Pri Slovenski matici je izšla imenitna knjiga izbranih pisem italijan­skega pesnika Francesca Petrarce, ki je po svoji vsebini, številnih aluzijah ter idejnih odvodih v okviru antičnega izročila za ljubitelje književnosti in humanizma prava poslastica. Prevajalca Anja Božič in Brane Senegačnik sta pripravila posrečen izbor iz sicer obsežne zbirke Petrarcovih pisem domačim oziroma prijateljem (Rerum fa­miliarum libri), ki sta ga razdelila na tri dele: Prijateljem, V spodnji svet, kjer gre za antične avtorje, ter pisma V zgornji svet, namenjena Petrarcovim sodobnikom.

Ko sem prenočeval v predmestju Vicenze, sem se domislil nove snovi za pisanje. Naneslo je namreč, da sem po opoldanskem odhodu iz Padove vrata tvojega mesta dosegel, ko se je sonce že nagibalo k zahodu. Preudarjal sem, ali naj prenočim tam ali naj nadaljujem pot – kajti mudilo se mi je, hkrati pa mi je zaradi dolžine dneva ostal še dobršen del svetlih ur – in ko sem se tako obotavljal, – glej – kdo bi se mogel skriti pred prijatelji? (...) – si mi s svojim predragim prihodom v družbi imenitnih mož, kakršnih je to drobno mestece rodilo na pretek, odgnal vsak dvom. Kot bi mi z nitjo prijetno pestrega pogovora pričvrstil omahujočega duha, sem kljub misli na odhod ostal in šele ko se je spustila noč, sem zapazil, da je dan spolzel mimo. Kot že mnogokrat poprej sem tudi tistega dne spoznal, da nam nič drugega ne izmika časa tako neopazno kot prav pogovori s prijatelji. Prijatelji so spretni tatovi časa, čeprav nobenega časa – razen tistega, ki ga posvetimo Bogu – ne bi smeli šteti za manj ukradenega, za manj izgubljenega, kot tistega, ki ga preživimo s prijatelji. (shrink)

Francesco Petrarca ist heute fast ausschließlich als Verfasser des Canzoniere bekannt, mit dem er für Jahrhunderte die europäische Liebeslyrik geprägt hat. Seinen Zeitgenossen und anscheinend auch ihm selbst galten jedoch seine lateinischen Werke - das Epos Africa, die Viten, die moralphilosophischen Schriften, Invektiven und Briefsammlungen, in denen er die wechselnden Fragen des privaten und öffentlichen Lebens reflektierte - höher; in ihnen fand nicht nur die italienische Umwelt, sondern auch noch ein Jahrhundert später die europäische Nachwelt den Philosophen, der (...) angesichts der Ausweglosigkeit spätmittelalterlicher Scholastik neue Wege zu einem dem Menschen gemäßen Selbst- und Weltverständnis wies. Eckhard Keßlers Untersuchung, die mit dem Premio Montecchio ausgezeichnet wurde, stellt Petrarca in den Kontext der Spätscholastik und zeigt, dass er, gerade weil er die Probleme der spätscholastischen Philosophie ernst nahm, zum exemplarischen Wegbereiter neuzeitlichen Denkens geworden ist. "Eckhard Keßler hat in Petrarca und die Geschichte wie keiner zuvor herausgearbeitet, daß die Prozesse der Säkularisierung als Kern jeder Geschichte der Neuzeit zum ersten Mal von Petrarca nach eigener Erfahrung beschrieben und in ihrer Konsequenz durchdacht worden sind. [.] Petrarcas Auffassungen von einer notwendigen Säkularisierung sind seit dem Ende des 18. Jahrhunderts völlig aus dem Bewußtsein der politischen Philosophen und künstlerischen Verweltlicher ausgeblendet gewesen; auch Schlegel und seine Zeitgenossen besaßen von Petrarcas Leistungen nicht einmal eine Ahnung. Daß die politische Theologie, die politische Philosophie, die politische Poesie gegenwärtig nicht nur in fernen Theokratien Konjunktur haben, sondern auch bei uns herbeigesehnt werden, sollte uns für Petrarcas Alternativen interessieren. Keßler gebührt die Ehre; ihm sollten wir zuhören, wenn er über Petrarca spricht." Bazon Brock. (shrink)

