some years ago the great intellectual historian Isaiah Berlin made an important statement about what has become known as multiculturalism: We are urged to look upon life as affording a plurality of values, equally genuine, equally ultimate, above all equally objective; incapable, therefore, of being ordered in a timeless hierarchy, or judged in (...) terms of some one absolute standard.1He distinguishes such pluralism from relativism, which holds that different cultures (or individuals) have tastes or attitudes that are not objectively valid. Multiculturalism is, he thinks, an important position; relativism is not. Berlin describes what has now become a very familiar cliché. There are many diverse social systems. And since each has real value, we try to understand every other culture on its own terms.A great deal has been written recently about cultural conflicts. What can visual art show us about this subject, about relationships between radically opposed societies? Pre-modern civilizations were not usually tolerant of exotic cultures. Islam and Europe were often at war. "The menace of Islam was seen as something which threatened the souls as well as the bodies of Christian Europe."2 But although the Italians often fought with their Muslim neighbors, they did also import carpets to decorate the interiors of palaces and, in Venice, to adorn the facades of their homes.3 And many Venetian paintings depict these Islamic rugs. In Giovanni Mansueti's Miracles of the Bridge at San Lio (1494), now in the Accademia, Venice, or in Vittore Carpaccio's Meeting and Departure of the Betrothed (1490) showing the Episodes from the Life of St. Ursula, carpets are represented. In such pictures, the historian Paul Hills observes:... rich colours in soft textiles overlay the hardness of marble; and the eye of the Venetian painters and their public became attuned to fine degrees of hardness and softness, of fixity and pliancy, as when silken textiles move in a current of air but marbles stand fast. 4The Venetians were famous for incorporating alien artifacts, making them "their own without losing a sense of the exotic and the unfamiliar."5 And so it is unsurprising that painters freely inserted objects from another culture into works of art. The exotic decorative fabrics must surely have inspired the [End Page 115] Venetians. But because Islamic culture was foreign, Renaissance Europeans did not say much about the aesthetic qualities of these carpets.Representations of carpets are also found elsewhere in Italian art. The Siena Cathedral contains frescoes by Pinturicchio (1502-9) showing the life of Pius II, the fifteenth-century Pope. In the sixth scene, he enters Mantua to preside over the assembly called to mount an expedition against the Turks.6 (The venerable Christian capital Constantinople had just fallen to the Muslims.) On the table in the porch sheltering the Pope and his attendants, under some books, is a magnificent carpet. Even as these Christians plot, the room is decorated by art made by their enemies. Perhaps the carpet placed underfoot in this picture is treated as a trophy, like the flags of the defeated foes displayed in military museums. But often in other European paintings, Islamic rugs are depicted set on tables or hung from windows in ways that acknowledge their visual appeal.7Renaissance Italians seem to have had no concern with understanding Islamic carpets. Modern historians, by contrast, interested in the elaborate symbolism of these carpets, note that the rugs serve sacred functions.8 The Quran gives elaborate directions about how and when to pray. But it does not mention carpets. "Apart from mosque lamps the only other furnishing commonly found in mosques was some kind of floor covering," a historian explains.9 "The custom no doubt evolved from the religious requirement that all must enter the mosque unshod." Because carpets are used for prayer, both believers and Christians naturally associate them with religious observances. Non-Muslims also have long made use of these beautiful artifacts, sometimes cautiously—a fourteenth-century Spanish rabbi did say that a carpet depicting the Kaaba... (shrink)

Nella teologia trinitaria di Enrico di Gand, e in particolare nell'uso della nozione di verbum mentis, confluiscono ad avviso dell'A. tre diverse tradizioni che vengono rielaborate in un sistema coerente dal maestro agostiniano. La prima, quella cui aderiscono Tommaso e Bonaventura, insiste sul fatto che le persone sono distinte tra loro proprie per mezzo di relazioni opposte. La seconda, rappresentata da Riccardo di san Vittore, che attribuisce la differenza tra le persone al loro diverso modo di emanazione e di (...) origine. La terza che riprende il modello psicologico della trinità di Agostino ed in particolare l'immagine del Figlio come Verbum. Enrico incorpora i diversi elementi di queste tradizioni in modo originale e sostiene che il Figlio è distinto dalle altre due persone in base al diverso modo di emanazione , ma che è diverso dal Padre e dallo Spirito Santo anche perché è Verbum. L'A. sottolinea la notevole influenza esercitata da Bonaventura sul pensiero trinitario di Enrico, anche dal punto di vista della terminologia utilizzata e ipotizza che ciò sia dovuto al ruolo di «propaganda» delle dottrine bonaventuriane svolto da Ruggero Marston e Matteo d'Aquasparta. (shrink)

"Die Unterscheidung in Haupt- und Nebensache ist ein kulturabhängiges ästhetisches Konstrukt, das immer wieder neu ausgehandelt wird. Dieser Band erschließt die Ästhetik des Beiwerks in der Bild- und Textkultur des Quattrocento über den historischen Begriff Parergon (dt. Beiwerk) folglich auch innerhalb einer Normen- und Rezeptionsgeschichte. Der Topos von der potentiellen Gefährdung des Werkes durch übermäßiges Beiwerk prägt seit der Antike westliche kunsttheoretische, theologische und nicht zuletzt auch wissenschaftliche Diskurse. In eingehenden Analysen verfolgt dieser Band das Phänomen aus der Perspektive von (...) Künstlern des ausgehenden 15. Jahrhunderts, die das scheinbar Nebensächliche als konstitutiv anerkennen und dergestalt produktiv einsetzen. Maler wie Francesco del Cossa, Carlo Crivelli oder Vittore Carpaccio schöpfen aus dem prekären Verhältnis von Ergon und Parergon, indem sie dieses visuell reflektieren und dabei gerade im sakralen Tafelbild das Beiwerk als Ort elaborierter ästhetischer Auseinandersetzungen entdecken."--P. [4] of cover. (shrink)

Questo volume su Metafore dello spazio, che fa seguito al primo dedicato a La politica e gli spazi, fa parte della serie dedicata ad illustrare i risultati di un gruppo di studio interdisciplinare, promosso da Lea Campos Boralevi, Vittore Collina e Bruna Consarelli, docenti di Storia delle Dottrine politiche, intitolato Figure dello spazio, politica e società, che mira ad indagare i grandi temi politici e sociali dell'età moderna e contemporanea dal punto di vista degli spazi e della loro produzione.