In this article, I propose to see the emotion of anger in the ‘Antapodosis’ by Liudprand of Cremona as an important means of assessing characters. By depicting the anger of the Ottonian kings as just and predictable, Liudprand shows how the ideal ruler should behave. He uses various examples from the Old Testament and especially the Deuterocanonical books of the Maccabees to present the anger of the Ottonian kings in the same fashion. In his vision, the negative counterpart to the (...) Ottonians is played by the Italic kings, who show their unworthiness precisely through the inept and tyrannical use of anger. In addition to this, Liudprand writes about aristocratic anger-management as well as the anger of women. Although a man of the church, Liudprand shows himself to understand and to use the code of honour which applied to noblemen in conflicts. Women do not, on the contrary, show unmediated anger. Their emotion is mixed with grief and tears. (shrink)

The publication in France of our book Impostures Intellectuelles [1] appears to have created a small storm in certain intellectual circles. According to Jon Henley in The Guardian, we have shown that ``modern French philosophy is a load of old tosh.''[2] According to Robert Maggiori in Libération, we are humourless scientistic pedants who correct grammatical errors in love letters.[3] We shall try to explain here why neither is the case.

Poliziano´s Favola d´Orfeo is one of the most rich and enigmatic literary works of the Renaissance, specially in terms of the debate it has generated amongst scholars when discerning its allegorical background. Starting from its general contextualization within the simbolic program of Marsilio Ficino´s Florentine Accademy, this paper aims to show: Its uniqueness with regards to the rest of Renaissance philosophical and literary productions of orphic subject; Its particular critical reception of three basic elements of the ficinian system: love, frenzy (...) and catharsis; and Its adoption of a new moralising tendency within Renaissance neoplatonism in explicit accordance with Christianity. (shrink)

Cervantes a lo largo de su producción literaria confronta diversas doctrinas de ratio philosophica sobre la muerte y la trascendencia. Entre ellas destacaría la tesis mortalista, o tnetopsiquismo neo-aristotélico, de la Escuela de Padua cuyo principal exponente fue Pedro Pomponazzi. En este artículo nos centraremos en la presencia de esta doctrina en sus ocho comedias de 1615.

Resumen: Cervantes a lo largo de su producción literaria confronta diversas doctrinas de ratio philosophica respecto de la muerte y la trascendencia. Entre ellas destacaría la tesis mortalista, o tnetopsiquismo neoaristotélico, de la Escuela de Padua, cuyo principal exponente fue Pedro Pomponazzi. En este artículo nos centraremos en la presencia de esta doctrina en sus ocho comedias de 1615.: Cervantes throughout his literary production confronts diverse doctrines of ratio philosophica on death and transcendence. Among them we should emphasize the mortalist (...) thesis, or neo-Aristotelian thnetopsychism, of the School of Padua, whose main exponent was Pedro Pomponazzi. In this article we will focus on the presence of this doctrine in his eight comedies of 1615. (shrink)

ABSTRACT This article analyzes a polemic of Italian Humanism around Dante Alighieri (1265-1321). In that period, intellectuals such as Cristoforo Landino (1424-1498) and Marsilio Ficino (1433-1499) interpreted Dante’s writing through the platonic prism of the Phaedrus, that is, as someone who was granted the grace to contemplate the divine and the power to describe it. Decades earlier, however, Coluccio Salutati (1331-1406) and Leonardo Bruni (1370-1444) had already attributed to Dante the merit of focusing on formal studies and, with that, being (...) able to develop expressive artifices to his poetry on its own. For the analysis of the different readings, excerpts in which Dante gives evidence of his path and intellectual maturity will be observed, as well as those in which it is possible to observe the poet’s role in the dissemination of formal knowledge in line with his ethical values. (shrink)

Focusing on the study of the ancient Orient in fin-de-siècle Germany, this essay argues that had a wider range of cultural consequences than the term usually evokes in studies of Western imperialism and its ideologies. The essay describes the development of a generational movement in German scholarship that was characterized by its vigorous championing of the Orient over and against the dominant tendency to isolate and exalt classical civilizations, and especially ancient Greece, and by its role in destabilizing Western presumptions. (...) It demonstrates that the furororientalis did contribute to the decentering of the Greeks and the ancient Hebrews, bequeathing to the twentieth century both a much deeper and more diverse picture of the ancient Near East and an obsession with origins that could be mobilized by racist propagandists. The essay offers three case studies of groups which exemplified this furor1940s, and poses the question: how long will the peaceful solutions they promoted last? (shrink)

In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the (...) continuing misogynist condemnation of Virgil’s two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil’s goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire and its agents Jupiter and Aeneas. The fourth section translates these poetic philosophical interpretations into prose, arguing that Dido’s Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Hardt and Negri’s Empire, suggesting Dido as a model for the “multitude” in the fight against the imperial injustice of today’s globalized empire. (shrink)

The aim of this paper is to provide an approach to the etho-aesthetic dimension in Marcuse’s thought. The approach in this paper is built upon the following thesis: the etho-aesthetic dimension consists of the transformation of subjectivity based on artistic sensitivity and critical rationality from which social relations opposed to an advanced industrial society and its one-dimensional man are reconstructed materially and intellectually. The conclusion is the following: a Marcusian critical theory, inherited from Marx and Schiller, would be one capable (...) of analyzing the potential qualitative changes of the subjects and social institutions to generate a higher level of rational development, equitable in the distribution of resources and in the generation of greater spaces of freedom. Its basis would be an etho-aesthetic attitude that does not take pleasure in squandering, but in the reflective experience of the sensible. (shrink)

The depiction of negative emotions in neo-Latin tragedies of the 14th and 15th centuries is to a great extent influenced by the Younger Seneca, whose works of the same genre furnished numerous descriptions of the highly destructive emotion furor (conceived as an aggravation of ira) and its physical effects on the characters on stage. This accords strongly with Seneca's philosophical doctrines on anger described especially in ‘De ira’. On the basis of three texts – Albertino Mussato's ‘Ecerinis’ (Padua 1315), (...) Leonardo Dati's ‘Hyempsal’ (Florence 1440) and Carlo and Marcellino Verardi's ‘Fernandus servatus’ (staged in Rome 1493) – this essay examines the reception and modification of the theme of furor, taking into account especially the tragedies' contexts and their intended effect. In none of the cases presented was the author's main interest directed towards emotions per se. They rather act as a means of morally classifying the characters on stage. There is also (compared to Seneca's tragedies) an increased interest in the remedies against negative emotions. The Stoic theory of affects, according to which emotions are always negative and act as a kind of illness of the soul, is not fully adopted. Rather, many passages imply an Aristotelian or Christian understanding of emotions, which involve both justified anger and damnable apathy. (shrink)

El humanismo y la filosofía en el Renacimiento recuperan el ideal de la_ theologia poetica_, esto es, de un saber en el que se ocultaban, bajo un velo alegórico, verdades esenciales de naturaleza místico-religiosa. El poeta es, entonces, un filósofo teólogo, parte esencial de una tradición antigua que sirvió a los fines de la verdadera fe. En este sentido, la restauración del lugar privilegiado de la poética por parte de los humanistas clásicos fue funcional a la filosofía de Marsilio Ficino, (...) un neoplatónico florentino del siglo XV, quien reconocerá en la figura de Orfeo al poeta teólogo por excelencia. Así, a juicio de Ficino, las obras de los poetas revelan la divinidad de manera alegórica bajo la forma de una_ teología poética,_ abriendo la posibilidad de una revelación ontológica de carácter profético. El objetivo del artículo es examinar el papel del furor divino en el pensamiento de Marsilio Ficino en relación con la experiencia mística y la concepción de teología poética. (shrink)

The furor which greeted David Friedrich Strauss's The Life of Jesus upon its publication in 1835 has always been something of a mystery. This essay argues that the ferocity of the reaction can be traced to the contravention of a widely shared expectation in nineteenth-century Germany that theological scholarship would and should be read exclusively by theologians. The reception of the book in the 1830s and subsequent decades shows that this expectation increasingly conflicted with the liberal vision of a (...) public sphere governed by universal reason. By the end of the century, the formerly controversial Strauss had become a venerated figure in Germany, which suggests the extent to which the liberal vision of the public sphere ultimately triumphed. (shrink)

Ira Brevis furor, said the Latins: anger is a brief bout of madness. There is a long tradition that views all emotions as threats to rationality. The crime passionnel belongs to that tradition: in law it is a kind of “brief-insanity defence.” We still say that “passion blinds us;” and in common parlance to be philosophical about life's trials is to be decently unemotional about them. Indeed many philosophers have espoused this view, demanding that Reason conquer Passion. Others — (...) from Hume to the Emotivists — have appeared to reverse this hierarchy.” But those philosophers who refuse to join in the general denigration of emotion as irrational usually share the presupposition that the role of rationality is limited to the calculation of means. In so far as emotions are concerned with the determination of ends, they remain, on this view, beyond the pale of rationality. Modern decision theorists have worked out schemes to assess the rationality of desires, as well as actions, against the background of beliefs and other desires.1 But these schemes leave no room at all for emotions, except, by implication, as disrupters of the rational process. (shrink)

Un circolo lucreziano -- Furor et voluptas -- Dio, anima, natura -- Virtú e fortuna -- Platonismo e repubblicanesimo -- Pietas et sapientia -- Poeti platonici -- De miseria hominis -- Misteri d'amore -- Del bello, o della grazia -- Immortalità e resurrezione -- Anima mundi -- Il mondo delle immagini -- Sui demoni -- Fatalia -- Medicina del corpo, medicina dell'anima -- Sul male -- Profezia -- Preghiera e sacrificio -- De Trinitate -- Lode al sole.

Durante cuatro siglos, cristianos (de rito romano o visigótico), musulmanes y judíos coexistieron en la ciudad de Toledo. Pero tal coexistencia, antes de terminar de manera trágica, se caracterizó por muchos matices y atravesó circunstancias diversas. Cuando los llamados mozárabes (cristianos arabizados de rito visigótico) se fundieron en la masa cristiana de rito latino y lengua hispánica, después de dominar en la ciudad durante largo tiempo, los musulmanes (mudéjares), nunca muy numerosos, alcanzaron cierto apogeo en el siglo XIV, antes de (...) quedar parcialmente marginalizados en el XV. En cuanto a los judíos, debido al papel que desempeñaban en la gestión del dinero, fueron objeto de la ira y el furor popular, sobre todo en los siglos XIV y XV, incluso después de su conversión, fingida o sincera, a la fe cristiana. (shrink)

Despite immediate appearances, this book is not primarily a hermeneutical exercise in which the superiority of one interpretation of canonical texts is championed against others. Its origin lies elsewhere, near the overlap of history, psychoanalysis, aesthetics, and social theory of the usual kind. Weber, Pareto, Freud, W. I. Thomas, Max Scheler, Karl Mannheim, and many others of similar stature long ago wondered and wrote much about the interplay between societal rationalization and individual rationality, between collective furor and private psychopathology—in (...) short, about the strange and worrisome union of “character and social structure” (to recall Gerth and Mills). Pondering the history of social thought in this century can lead to the unpleasant realization that such large-scale questions slipped away, especially from sociologists, sometime before World War II. Or, if not entirely lost, they were so transformed in range and rhetoric that a gap opened between contemporary theorizing and its European background. Perhaps this partly explains Weber’s continuing appeal. By dealing with him, one might again broach topics long at odds with “social science” of the last forty years.—From the Preface. (shrink)

Margaret Pabst Battin has established a reputation as one of the top philosophers working in bioethics today. This work is a sequel to Battin's 1994 volume The Least Worst Death. The last ten years have seen fast-moving developments in end-of-life issues, from the legalization of physician-assisted suicide in Oregon and the Netherlands, to a furor over proposed restrictions of scheduled drugs used for causing death, and the development of "NuTech" methods of assistance in dying. Battin's new collection covers a (...) remarkably wide range of end-of-life topics, including suicide prevention, AIDS, suicide bombing, serpent-handling and other religious practices that pose a risk of death, genetic prognostication, suicide in old age, global justice and the "duty to die." It also examines suicide, physician-assisted suicide, and euthanasia in both American and international contexts. As with the earlier volume, these new essays are theoretically adroit but draw richly from historical sources, fictional techniques, and ample factual material. (shrink)

Ten years ago the civilized world was shocked out of an unwarranted confidence in the victory of science over superstition by the news that Tennessee had outlawed the teaching of man's evolutionary origin. Within the next three years both Mississippi and Arkansas joined Tennessee in defense of Biblical truth against the scepticism of science. The furor raised by the dramatic clashes between William Jennings Bryan and Clarence Darrow at the Scopes Trial in Dayton, Tennessee, has now become a faded (...) memory. The struggle between Fundamentalists and Modernists has died down, though the embers still smoulder; and few ever think of the issues then raised, now that war and fascism threaten civilization. (shrink)

Prozac's introduction in the late 1980s, caused a furor and focused debate on the acceptability of a drug that could do more than merely cure illness, pharmacological mood enhancement – that is, the use of drugs to improve mood beyond a level that is merely normal or healthy. As the possibilities and demand for mood enhancement increase, existing legislation will prove inadequate, designed as it is to regulate pharmaceuticals mainly for therapeutic use. This chapter explains why mood enhancement might (...) be desirable, explores some key ethical issues associated with it, and suggests how policy makers can respond to ensure that people use mood enhancement safely and responsibly. Whether it is appropriate to enhance one's mood might also depend on the manner in which the mood is experienced. While unpleasant states like depression may be appropriate and valuable in some cases, they can be disruptive and disabling if they continue indefinitely. (shrink)

Dans la Chanson de Roland, le rire du héros résonne étrangement aux oreilles du lecteur. Le présent article a pour objet d’en définir la nature et la portée véritables. Pour ce faire, il convient de renoncer aux interprétations psychologiques et de privilégier une approche anthropologique. C’est par le respect de la mouvance de l’œuvre qu’il est possible de construire une interprétation rigoureuse de ce rire : il s’agit d’une manifestation du furor guerrier. Mais ce rire n’est pas un simple (...) motif littéraire ; il s’inscrit en effet dans l’idéologie indo-européenne de la fonction guerrière et, sur ce point, la chanson de geste offre un exemple remarquable de rencontre entre cultures païenne et chrétienne. Si le rire de Roland exprime la méfiance devant la frénésie meurtrière que porte en lui tout guerrier, il traduit également la possession diabolique, dans une perspective chrétienne de condamnation du rire. In the mind of the reader of Chanson de Roland, the hero’s laughter sounds weird. The purpose of this essay is to define its nature and meanings. In this perspective, it is advisable to break up with the psychological interpretations and to prefer an anthropological approach. The respect of the textual mouvance makes a rigorous commentary possible and permits to define this laughter as an outward sign of warlike furor, yet it is not a mere literary motif but is part of Indo-European ideology of warrior. In this respect the poem gives a notable example of confluence of pagan and Christian cultures. Roland’s laughter both expresses the mistrust of murderous frenzy which potentially exists in every warrior and manifests demoniacal possession, due to Christian condemnation of laughter. (shrink)