Assinalando o quinto centenário da morte do pintor Sandro Botticelli (1445-1510), homenageia-se aqui a obra deste artista destacado do Renascimento através da relação entre dois dos seus mais importantes quadros e textos de dois autores italianos: Nastagio degli Onesti e Nascimento de Vénus contêm duas representações da mulher, coincidindo tanto no comportamento que dela espera a sociedade renascentista, como nos modelos medievais de Giovanni Boccaccio (1313-1375) e de Francesco Petrarca (1304-1374).O conjunto pictórico Nastagio degli Onesti, baseado em “A (...) terrível visão” (um dos cem contos da obra Decameron, de Boccaccio), pode ser entendido como um veículo de propaganda doutrinária ao serviço de uma ideologia feudal, que propõe a submissão do “objecto” feminino ao sujeito masculino, ao matrimónio e aos mais elevados interesses oligárquicos.O Nascimento de Vénus é, muito provavelmente, o quadro mais famoso de Botticelli. Pintado no auge da sua carreira, procura transpor o cânone estético da Vénus pagã da Antiguidade para a Laura cristã de Petrarca: a mulher, como símbolo da baixa paixão carnal, metamorfoseia-se no mais elevado amor espiritual. Com efeito, a Vénus botticelliana tem a beleza da Laura petrarquista, seguindo ainda o cânone provençal para destacar os seus predicados físicos. (shrink)

Manuscript Paris Bib. Nat. lat. 2923 contains, among other texts, the letters of Abelard and Heloise, with notes by Francesco Petrarca. Although these texts have been the object of study by many researchers, especially philologists, none has ever published the complete marginal notes or done a thorough exegesis of them. In general, with the exception of the work of Pierre de Nolhac and Peter Dronke, and certain paragraphs that Constant Mews devotes to the subject, descriptions and other references (...) to these notes are framed primarily in Abelardian studies. Therefore, in the hope of expanding the studies that will bring Abelard and Petrarch closer, we have decided to produce the first complete edition of all of Petrarch’s marginal notes, with a view to future hermeneutical analysis. It is, after all, much more than letters that Abelard and Petrarch have in common. This first part of the article contains the marginal notes, each with its corresponding codicological description and ratio edendi. (shrink)

As part of the seminar Re-reading Petrarch in the Digital Age –taught at the University of Oregon in Winter 2014– a digital close reading of Francesco Petrarca’s Rerum Vulgarium Fragmenta led to a series of parallel and entwined activities and projects. Deeply integrated with the Oregon Petrarch Open Book Project, the course was oriented towards the encoding of Petrarca’s masterpiece based on the implementation of a network of different themes. The various occurrences and data obtained from the (...) encoding were collected into an online database that is still operating and updatable. The results of this qualitative data collection were also compared with a quantitative computer-based research of selected keywords extracted from the various themes. From the beginning of the seminar, the class was divided into groups and each of them read the Rvf focusing on one of themes chosen while at the same time paying attention to the others. The different groups considered these themes as interrelated and interdependent. The poet is the sphere in which all the topics emerge in their specific connotations. However, his sphere is related to, dependent on and intersected with the other four spheres. The encoding allowed measuring the different manifestations, levels and meanings of the intersecting relationships. The study of the visual interpretation of the Rvf in the Inc. Queriniano G V 15 paralleled the close reading and encoding activity and helped students to develop a visual rendering of their themes and a pointed and original and creative interpretation of Petrarca’s masterpiece. (shrink)

Francesco Petrarca, translated by H. Nachod: Introduction. A self-portrait. The ascent of Mont Ventoux. On his own ignorance and that of many others. A disapproval of an unreasonable use of the discipline of dialectic. An Averroist visits Petrarca. Petraca's aversion to Arab science. A request to take up the fight against Averroes.--Lorenzo Valla, translated by C.E. Trinkaus, Jr.: Introduction by C.E. Trinkaus, Jr. Dialogue on free will.--Marsilio Ficino, translated by J.L. Burroughs: Introduction, by J.L. Burroughs. Five questions (...) concerning the mind.-- Giovanni Pico della Mirandola, translated by E.L. Forbes Introduction, by P.O. Kristeller. Oration on the dignity of man.--Pietro Pomponazzi, translated by W.H. Hay. Introduction, by J.H. Randall. On the immortality of the soul.--Juan Luis Vives, translated by N. Lenkeith: Introduction, by N. Lenkeith. A fable about man.--Selective bibliography (p. 397-400). (shrink)

This paper presents an original use of Twitter to interpret and rewrite the poems of Francesco Petrarca's Rerum vulgarium fragmenta implemented within the Oregon Petrarch Open Book OPOB). This activity was partially inspired by the idea of Twitterature developed by Alexander Aciman and Emmett Rensin; we believe with them that our digital time should develop new and more functional ways of addressing literary texts but at the same time we are convinced that the "burdensome duty of hours spent (...) reading" cannot be eliminated. On the contrary, the new ways of reading in the digital era as we envisage them are the result and consequence of broader and deeper reading activities. We conceived the project of writing 366 tweets, out of the 366 poems that make the last form of Petrarca’s Rvf, as the result of different philological activities, from reading the texts in the original language to consulting manuscripts, translations and intersemiotic renderings of the texts. Before writing the 140 characters that make one tweet we also elaborated paraphrases, summaries and keywords related to the individual poems. Students created the first version of the tweets during the 2011 UO seminar on Re-reading Petrarca’s Rvf in the Digtal Era. The second version was elaborated in the context of a seminar on the same topic during Winter 2014. This paper presents the two versions of the Twitter Edition of Petrarca's Rvf now available in the OPOB and focuses on the philology connected to the latest edition that provided an English translation of the original tweets written in Italian. The actual Italian and English 366 tweets are published in the Appendix to the article. (shrink)

The three faces of Francesco Petrarca -- Erasmus: the man in the middle -- Machiavelli and political realism -- Thomas More: the king's good servant but God's first -- Castiglione: a gentleman in Urbino -- Rabelais and the wisdom of laughter -- Montaigne and the wisdom of experience -- Cervantes: life as literature -- Shakespeare.

Zu Beginn seiner Abhandlung *Über das einsame Leben* (De vita solitaria) schreibt Francesco Petrarca 1346: *Niemand schafft es, lange unter Wasser zu leben. Es ist unausweichlich, dass er auftaucht und das Antlitz, das er verbarg, offen zeigt.* René Descartes dagegen, in seinen Cogitationes privatae, notiert dreihundert Jahre später: *Wie die Komödianten [...] Masken anziehen, so schreite ich, der ich am Schauspiel dieser Welt [...] teilzunehmen gedenke, mit einer Maske bedeckt voran.*-Einmal die offene, einmal die verdeckte Konfrontation: bei (...) class='Hi'>Petrarca ein Ich, das sich schrittweise erst aus dem mittelalterlich-scholastischen Gefüge herauswindet; bei Descartes ein selbstbewusstes, aber skeptisches Subjekt, das sich angesichts der Erfahrungen der Inquisition lieber verdeckt auf die Bühne des Theatrum mundi begibt. Zwischen diesen beiden Selbstentwürfen liegt eine komplexe geistesgeschichtliche Entwicklung, der Thomas Leinkauf in seiner grossangelegten, materialreichen Studie zur Philosophie des Humanismus und der Renaissance zwischen 1350 und etwa 1600 detailliert nachgeht. Auf allerhöchstem Niveau, dabei die historischen Grundbedingungen wie die rasante Wissensentwicklung und Weltexploration, Protestantismus und Konfessionalisierung, aber auch Faktoren wie die Ausbreitung der Pest und die Rivalität zum kirchlich-scholastischen Denken im Blick behaltend, beschreibt das Werk die faszinierende, komplizierte, von gegensätzlichen Kräften und Denkschulen vorangetriebene Entwicklung hin zum modernen Denken. Eine Einleitung, ausführliche Register und eine Bibliographie erschliessen das Werk.--Provided by publisher. (shrink)

The gradual secularization of European society and culture is often said to characterize the development of the modern world, and the early Italian humanists played a pioneering role in this process. Here Benjamin G. Kohl and Ronald G. Witt, with Elizabeth B. Welles, have edited and translated seven primary texts that shed important light on the subject of "civic humanism" in the Renaissance.Included is a treatise of Francesco Petrarca on government, two representative letters from Coluccio Salutati, Leonardo Bruni's (...) panegyric to Florence, Francesco Barbaro's letter on "wifely" duty, Poggio Bracciolini's dialogue on avarice, and Angelo Poliziano's vivid history of the Pazzi conspiracy. Each translation is prefaced by an essay on the author and a short bibliography. The substantial introductory essay offers a concise, balanced summary of the historiographcal issues connected with the period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 397-413 [Access article in PDF] Betwixt Two Ages Cast: Milton, Johnson, and the English Renaissance Jack Lynch To judge by the most visible institutional mechanisms of literary periodization --the anthology, the history of literature, and the survey course--John Milton has come unstuck in time. The Norton Anthology of English Literature prints its excerpts from Paradise Lost under the rubric "The Early (...) Seventeenth Century (1603-1660)" along with Jonson and Bacon, not under "The Restoration and Eighteenth Century (1660-1785)" alongside Dryden and Bunyan. 1 Milton gets a chapter to himself in volume five of the Oxford History of English Literature, English Literature in the Early Seventeenth Century 1600-1660, not in volume six, English Literature of the Late Seventeenth Century. 2 And Stanford Uni-versity's two-part survey of English masterpieces puts Milton in English 10 ("Chaucer, Shakespeare, Milton and their Contemporaries") rather than English 11 ("From the Enlightenment to the Modern Period"). But his most important work appeared in 1667, the same year as Dryden's Annus Mirabilis and Sprat's History of the Royal Society, works now invariably consigned to the latter of the two periods. Milton is almost univerally accorded the title of the last great writer of the English Renaissance, while his contemporaries stand at the beginning of what we clumsily call the "long eighteenth century." 3The situation is not new; it began neither with the Norton Anthology nor the Oxford History. As long ago as 1853 Hippolyte Taine placed Milton in book II [End Page 397] of his History of English Literature, "The Renaissance," rather than in book III, "The Classic Age." 4 But Taine was not the originator of this habit; he was only an inheritor of older paradigms. In fact a search for the causes of this treatment of the seventeenth century would take us back to the seventeenth century itself, only a few years after the publication of Paradise Lost, and into the eighteenth, when Milton's epic took its central place in the English canon.To remark upon this peculiar violation of strict chronology in English literary history is not necessarily to quarrel with it; it may well be that specialists in the English Renaissance have more interesting things to say about it than do those in the eighteenth century. But Milton's treatment at the hands of literary historians deserves attention, for it takes us straight to the heart of questions of literary periodization. Because eras make sense only in relation to one another, periodization is never entirely disinterested. Periods are imposed in retrospect in an attempt to extract the most useful or satisfying narrative out of the events of the past, and it is therefore inevitable that they should serve the cultural needs of the present.Some of the most enduring acts of periodization come out of cultural movements which divide themselves from their immediate predecessors, dividing us from them, now from then. Thomas Vogler observes that "the perennial goal of historical thought can be seen to be a mode of self-definition in the form of a narrative in which a 'modernity' defines itself over against a past perceived as essentially different." 5 As Peter Bürger points out, periodization inevitably, if sometimes indirectly, results in "the construction of the present." 6 This invocation or creation of an ever-new sense of now (along with its resulting creation of a series of thens) amounts to a declaration of modernity.Perhaps the most important such declaration of modernity came when the Florentine humanists of the fourteenth and fifteenth centuries traded the classical and Christian models of six ages or four monarchies for a new three-term model, one with three great ages: ancient, middle, and modern. 7 Francesco Petrarca is a central figure in this transformation: for him, defining modernity meant first discovering or inventing a post-classical Dark Age against which to measure the brightness of modern enlightenment.Petrarch never gave a definitive account of a modern world, though by allying himself... (shrink)

Der Zeichnung kommt im Trecento nicht allein in der Praxis, sondern auch als theoretisches Fundament einer „wissenschaftlich“ akzeptierbaren ars eine zentrale Rolle zu. Sie ist Medium der Bewahrung und Erneuerung, zudem auch unverzichtbares Kommunikationsmittel in den verschiedenen öffentlichen Bau- und Ausstattungsprogrammen zwischen Mailand, Florenz und Siena. An Cennino Cenninis umfassendem Praxishandbuch, dem ‚Libro dell′arte‘, sowie an einigen Beispielen der Zeichenkunst um 1400, lässt sich ablesen, dass disegno nicht allein die lernende Nachahmung und den Naturabzug, sondern auch den Auszug aus den (...) gespeicherten Sinneseindrücken meinen kann. Vor allem aber wird durch Cenninis Rede vom „Zeichen in deinem Kopf“ der graphische Akt zur Metapher der Neugestaltung der memorierten Bilddaten durch die vis imaginativa der Fantasie. Die Spuren dieser dem Werkstattgespräch entnommenen bildkünstlerischen Fachterminologie reichen allerdings weit zurück und lassen sich über Francesco Petrarca, die Dante-Kommentatoren und Dante selbst bis in die Zeit um 1300 verfolgen. Bereits in der ‚Vita Nuova‘ kann Dante mit dem terminus technicus „disegnare“ in komplexer allegorischer Rede die Fantasie als kreative Arbeit mit dem Gedächtnis hervorheben und mit einer solchen intermedialen Brechung wirkungsvoll vom verdeutlichenden Hervorbringen eines deutenden inneren Bildes durch die ekphrastisch gesteigerte literarische Repräsentation sprechen. (shrink)

