Rosicrucian Digest (The Pythagoreans)
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The Archimedes' Lever and Vesuvius Eruption A.D. 79
Journal Of Anthropological And Archaeological Sciences DOI: 10.32474/JAAS.2020.01.000119 ISSN: 2690-5752 Research Article The Archimedes’ Lever and Vesuvius Eruption A.D. 79 Alexander N Safronov* AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Russia *Corresponding author: Alexander N Safronov, AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Pyzhevskii, Moscow, Russia Received: February 07, 2020 Published: February 24, 2020 Abstract The study based on detailed analysis of the Villa of the Mysteries frescoes, which were discovered early at the excavations in Pompeii. It was shown that the Villa of the Mysteries is a school of priestesses-seismologists. It is established that the frescoes depict the process of priestesses introducing in the Hera seismoacoustic cult (Zeus-Hera-Dionysus cult). It is shown that in the Hera cult the wand strike on the back of the graduate priest student symbolizes the fact of the introduction of the priestesses to the priesthood. The comparison between Pythagoras School in Crotone, Southern Italy (Temple of the Muse) and Cumaean Sibyl seismoacoustic at margin of Campi Flegrei, Gulf of Naples and school at Villa of the Mysteries, Pompeii was carried out. Some caustic remarks about interpretation of Homer and Lion Hunting were written. It is shown that Archimedes’ lever principal is theoretical basis of the Roman Empire volcanology and seismology. The Archimedes’ lever principal of planet alignment was demonstrated in several examples of the large up-to-date explosive eruptions with Volcanic Explosivity Index (VEI) greater than 4+ (6 examples). It was noted that the Pythagoras-Plato gravitational waves (vortexes) were known in Europe since Thales of Miletus and Pythagoras. -
Articulation and the Origins of Proportion in Archaic and Classical Greece
Articulation and the origins of proportion in archaic and classical Greece Lian Chang School of Architecture McGill University, Montreal, Canada August 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Lian Chang 2009 Abstract This dissertation searches for the origins of western ideas of proportion in the archaic and classical Greek conceptual terrain of articulation. We think of articulation, in the first instance, as having to do with the joining of parts to fabricate an object, such as in the physical connection of pieces of wood, cloth, metal, or stone. However, the early Greek language that described these craft processes also, and inextricably, spoke in a number of ways about what it meant for a person, thing, or the world to be beautiful, healthy, and just. Taking Homer as its primary source, Part One therefore explores archaic ideas of bodily experience (Chapter One); of crafts (Chapter Two); and of the interrelations between the two (Chapter Three). These chapters lay emphasis on how the language and concepts of articulation constructed a worldview particular to early Greece. Part Two then examines early ideas of proportion, in social and political life as depicted by Homer (Chapter Four); in classical ideas about the medicalized human body and the civic body of the polis (Chapter Five); and in the cosmogonic theories of Empedocles and Plato (Chapter Six). In so doing, I aim to demonstrate how ideas of articulation allowed for and expanded into those of proportion, binding together the ordering of bodies, of the kosmos, and of crafts, including architecture. -
From Hades to the Stars: Empedocles on the Cosmic Habitats of Soul', Classical Antiquity, Vol
Edinburgh Research Explorer From Hades to the stars Citation for published version: Trepanier, S 2017, 'From Hades to the stars: Empedocles on the cosmic habitats of soul', Classical Antiquity, vol. 36, no. 1, pp. 130-182. https://doi.org/10.1525/ca.2017.36.1.130 Digital Object Identifier (DOI): 10.1525/ca.2017.36.1.130 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Classical Antiquity Publisher Rights Statement: Published as Trépanier, S. 2017. From Hades to the Stars: Empedocles on the Cosmic Habitats of Soul, Classical Antiquity, Vol. 36 No. 1, April 2017; (pp. 130-182) DOI: 10.1525/ca.2017.36.1.130. © 2017 by the Regents of the University of California. Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® or directly with the Copyright Clearance Center. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. -
Marie-Luise Lakmann, Platonici Minores: 1