Quais são as causas do descontentamento das pessoas com a política, pergunta-se o filósofo Renato Janine Ribeiro na abertura de O Valor Volta à Política, coletânea de artigos escritos entre 2011 e 2015, num momento de forte otimismo com um país que, após consolidar a democracia, parecia destinado a fortalecê-la e se desenvolver. O retrocesso que o atingiu - assim como a outros países - substituiu a política pelo ódio. Mais que o antipetismo, o maior triunfo desse furor foi (...) a antipolítica. Mas o que aconteceu? Será que a vida política se tronou um efeito da vida econômica? Se a cidadania, em nossos dias, realmente foi substituída pelo consumo, então é a subida ou a queda no nível de vida o principal critério para as pessoas decidirem seus votos? É recorrendo ao tempo longo que Janine vai examinar se o apelo democrático simplesmente se esgotou ou se o que estamos vivendo é uma "reação reacionária" dos ressentidos com um mundo em transformação. Observador atento e afiado, o próprio autor revisita esses anos de efervescência tecendo, em 2021 - portanto após a ascensão da extrema-direita -, comentários aos seus artigos. Dos efeitos da crise financeira de 2008 à contestação da legitimidade das eleições de 2014 - que Janine equivale à abertura de uma caixa de Pandora -, passando pelas manifestações de 2013 e pela ascensão das redes sociais, descortinam-se no fio dos anos visões da política brasileira e os possíveis devires de um passado que perdura no presente. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overtones:A CollagePaul Youngquist (bio)Mom leans against the keyboard of the old upright piano in the den. She puckers her lips and gently fingers the valves. A couple of times a month, she frees her trumpet from the purple velveteen lining its case—out of love or frustration I can never tell. She stares hard at the bell, pointed somewhere near my feet. She inhales deeply, pressing the silver mouthpiece to (...) her crumpled lips. A silent moment passes—torn by a noise pitched past the sun, a shrieking flare sound. Another follows and another, bright glissandos blinking out somewhere below middle C. They shatter everything I know about her. Everything I thought I knew. What sound was that, what cry? What aspiration to be free? After those initial stabs, she falls into familiar melodies: "Bugler's Holiday" by Leroy Anderson, maybe, or "When the Saints Go Marching In." I'm unsettled for the rest of the day.Trumpeter Don Cherry's sound unsettled me too. I was much older when I first encountered it on Ornette Coleman's The Shape of Jazz to Come. It took me back to Mom's cries. I heard her sound in his: bright, high, and transient: less pitch than smudge, transmitting unknowable overtones. On "Lonely Woman," for instance. Cherry states the plaintive melody in hazy unison with Coleman, blurs the third note, wavers and plays his peculiar temper, untimely and free to move beyond the platitudes of harmony until, after Coleman's baffled cry, he parts company to play a sixth above (if such language matters, and it doesn't), descending in half steps to resolve (not happily) on a minor third, Cherry now pitched below. Their unison breaks apart to reconverge, and the brief bridge feels like a heaving between sobs. This isn't music. It's too raw for the repartee of bebop or the sociability of swing. But everybody can feel it, which explains the scandal of Coleman and company's extended appearance in late 1959 at the Five Spot in New York's East Village. Writing in the New York Times Magazine years later, Joseph Hooper likened it to the furor erupting after Stravinsky's Paris premier of "The Rite of Spring" in 1913. In an interview with Terry Gross, Cherry remembers everyone who was musically anyone being there—from Leonard Bernstein to Thelonious Monk—to witness the sacrilege. The implacable trickster Charles Mingus appeared one [End Page 133] night with Phineas Newborn, a keyboard virtuoso famous for his perfect pitch. Newborn sat and stared at his cufflinks. He never played a note. After the set, Mingus barreled onto the stage and, with his long arms and big hands, crashed all the keys. "That's where it is," he bellowed. "It's all there." Everywhere and nowhere. Cherry and Ornette decentered intonation. They distempered tradition's scales. Afflicted with perfect pitch, Newborn couldn't follow their cries and whispers. They flew free from the comforting staff. Still you feel them, hear their immeasurable sound.Don Cherry: "I've always been on the outside, and that's a good quality for the music to have, like the wind in your face."Cherry's mother Daisy gave him his first horn when he was fourteen. It breathed life into him, offering a way to express sounds his body harbored. Born in Oklahoma City in 1936 to "Negro-Choctaw Indian parents" (his words—his mother's mother was half native), Cherry heard gospel, blues, and Indian songs from the start. The family's move to the Watts neighborhood of Los Angeles in 1940 only multiplied the sounds of diverse ethnicities mixed with the rumble of jazz from the Cherry Blossom, his father's club, where Don and his sister sometimes danced for dimes. His horn funneled all this sound—all the music he'd ever make—through a peculiarly powerful feeling: "that feeling to me, through as much music as I've learned, I still remember just that feeling when I first got that horn." What feeling exactly? "Infant happiness" (in-fant, not speaking). The feeling of life before language: "infant happiness, infant happiness, beautiful! That's what music is really... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.1 (2006) 35-53 [Access article in PDF] "Truth Is What Works": Francisco J. Varela on Cognitive Science, Buddhism, the Inseparability of Subject and Object, and the Exaggerations of Constructivism—A Conversation Francisco J. Varela Bernhard Poerksen Institut für Journalistik und Kommunikationswissenschaft Universität Hamburg Francisco J. Varela (1946-2001) studied biology in Santiago de Chile, obtained his doctorate 1970 at Harvard University with a dissertation on the (...) insect eye, and worked there for some time in the laboratory of Torsten Wiesel, the later Nobel Laureate for medicine. From his scientific beginnings as a researcher in biology, he not only studied and practiced biology but, resisting the dominating mainstream, pursued a research program that ignored and broke down traditional disciplinary boundaries. This research program is best characterized as experimental epistemology, a concept introduced by the neuropsychiatrist and cybernetician Warren S. McCulloch. Francisco J. Varela's great aspiration was to examine and answer the philosophical ur-question of cognition with scientific precision and with the help of the best possible theoretical framework. [End Page 35]Having obtained his doctorate, he went back to Chile to work as a professor of biology together with Humberto R. Maturana. He contributed to the writing of the theory of autopoiesis, which was to cause a furor in the world of science as a universally applicable explanatory model. After the overthrow of Allende and the installation of the dictatorship by the putsch general Pinochet, Francisco J. Varela first escaped to Costa Rica, then became a professor at the American University of Colorado and University of New York, and finally returned in 1980 to the University of Chile in Santiago for five years. Temporary positions as guest professor for neurobiology, philosophy, and cognitive science in Germany, Switzerland, and France led him to Paris in the end, where he worked as research director of the Centre National de Recherche Scientifique until his death on May 28, 2001.In his research work embracing cognitive science, evolutionary theory, and immunology, Francisco J. Varela, constantly inspired by his fundamental interest in the key questions of epistemology, gave the epistemological debate a new orientation. In his thinking he refuses to accept the strict separation of subject and object, of knower and known, which as a rule unites realists and constructivists alike. Francisco J. Varela rejects the fundamental dualism dividing mind and world, which had shaped Western philosophy from its earliest beginnings. He does not subscribe to the idea that human individuals can invent their own realities—blindly and arbitrarily, and without experiencing any resistance from the external world and all other things given. He equally distances himself, however, from the diametrically opposite position that overstates the eigenpower of the world of objects. The external world and all other things given cannot determine what happens in an organism. Varela's claim is that individual and world create each other. The Computational Model of the Mind Poerksen: The ancient key questions of philosophy are at the center of modern cognitive science. What is the essence of the mind? Do our conceptions represent a given world, which is independent from our minds? What is the formative power of external objects over our perceptions? How does cognition function? The search for an adequate answer and an improved understanding of the human mind has led many cognitive scientists to entertain the assumption that the brain is actually a kind of computer. Memory is taken to be a store. Thinking and perceiving are understood as data processing in the sense that an independent external world is computationally transformed into symbols and represented in the organism in this manner. You are very critical of this view. Why?Varela: If the brain is considered as a kind of computer, then cognitive research is limited to discovering certain self-sufficient shapes—the symbols—together with the rules [End Page 36] governing them—the programs. But this search for symbols and programs will never be profitable because it... (shrink)