When Giovanni Boccaccio undertook to compile the myths of Greco-Roman antiquity in the mid-fourteenth century, he was working within a long tradition of medieval commentaries on Ovid's mythological works and mythographical compendia, such as Alberic of London's De deis gentium. His Genealogie deorum gentilium libri, on which he worked until the final years of his life, also falls within the traditions of biblical exegesis and of philosophical commentary on texts, such as Boethius's De consolatione philosophiae and Virgil's Aeneid. The complex (...) and eclectic nature of Boccaccio's learning, however, along with the antimodern organizational structure of the treatise, has led to the underestimation of its importance in the history of medieval and Renaissance approaches to ancient myth. As Charles Osgood's partial translation of the work demonstrates, the focus of critics has been limited to the final two books of the treatise, in which Boccaccio defends both poetry and his work from detractors. The fourteenth and fifteenth books of the Genealogie have been by far the most long-lived sections of the work. The straightforward defense of poetry through recourse to the topos of the poeta theologus places the work in a historical continuum that leads from Albertino Mussato and Francesco Petrarca to Coluccio Salutati, Marsilio Ficino, and Angelo Poliziano, not to mention the poetic theorists of the English Renaissance, such as Sir Philip Sidney. (shrink)

v. 1. Essenza, persistenza, sviluppi. Atti del IX Convegno internazionale del Centro di studi umanistici. Montepulciano, Palazzo Tarugi, 1972.--v. 2. Etica, estetica, teatro. Onoranze a Niccolò Copernico. Atti del X Convegno internazionale del Centro di studi umanistici. Montepulciano, Palazzo Tarugi, 1973.--v. 3. L'ideale della pace nell'Umanesimo occidentale. Onoranze a Francesco Petrarca. Atti dell'XI Convegno internazionale del Centro di studi umanistici. Montepulciano, Palazzo Tarugi, 1974.

Le traduz oni medievali di Platone e Francesco Petrarca.--Il preteso ascetismo del Petrarca.--Intorno alla biografia di Paolo Veneto.--La cronologia del De anima di C. Landino.--Leone Ebreo e Spinoza.--Religione e virtu in Machiavelli.--L'etica di Machiavelli.--Studi bruniani.--Di una traduzione delle opere di G. C. Vanini.--Il primo processo d'eresia di T. Campanella.--Le varie redazioni del De sensu rerum di Tommaso Campanella.--Le varie redazioni del De sensu rerum di Tommaso Campanella con un saggio del testo italiano inedito.--I manoscritti di Campanella e (...) la sua religione.--Tommaso Caompanella nella storia della filosofia.--Galileo e i filosofi napoletani.--Contributo alla storia del metodo storico. (shrink)

This paper examines the implications of digital remediation which translates and transforms an older text, endowing it with new life, in relation to the project #LauraSpeaks, a translation and remediation of Pellegra Bongiovanni’s Risposte di Madonna Laura alle rime di Messer Francesco Petrarca, in nome della medesima. Divided into three different sections, it describes the steps involved in this project, from the discovery of the original text and the analysis of Bongiovanni’s contribution within the realm of Petrarchism, moving (...) to a discussion of the translation of her work from Italian to English and the creation of the “Twitterature” version of the text, then finally to an analysis of the text’s transformation into the film medium. This paper also investigates the theoretical premises of digital remediation and the role that hypertext plays in multiplying opportunities for meaning-making and in enriching the act of reading and writing. (shrink)

George McClure offers here a far-reaching analysis of the role of consolation in Italian Renaissance culture, showing how the humanists' interest in despair, and their effort to open up this realm in both social and personal terms, signaled a shift toward a heightened secularization in European thought. Analyzing works by fourteenth-and fifteenth-century writers, from Petrarch to Marsilio Ficino, McClure examines the treatment of such problems as bereavement, fear of death, illness, despair, and misfortune. These writers, who evinced a belief in (...) the legitimacy of secular sadness, tried to forge a wisdom that in their view dealt more realistically with the art of living and dying than did the disputations of scholastic philosophy and theology. Arguing that consolatory concerns helped spur the revival of classical schools of psychological thought, McClure reveals that the humanists sought comfort from once-neglected troves of Stoic, Peripatetic, Epicurean, Platonic, and Christian thought. He contends that the humanists' pursuit of solace and their duty as consolers provided not only a forum but perhaps also an incentive for the articulation of prominent Renaissance themes concerning immortality, the dignity of man, and the sanctity of worldly endeavor. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Studie over het werk van de Italiaanse dichter (1304-1374).

We propose a dynamic hyperintensional logic of belief revision for non-omniscient agents, reducing the logical omniscience phenomena affecting standard doxastic/epistemic logic as well as AGM belief revision theory. Our agents don’t know all a priori truths; their belief states are not closed under classical logical consequence; and their belief update policies are such that logically or necessarily equivalent contents can lead to different revisions. We model both plain and conditional belief, then focus on dynamic belief revision. The key idea we (...) exploit to achieve non-omniscience focuses on topic- or subject matter-sensitivity: a feature of belief states which is gaining growing attention in the recent literature. (shrink)

The focus of this paper is the analysis of the epistemological and practical role played bypathe/affections in Epicurus’ philosophy. Epicurus firstly considered the affections not as emotional/passional conditions, but as firm criteria of truth and more specifically as the third criterion of the canonic (i.e. the epistemological part of his philosophical system). In this article the critical reactions (in particular by the Peripatetic side: Aristocles of Messene) against the Epicurean position about the function of the affections will be investigated too. (...) Finally, two parts of this paper are devoted to the Cyrenaic tripartition ofpathe(in all likelihood, a subject criticized by Epicurus) and to the probable doctrinal relationship between Epicurus’patheand Aristotle’sNicomachean EthicsBook 2. (shrink)

"Questo volume esamina la dottrina epicurea dei minimi che rappresenta un nodo cruciale della filosofia di Epicuro e un autentico punto di svolta rispetto all'atomismo di Leucippo e Democrito. Il libro è organizzato in tre capitoli dedicati rispettivamente: all'analisi filologica e teorica delle fonti primarie, alla ricostruzione del contesto storico-filosofico a cui la dottrina dei minimi verosimilmente fa riferimento, e, infine, all'approfondimento dello sviluppo della teoria dei minimi in ambito prevalentemente geometrico all'interno della scuola di Epicuro. L'esame critico delle fonti (...) antiche, anche attraverso l'attenta analisi della letteratura secondaria, conferma il ruolo decisivo giocato dai minimi nella scienza della natura epicurea. Si tratta della prima monografia interamente consacrata allo studio di questa significativa dottrina in tutta la sua ampiezza storica e teorica."--Provided by publisher. (shrink)

It is well-known that versions of the lottery paradox and of the preface paradox show that the following three principles are jointly inconsistent: (Sufficiency) very probable propositions are justifiably believable; (Conjunction Closure) justified believability is closed under conjunction introduction; (No Contradictions) propositions known to be contradictory are not justifiably believable. This paper shows that there is a hybrid of the lottery and preface paradoxes that does not require Sufficiency to arise, but only Conjunction Closure and No Contradictions; and it argues (...) that, given any plausible solution to this paradox, if one is not ready to deny Conjunction Closure (and analogous consistency principles), then one must endorse the thesis that justified believability is factive. (shrink)

In De int. 9 Aristotle argues that some declarative sentences are neither true nor false. This raises the problem of how we should understand the words of ch. 4, which introduces the declarative sentence as ‘that in which being true or being false holds’. In this paper I remove the contradiction by arguing that in ch. 4 Aristotle does not intend to claim that *all* declarative sentences are either true or false, but rather that *only* they are either true or (...) false, unlike other kinds of sentence; I defend the soundness of this interpretation on the linguistic and textual level; and I show how we can make good philosophical sense of it. (shrink)

This contribution provides a new collection of the textual extant remains (reliquiae) of the Peripatetic philosopher Cratippus of Pergamon (I c. bc), and a full and detailed overview of the biographical and doctrinal features of this thinker.

James Hankins is one of the most important specialists in the history of Renaissance humanists' political thought. His book on Renaissance Platonism is a mandatory reference for studies on the time, as well as his articles on Leonardo Bruni and “civic humanism.” In this recent book, he brings together the work of many years. It consists of twenty-one chapters and three appendices. The first two are translations of Latin texts into English. The first of these is a passage from Petrarch's (...) De vita solitaria. The second is a passage from the Bruni's History and the third is a Francesco Patrizi's list of editions. (shrink)