MARIE-LUISE LAKMANN, Platonici minores: 1. Jh.v.Chr. - 2. Jh.n.Chr. Prosopographie. Fragmente und Testimonien mit deutscher Überset- zung. Philosophia antiqua, 145, Leiden-Boston: Brill, 2017, xi+824 pp., $236.00, ISBN 978-90-04-31533-4. This is indeed a mighty work, an offshoot of a yet mightier one, the great project ‘Der Platonismus in der Antike’, initiated many years ago by Heinrich Dórrie, and continued, first by Matthias Baltes, and, most recently, by Christian Pietsch, who is currently bringing it at last to its conclusion with the eighth volume. What Professor Lakmann, who has been closely connected with this project, has set herself to do here is to make the fullest possible collection of minor figures involved in Platonist philosophizing over the period conventionally regarded as ‘Middle Platonic’, in order to give some attention to the persons behind the doctrines. To this end, she has assembled data on some 88 individuals, including four Anonymi, and some very obscure figures indeed. The work is divided into two main sections: ‘Prosopographie’, in which she sets out and discusses what is known about the lives and doctrines of the figures concerned, and ‘Texte und Ubersetzungen’, in which the relevant fragments and testimonia are presented and translated (the translations being undertaken by Erhard Pahnke and Henner Thoss). The only inadequacy I find with this arrangemnt is that there is no provision for discussing the contexts of the individual passages quoted, and the details of doctrine involved, as would sometimes be desirable – but one hesitates to suggest anything that would make a book of 835 pages even longer! She has, quite reasonably, chosen to exclude major figures, such as Antiochus of Ascalon, Eudorus, Plutarch, Atticus, Apuleius, Albinus, or Numenius, who either have major works surviving (as in the case of Plutarch, Apuleius or Albinus), or who have had their fragments adequately collected (though she does include here L. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
Anaximander and the Problem of the Earth's Immobility
Binghamton University The Open Repository @ Binghamton (The ORB) The Society for Ancient Greek Philosophy Newsletter 12-28-1953 Anaximander and the Problem of the Earth's Immobility John Robinson Windham College Follow this and additional works at: https://orb.binghamton.edu/sagp Recommended Citation Robinson, John, "Anaximander and the Problem of the Earth's Immobility" (1953). The Society for Ancient Greek Philosophy Newsletter. 263. https://orb.binghamton.edu/sagp/263 This Article is brought to you for free and open access by The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in The Society for Ancient Greek Philosophy Newsletter by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. JOHN ROBINSON Windham College Anaximander and the Problem of the Earth’s Immobility* N the course of his review of the reasons given by his predecessors for the earth’s immobility, Aristotle states that “some” attribute it I neither to the action of the whirl nor to the air beneath’s hindering its falling : These are the causes with which most thinkers busy themselves. But there are some who say, like Anaximander among the ancients, that it stays where it is because of its “indifference” (όμοιότητα). For what is stationed at the center, and is equably related to the extremes, has no reason to go one way rather than another—either up or down or sideways. And since it is impossible for it to move simultaneously in opposite directions, it necessarily stays where it is.1 The ascription of this curious view to Anaximander appears to have occasioned little uneasiness among modern commentators. -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013). -
Thales of Miletus Sources and Interpretations Miletli Thales Kaynaklar Ve Yorumlar
Thales of Miletus Sources and Interpretations Miletli Thales Kaynaklar ve Yorumlar David Pierce October , Matematics Department Mimar Sinan Fine Arts University Istanbul http://mat.msgsu.edu.tr/~dpierce/ Preface Here are notes of what I have been able to find or figure out about Thales of Miletus. They may be useful for anybody interested in Thales. They are not an essay, though they may lead to one. I focus mainly on the ancient sources that we have, and on the mathematics of Thales. I began this work in preparation to give one of several - minute talks at the Thales Meeting (Thales Buluşması) at the ruins of Miletus, now Milet, September , . The talks were in Turkish; the audience were from the general popu- lation. I chose for my title “Thales as the originator of the concept of proof” (Kanıt kavramının öncüsü olarak Thales). An English draft is in an appendix. The Thales Meeting was arranged by the Tourism Research Society (Turizm Araştırmaları Derneği, TURAD) and the office of the mayor of Didim. Part of Aydın province, the district of Didim encompasses the ancient cities of Priene and Miletus, along with the temple of Didyma. The temple was linked to Miletus, and Herodotus refers to it under the name of the family of priests, the Branchidae. I first visited Priene, Didyma, and Miletus in , when teaching at the Nesin Mathematics Village in Şirince, Selçuk, İzmir. The district of Selçuk contains also the ruins of Eph- esus, home town of Heraclitus. In , I drafted my Miletus talk in the Math Village. Since then, I have edited and added to these notes. -
The Natural Philosophers