A partir da leitura dos escritos de Ficino dedicados à melancolia, a presente investigação considera o modo como, combinando elementos de diversas fontes, o filósofo florentino contribuiu decisivamente para compreensão dessa condição e para a constituição de um medium terapêutico diferenciado. O enquadramento do De Vita Libri Tres na longa sucessão de teorias médico-‑filosóficas relativas à constituição melancólica revela a sua participação na dimensão incremental de uma densa semântica, mas também, de modo decisivo, a ausência de uma evolução unívoca das (...) ideias de melancolia. Assim o demonstra a recuperação de uma vertente favorável do temperamento melancólico, combinando Ficino a ortodoxia médica relativa ao equilíbrio humoral com a possibilidade, enunciada no Problema XXX, de uma forma superior de equilíbrio. O eclodir da genialidade contemplativa, tida como característica central dos maiores feitos humanos, em particular no domínio dos estudos académicos, tem lugar na forma de êxtase, adaptando Ficino traços da mania [furor] platónica. O papel de Ficino na evolução das conceções de melancolia é também evidenciado na sua exploração das suas formas amorosa e religiosa, indicando uma sensibilidade às condições sociais da individuação, mas também a tentativa de compreender e mitigar as tribulações existenciais associadas ao seu próprio temperamento. Já no que se refere ao manancial terapêutico proposto pelo filósofo florentino, o aspeto mais inovador reside na sua mobilização da astrologia e da magia, pro- curando demonstrar que as mesmas são um recurso natural baseado num conceito de simpatia entre os elementos da hierarquia cósmica e, como tal, distintas da necromancia e da demonologia. (shrink)

El pensamiento humanista y cristiano se da la mano en un hombre como Marsilio Ficino, que desde el furor religioso y platónico se acerca a a la religiosidad renacentista. Un espíritu que se ha distinguido, principalmente, por dos conceptos: paz y tolerancia.

The widespread publicity and the consequent furor created by Dr. J. B. Rhine's experiments on telepathy and clairvoyance, have been interpreted in some quarters as a call for a thorough-going revision of the entire field of psychological thought. This revision, it is held, must be in the direction of philosophic idealism, and away from previously accepted materialistic doctrines. The present paper points out the non-verifiable nature of the entities postulated by the believers in "supernormal" phenomena. Furthermore, the interpretations of (...) contemporary science held by such individuals are not in themselves on a scientific plane. Specific errors in reasoning made by workers in the field of psychical research, are presented. In short, "psychical research... cannot turn the universe into a non-material, non-objective one, on either the basis of misinterpretations of current physical thought or on the basis of its own work.". (shrink)

The authors of this article examine how Giordano Bruno rewrites the classical myth of Diane and Actaeon in the Eroici furori . The starting point for this study is the Argomento del Nolano where the philosopher explains his ideas regarding the importance of love poetry and allegory for the illustration of philosophical concepts. In the next section the authors concentrate on the sonnet «Alle selve i mastini e i veltri slaccia» . This is the first passage in the Furori where (...) Bruno connects Actaeon’s hunt and his encounter with the goddess Diana to the philosophical hunt of knowledge. The authors explain the meaning of the mythological imagery evoked in this sonnet by relating the poem to other parts of the Furori . An analysis of the notion of furor , which is the subject of dialogue three , allows the authors to identify Actaeon as a model for the eroico furioso . The prose comment following the sonnet «Alle selve i mastini e i veltri slaccia» offers essential information on the reinterpretation of the literary motifs which have been linked to the myth of Actaeon since Antiquity. Bruno presents these motifs as components of the philosophical hunt, which the frenzied hero needs to undertake in order to contemplate the truth . In the last section the authors take a closer look at the second and the third allusion to the hunting myth , which illustrate the further stages of Actaeon’s epistemological journey. (shrink)

El presente artículo busca explicar el proceso de insurrección de la guerrilla del Partido de los Pobres, liderado por el maestro rural Lucio Cabañas Barrientos en Atoyac, Guerrero. El enfoque de esta investigación busca estudiar las violencias culturales y sociales cotidianas, como parte de un proceso histórico que formó parte del fenómeno de la violencia política-caciquil. El problema-eje de esta investigación será la contrarreforma agraria iniciada durante los años cuarenta del siglo XX, que hacia los años sesenta producirá en Guerrero (...) un acentuado problema agrario cruzado por el problema de la herencia de la tierra, las tensiones en torno a linderos y los pleitos familiares y comunitarios por el usufructo del trabajo familiar o colectivo. Se verá el alejamiento institucional del Estado para intervenir en las disputas y cómo el gobierno promovía una cultura de violencia, en la que los actores dominantes podrían legitimarse con la “ley del más fuerte”. Se estudiarán diversas reglas comunitarias no escritas, que establecían como legítimo el recurso de la venganza y la justicia por propia mano. En dicho contexto de furor campesino, agravado por el agravio económico de caciques locales, y el abuso de corruptos gobernantes, se explicará el salto de la violencia social a la política; el camino que los campesinos de Atoyac seguirían para organizar una lucha armada de pobres contra ricos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:RANSOM'S GOD WITHOUT THUNDER: REMYTHOLOGIZING VIOLENCE AND POETICIZING THE SACRED Gary M. Ciuba Kent State University From tree-lined Vanderbilt University of 1930 Nashville, the modernist poet and critic John Crowe Ransom longed to hear in his imagination the God who thundered fiercely in ancient Greece, Rome, and Israel. The God of sacrifice who in Homer's Iliad, "his thunder striking terror," received libations from the warring armies (230). The God (...) of jealousy who in Aeschylus' Prometheus Bound "drove the sleepless thunderbolt, / plunged the fire spurting shaft/ down" on Typhon for defying heaven with his violence (46). The God of vengeance who in Ovid's Metamorphoses sent "blinding / Thunder [to shake] Olympus, and Pelim / Thrust down by heaven's bolt crashed over Ossa" when the giants piled mountain upon mountain to reach Jove's throne (35). The God ofviolence who in Psalm 78:48 delivered the cattle ofthe obstinate Egyptians "to the hail, and their flocks to hot thunderbolts" or who in 1 Samuel 7:10 "thundered with great thunder" to smite the Philistines. In God Without Thunder: An Unorthodox Defense of Orthodoxy Ransom attacked the modern heresy that deprived the deity ofsuch awful might and summoned Americans to live under a new myth of sacred violence. IfRansom listened with the ears ofthe Methodist faith in which he had been raised, he might have heard how the god of old was muted at the university where he studied and later taught. Ten years before Ransom was born, Methodist-sponsored Vanderbilt had eliminated the lectureship of naturalist Alexander Winched because hisPre-Adamites had challenged the Creation story in Genesis. But in 1914, when Ransom returned to his alma Gary M. Ciuba41 mater to begin more than two decades of teaching there, the Methodists ended their affiliation with Vanderbilt because of a dispute about church governance of the university (Bailey 9-10, 31-4). When the Scopes Trial caused a furor in 1925, Ransom was invited by Vanderbilt to condemn the Fundamentalists to the southeast in Dayton. He refused-not because he sided with the anti-Darwinists but because he believed that the tyranny of science was threateningthe poetic foundation ofreligion (Quinlan 40, n. 3). Ransom's thunderless plight was virtually imagined by H.L. Mencken, one of the most stinging critics of the creationists, when in 1922 he penned a tongue-in-cheek lament forthe passing ofthe ancient deities. "Where is the graveyard of dead gods? What lingering mourner waters their mounds? There was a time when Jupiter was the king ofthe gods, and any man who doubted his puissance was ipso facto a barbarian and an ignoramus," Mencken mock-elegized in "Memorial Service." "But where in all the world is there a man who worships Jupiter today?" (95). God Without Thunder provides the answer to Mencken's archly lugubrious question: it is John Crowe Ransom. Grieving the demise ofthe deity ofyore, Ransom's treatise on the religious imagination heralds a one-man revival of Jupiter Tonans. Ransom believes that the god ofantiquity has been muffled bythe spirit of scientific abstraction that reigns notjust in Tennessee but across all of America.7 Hetraces this modern cult ofthe mind beyond the current efforts ofreligion to seek a rapprochement with biology and physics; beyond the science-driven Prometheus of Shelley, the rationalism of the Protestant Reformation, and the inquiry of Copernicus; beyond the errors of early Christianity, to a kind of primal sin. Humans have used their intelligence first to set themselves above nature, then to order the world according to their ways, and finally to exploit all ofcreation for their use. Demystified by science, thunder has become not the mighty weapon ofthe ancient God who tolerated no rivals but only the noise of heated and expanding air. Ransom views science as having such ultimacy that it exercises a mimetic function: it provides Girardian models for desire. "Science directs us to amuse ourselves, between desires," Ransom writes, "by simulating 7 Louis Rubin reads Ransom's "Armageddon" as a poetic companion piece to God Without Thunder, for it tells how divine wrath has been compromised amid the suavities of the modern world At the apocalyptic battle of the poem's title, a militant... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthony Close THE EMPIRICAL AUTHOR: SALMAN RUSHDIE'S THE SATANIC VERSES HOBBES, comparing the author ofan action to the owner ofgoods, asserts, "And as the right of possession, is called dominion; so the right of doing any action, is called authority" (Leviathan, Book I, chap. 16). My purpose in this essay is to apply this Hobbesian maxim to the relation Author/Text, expanding somewhat Hobbes's notion of authority. I presuppose that (...) in our day-to-day dealings with our fellow men, we envisage each others' acts as exhibiting purpose and commitment, which make them ours in more than the platitudinous sense that we performed them. By virtue of that, they confer on us a privileged, though clearly not unchallengeable, authority in saying what they are and what they are for. Such, in effect, is the position reached by Austin in How to Do Things with Words, and it broadly corresponds to that of various philosophical writings on human action—by Anscombe, Davidson, and Melden.1 To be sure, we may legitimately consider human behavior from other viewpoints (e.g., structuralist, anthropological, psychoanalytical, Marxist) trained on its unconscious presuppositions. Yet, insofar as such theorizing fails to acknowledge the priority of the Hobbesian perspective, it will seem perverse for a reason that has been well put by Charles Taylor. Precisely because history is made up of purposeful activity, Taylor argues, we need to explain historical patterns in a way that is "intelligible in relation to conscious action" even though they may not "issue from conscious action."2 By this criterion much of our modern literary theory is defective. A vivid measure of the deficiency is provided by the furor over Salman Rushdie's TL· Satanic Verses, culminatingin thefatwa pronounced against Philosophy and Literature, © 1990, 14: 248-267 Anthony Close249 him by the Ayatollah Khomeini in February 1989. I take it that for anyone vocationally committed to the practice or study ofliterature and to the cause of freedom of expression, the defense of Rushdie cannot be a matter of indifference. Nor can one be indifferent to the chasm of misunderstanding that separates Rushdie and his apologists from the novel's Muslim opponents. I believe that these two causes—defending Rushdie and bridging the chasm—can be reconciled by offering better explanations ofhis novel in place ofcrude denunciations or, from some non-Muslim quarters, smug and knowing dismissals. Yet, as we shall see, the task of explanation could be considered hamstrung by our modern poetics. I was reminded ofHobbes's textby Rushdie's lucid and cogent defense of his novel in TL· Independent (London, February 4, 1990). Against the accusations that he had deliberately reviled the Islamic faith, he argued as follows. Though TL· Satanic Verses, like many novels that Rushdie esteems, is a work of radical dissent, questioning, and reimagining, it is motivated by a spirit of serious inquiry rather than debunking derision. More particularly, it reflects a determination that underlies all Rushdie's work: "to create a literary language and literary forms in which the experience offormerly-colonised, still-disadvantaged peoples might find full expression." He continues: "It is written from the very experience of uprooting, disjuncture and metamorphosis... that is the migrant condition, and from which, I believe, can be derived a metaphor for all humanity.... [It] celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure." Note the insistence on how these themes flow direcdy from Rushdie's own experience. Two days after the publication of this article, Harold Pinter gave on Rushdie's behalf a lecture on the relationship of literature to religion and society at the Institute of Contemporary Arts in London. In this lecture, Rushdie articulated a Bakhtinian view of the novelist's function: to dramatize ironically and noncommittally the clash of voices, languages, and ideologies in a world without gods and without traditionsanctioned truth. Rushdie referred specifically, I think, to a species of postmodernist novel which we may dub "palimpsest history";3 the species includes Rushdie's works, García Márquez's One Hundred Years of Solitude, Carlos Fuentes's Terra Nostra... (shrink)

Of the various contests held by Aeneas to mark the anniversary of his father's death the ship-race is marked out by its length and initial position as especially important. However its precise significance is by no means obvious. That Virgil intends it to have some relevance to events of later Roman history seems fairly clear. First, we are told the names of the families descended from three of the four captains involved — Cluentii, Memmii and Sergii. It seems therefore that (...) we should look to the activities of members of these families to discover Virgil's intention. Two families — Cluentii and Memmii — are a mystery, since none of their members plays an obviously prominent role in the events of Virgil's own time. However, Sergestus and the Sergii point unmistakably towards Catiline. Sergestus' rash folly, which is nearly the ruin of his men and his ship, exactly matches Catifine's own furor, which would have destroyed Rome. Even the name of his ship, Centaurus, reinforces the point. (shrink)

This paper uses the exchanges between the lovers Dido and Aeneas in Aeneid IV to undercut the pretensions of Stoic philosophers to lead a dispassionate, imperturbable life under the sole guidance of “reason.” It takes Aeneas as an example of Stoicism’s lawyer-like, falsified rationality—“I will say just a few words in regard to this matter [pro re]” (IV 336)—and Dido as an example of someone who, though under the sway of furor, nevertheless makes honest, reasoned arguments that are continuous (...) with the feelings she is experiencing. The point is not that one is more at fault than the other but the rather more radical thesis that with his Aeneas character Virgil is showing that Stoicism’s ataraxia and apatheia are inevitably dissimulation, inevitably fake. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Aspects of Christian Mystical Rhetoric, Philosophy, and PoetryRyan J. StarkThis is an article about poets and poetic philosophers who make spirited arguments. My purpose in particular is to clarify the nature of mystical rhetoric, which needs to be distinguished from secular rhetoric (i.e., “secular” as nonspiritual). As ways of existing in language, they are ontologically incommensurable, and we should treat them as such. Mystical rhetoric is that into (...) which Spirit enters, conveying to both writer and reader some aspect of providential kairos that cannot otherwise be attained. That is, God completes mystical inferences. God participates, illuminating the hearts of those who open themselves to grace through faith. Or, in other words, writers and readers who want to enter into numinous arguments must shelve the hermeneutics of suspicion. An overly critical stance actually diminishes the possibility of insight, even if it is well intended, much like nervous backseat driving, which—though aimed at producing safety—inevitably works against it. I am not suggesting, however, that skeptics are at a complete loss when approaching mystical rhetorical situations. Rather, they simply do not grasp the metaphysical, enchanted, or occult dimensions of the discourses at work, because they have closed themselves off to Spirit or—more commonly—have attempted to transmogrify Spirit into secular concepts, which distorts spirited language and leads to mischaracterizations of religious experience.1 In contrast, I provide a Christian approach to [End Page 260] mystical rhetoric, one that neither discounts nor sidesteps the real presence of the supernatural.Inspired Rhetoric and HermeneuticsFuror poeticus is a key element of mystical persuasion. The phrase literally means “poetical fury,” and the idea behind it in a Christian framework is that the Holy Spirit aids writers in creating imaginative texts (e.g., sonnets, sermons, essays, novels, blogs, etc.) or, in pernicious instances, demons aid writers.2 In either case, a mysterious force helps the author to compose. Moreover, furor touches readers or listeners, a point seldom emphasized but nonetheless central to this sublime practice of composition. Inspired writing requires inspired reading: furor poeticus needs furor lectoris.3 The Spirit aids readers in understanding mystical rhetoric, as long as those readers participate earnestly in the discourse. John Milton (1674, 7.31), for example, famously envisions such a “fit audience” in the third invocation to the Muse in Paradise Lost (i.e., the “great Argument”), where he calls on the reader for hermeneutical verve, a spirited reading to complement his enthusiastic writing. Søren Kierkegaard also writes to an audience capable of spiritually minded hermeneutics, allowing him to perform various edifying dissimulations through pseudonyms: the despairing aesthete, the unscrupulous seducer, the rigid moralist, and so forth. These inspired writers expect believing readers to contribute to their works, to complete their disputations, in fact, through spirited exegesis. Their methods of composition demand it, which is to say that writers touched by furor leave little room in their arguments for the sustainable disposition of the uninspired reader.Cicero explains spirited rhetoric and hermeneutics in De divinatione, where Quintus talks about how inspired readers experience the same type of furor as inspired writers, seers, and prophets: “Men capable of correctly interpreting all these signs of the future seem to approach very near the divine spirit of the gods whose will they interpret, just as scholars do when they interpret the poets” (1938, 226). Scholarship, in other words, is capable of tapping into mystical energy, making the scholars as prophetic as the vates on which they write. In the second book of On Christian Doctrine (1958, 75–78), Augustine also explains the importance of mystical exegesis as a form of prophecy, where sincere readers undergo the same type of inspiration as mystical writers. For Augustine, spirited reading begins with prayer and ends with revelation. In both accounts of furor, Cicero’s and Augustine’s, [End Page 261] the inspired audience and the inspired writer together experience rapture, a divine vision or illumination, which is precisely the type of communion that occurs during mystical discourses.4Still, the idea of seeking communion with God is potentially unsettling. The notion produces anxieties of psychosis, possession, and self-erasure. Plato famously expresses such concerns in Ion, for example... (shrink)

This study explores the depictions of landscapes and emotions in the ninthcentury hagiographies associated with Liudger: the three vitae Liudgeri and Liudger’s own vita Gregorii. The Frisian missionary founded the monastery of Werden, situated near the Frankish-Saxon frontier. It will be argued that previous historiography on early medieval frontiers has predominantly focused on the military nature of frontiers. Here, more cultural or symbolic natures of the Frankish-Saxon frontier will be discussed. The hagiographical narratives will be examined in conjunction with the (...) notion of a frontier as a ‘third space’. The vitae Liudgeri shaped a discourse that legitimated Liudger’s translation to Werden. This resulted in the creation of a new place of Christian worship in the competitive landscape of post-conquest Saxony, as part of the Christianization of the region. Monasteries like Werden were the places where new missionaries were educated who would continue this Christianization. Exemplary emotional behaviour of the saints, narrated in hagiographies, could help instruct this new generation. Altfrid and Liudger tried to dissuade emotions of anger, indicated by ira or furor, with their hagiographical narratives. These two perspectives offer a glimpse into the attempts of a local monastery to stand out in the Frankish-Saxon frontier. (shrink)

The papers comprising Zur Farbenlehre, best known portion of Goethe's writings on color and optics, appeared between 1808 and 1810. Portions of Zur Farbenlehre, translated by the painter Charles Lock Eastlake and frequently reprinted under the title Theory of Colours, achieved immediate notoriety because of Goethe's insistent questioning of Newton's methodology. Acknowledging no mentors except Theophrastus and the physicist Robert Boyle, Goethe compared the Newtonian theory of colors--indelicately, some think--to a once proud castle still revered long after it has fallen (...) into decay. The furor aroused by this intemperate analogy has not fully subsided yet. During the twentieth century Max Planck answered the impertinence with a vigorous ad hominem attack and Rudolph Carnap followed suit. We still lack a serious analysis of Goethe's color theories or his arguments against Newton. And the early vituperation seems quaint. Questioning Newton's methodology--or even his epistemology--is a legitimate activity and has even become commonplace. The 1840 edition of Eastlake's translation enjoys a perennial popularity among artists and a few perceptual psychologists, who have been allowed to monopolize for too long a book which is primarily a highly provocative inquiry in the philosophy of science. Someday an imaginative publisher may be inspired to make available more extensive translations of Goethe's copious writings on color, complemented by the type of careful editing, annotation and analysis which I. Bernard Cohen and Alexander Koyré provide for the writings of Newton. Until then one is grateful for Eastlake.--P. S. (shrink)

The papers comprising Zur Farbenlehre, best known portion of Goethe's writings on color and optics, appeared between 1808 and 1810. Portions of Zur Farbenlehre, translated by the painter Charles Lock Eastlake and frequently reprinted under the title Theory of Colours, achieved immediate notoriety because of Goethe's insistent questioning of Newton's methodology. Acknowledging no mentors except Theophrastus and the physicist Robert Boyle, Goethe compared the Newtonian theory of colors--indelicately, some think--to a once proud castle still revered long after it has fallen (...) into decay. The furor aroused by this intemperate analogy has not fully subsided yet. During the twentieth century Max Planck answered the impertinence with a vigorous ad hominem attack and Rudolph Carnap followed suit. We still lack a serious analysis of Goethe's color theories or his arguments against Newton. And the early vituperation seems quaint. Questioning Newton's methodology--or even his epistemology--is a legitimate activity and has even become commonplace. The 1840 edition of Eastlake's translation enjoys a perennial popularity among artists and a few perceptual psychologists, who have been allowed to monopolize for too long a book which is primarily a highly provocative inquiry in the philosophy of science. Someday an imaginative publisher may be inspired to make available more extensive translations of Goethe's copious writings on color, complemented by the type of careful editing, annotation and analysis which I. Bernard Cohen and Alexander Koyré provide for the writings of Newton. Until then one is grateful for Eastlake.--P. S. (shrink)

In Krisenzeiten ist es entscheidend, an welchen Figuren wir uns orientieren: an Stimmen, die propagieren, sichere Mittel zur raschen Heilung zu kennen, oder an Figuren, welche die Situation untersuchen und forschend die Wahrheit zu verstehen suchen. Letzteres ist die Grundhaltung, mit welcher Psychoanalytiker ihre Patienten behandeln, wobei sie durchaus auch Erfahrungen mit Versuchungen durch rasche Heilung versprechende Stimmen machen. W. Loch, der erste Inhaber des Lehrstuhls für Psychoanalyse an einer Medizinischen Fakultät nach dem Zweiten Weltkrieg, erläuterte in einem Vortrag vor (...) knapp 50 Jahren die Rollen des Analytikers als Gesetzgeber und Lehrer, Pfleger und Forscher. In ihrer Wolfgang-Loch-Vorlesung würdigt C. Frank diese Rollen, arbeitet am Beispiel einer Ausbildungsanalyse klinische Unterschiede heraus und legt mit Hilfe von Vignetten aus der Corona-Zeit dar, wie diese Rollen aufgrund des heutigen Wissens über frühödipale Verfassungen um eine etwas andere Konzeption ergänzt werden sollten. (shrink)

The furore over the retention of organs at postmortem examination, without adequate consent, has led to a reassessment of the justification for, and circumstances surrounding, the retention of any human material after postmortem examinations and operations. This brings into focus the large amount of human material stored in various archives and museums, much of which is not identifiable and was accumulated many years ago, under unknown circumstances. Such anonymous archival material could be disposed of, used for teaching, used for research, (...) or remain in storage. We argue that there are no ethical grounds for disposing of the material, or for storing it in the absence of a teaching or research rationale. Nevertheless, with stringent safeguards, it can be used even in the absence of consent in research and teaching. Regulations are required to control the storage of all such human material, along the lines of regulations governing anatomy body bequests. (shrink)