The Natural Philosophers For us, the most interesting part is actually not what solutions these earliest philosophers arrived at, but The earliest Greek philosophers are sometimes which questions they asked and what type of answer called natural philosophers because they were mainly they were looking for. We are more interested in how concerned with the natural world and its processes. they thought than in exactly what they thought. We have already asked ourselves where everything We know that they posed questions relating to the comes from. Nowadays a lot of people imagine that at transformations they could observe in the physical some time something must have come from nothing. This world. They were looking for the underlying laws of idea was not so widespread among the Greeks. For one nature. They wanted to understand what was happening reason or another, they assumed that “something” had around them without having to turn to the ancient always existed. myths. And most important, they wanted to understand How everything could come from nothing was the actual processes by studying nature itself. This was therefore not the all-important question. On the other quite different from explaining thunder and lightning or hand the Greeks marveled at how live fish could come winter and spring by telling stories about the gods. from water, and huge trees and brilliantly colored So philosophy gradually liberated itself from flowers could come from the dead earth. Not to mention religion. We could say that the natural philosophers took how a baby could come from its mother’s womb! the first step in the direction of scientific reasoning, The philosophers observed with their own eyes thereby becoming the precursors of what was to become that nature was in a constant state of transformation. -
Immortality in Empedocles
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository apeiron 2016; aop Alex Long* Immortality in Empedocles DOI 10.1515/apeiron-2015-0054 Abstract: The paper examines Empedocles’ attributions of immortality. I argue that Empedocles does not withhold immortality from the gods but rather has an unorthodox conception of what immortality is. Immortality does not mean, or imply, endless duration. A god’s immortality is its continuity, as one and the same organism, over a long but finite period. This conception of divine immor- tality then influences Empedocles’ other attributions of immortality, each of which marks a contrast with discontinuity, real or apparent. The nature of this contrast varies from context to context, and there is considerable heterogeneity in the list of immortal items. On the other hand, the attribution of immortality never implies that the item is completely changeless. Keywords: empedocles, immortality, gods, theology Empedocles identifies himself as a daimôn (B115) and elsewhere as a god (B112), but his account of the cosmic cycle suggests that daimones and gods, or at least some gods, do not last forever. Despite claiming to have attained godhood he does not believe that his existence will continue endlessly into the future. It is natural to contrast Empedocles’ eschatology with the account of the soul that Socrates eventually vindicates in Plato’s Phaedo,1 according to which the soul will never perish, whatever else may befall it. How is the contrast between Empedocles and Plato best expressed? We may find it natural to say that Empedoclean gods, unlike Platonic souls, are “mortal”, not “immortal”. -
Plato's Parmenides and Its Heritage. Volume 1
PLATO’S PARMENIDES AND ITS HERITAGE VOLUME 1 PLATO’S PARMENIDES AND its heritage VOLUME 1: History and Interpretation from the Old Academy to Later Platonism and Gnosticism Writings from the Greco-Roman World Supplement Series Edited by John T. Fitzgerald Series Editor John D. Turner and Kevin Corrigan Number 2 Society of Biblical Literature PLATO’S PARMENIDES AND ITS HERITAGE, VOLUME 1 Atlanta PLATO’S PARMENIDES AND its heritage VOLUME 1: History and Interpretation from the Old Academy to Later Platonism and Gnosticism Edited by John D. Turner and Kevin Corrigan Society of Biblical Literature Atlanta Contents Abbreviations vii Introduction 1 Section 1: Plato, from the Old Academy to Middle Platonism 1. The Place of the Parmenides in Plato’s Thought and in the Subsequent Tradition 23 Kevin Corrigan 2. Speusippus’s Neutral Conception of the One and Plato’s Parmenides 37 Gerald Bechtle 3. The Fragment of Speusippus in Column I of the Anonymous Commentary on the Parmenides 59 Luc Brisson 4. Speusippus and the Ontological Interpretation of the Parmenides 67 John Dillon 5. The Indefinite Dyad in Sextus Empiricus’s Report (Adversus Mathathematicos 10.248–283) and Plato’s Parmenides 79 Thomas Szlezák 6. Plato and Parmenides in Agreement: Ammonius’s Praise of God as One-Being in Plutarch’s The E At Delphi 93 Zlatko Pleše 7. Moderatus, E. R. Dodds, and the Development of Neoplatonist Emanation 115 J. Noel Hubler Section 2: Middle Platonic and Gnostic Texts 8. The Platonizing Sethian Treatises, Marius Victorinus’s Philosophical Sources, and Pre-Plotinian Parmenides Commentaries 131 John D. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus.