Nicholas of Cusa in Italy
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World Without End Nicholas of Cusa's View of Time And
WORLD WITHOUT END NICHOLAS OF CUSA’S VIEW OF TIME AND ETERNITY Matthieu van der Meer* In his preface to the first printed edition of Apuleius’ works, Giovanni Andrea Bussi, librarian of the Vatican Library, praised his former patron Cardinal Nicholas of Cusa (1401-1464) as a connoisseur, not only of authors from an- cient times, but also from the media tempestas.1 Until recently, Bussi’s remark was considered to be the first witness of Renaissance self-awareness.2 No doubt, many authors (e.g. Petrarch, Salutati, Bruni) at that time were striving for the realisation of a new concept of man in which human dependence on God (oratio) and independence through man’s own rational powers (ratio) were united.3 Subsequently, the study of what it means to be human, the studia hu- manitatis, changed the traditional curricula and opened new intellectual hori- zons. Even if Bussi’s phrase media tempestas is less new than it has been pre- sumed to be, it characterises Nicholas of Cusa as a figure at the crossroads of the middle ages and the age of humanism.4 Ever since the renewed interest in * The author wishes to thank Anthony Lewis, Daniel O’Connell and Albrecht Diem for their comments. 1 M. Miglio, Giovanni Andrea Bussi. Prefazioni alle edizioni di Sweynheym e Pan- nartz (Milan, 1978), p. 17: “Vir ipse, quod rarum est in Germanis, supra opinionem elo- quens et latinus, historias idem omnes non priscas modo, sed mediae tempestatis, tum veteres, tum recentiores usque ad nostra temp ora, memoria, retinebat”. 2 T. -
Representations of Italian Americans in the Early Gilded Age
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 7 1994 From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Russo, John Paul (1994) "From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age," Differentia: Review of Italian Thought: Vol. 6 , Article 7. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/7 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. From ltalophilia to ltalophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo "Never before or since has American writing been so absorbed with the Italian as it is during the Gilded Age," writes Richard Brodhead. 1 The larger part of this American fascination expressed the desire for high culture and gentility, or what Brodhead calls the "aesthetic-touristic" attitude towards Italy; it resulted in a flood of travelogues, guidebooks, antiquarian stud ies, historical novels and poems, peaking at the turn of the centu ry and declining sharply after World War I. America's golden age of travel writing lasted from 1880 to 1914, and for many Americans the richest treasure of all was Italy. This essay, however, focuses upon Brodhead's other catego ry, the Italian immigrant as "alien-intruder": travel writing's gold en age corresponded exactly with the period of greatest Italian immigration to the United States. -
Inventive Translation, Portraiture, and Spanish Hapsburg Taste in the Sixteenth Century
9 © Copyrighted Material Inventive Translation, Portraiture and Spanish Habsburg Taste in the Sixteenth Century Elena Calvillo The Spanish Patron In his autobiography, Benvenuto Cellini recounts how when faced with an angry mob of Spaniards from the household of the bishop of Salamanca, he defiantly pointed his gun into the crowd and cried, ‘You treacherous Moors – so this is how you loot the shops and houses in a city like Rome?’1 According to the artist, the Spaniards had come to collect a vase that had been returned to Cellini to be repaired, but because the patron had not yet paid for it, Cellini declined to release it. The commotion surrounding this exchange soon attracted the attention of a few Roman gentlemen, eager to join the fight. Their offer to help Cellini kill his opponents was made ‘with such vehemence that the Spaniards were terrified out of their wits’ and retreated.2 The Spanish courtiers were subsequently admonished by the bishop, who, Cellini claimed, was angered by both the violence initiated by the brash members of his household and by their failure to finish the job. Cellini’s characterization of the Spanish throughout this part of his text, leading up to the Sack of 1527, is similar to many portrayals of this period.3 For Cellini, such a depiction of the troublesome Spaniards served the rhetorical ends of the autobiography by highlighting his loyalty to Rome and his personal bravery, most spectacularly demonstrated in his account of the defence of the Castel Sant’Angelo against imperial troops. A few themes emerge from Cellini’s anecdote. -
Journal of Comparative Literature and Aesthetics
ISSN: 0252-8169 JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Vol. XVI Nos. 1-2: 1993 A Special Volume on Italian Aesthetics Since Croce A Vishvanatha Kaviraja Institute Publication Editor: A.C. SUKLA B-8, Sambalpur University, Jyoti Vihar, Orissa India-768019. Fax-0663+430314, Associate Editor: Frank J. Hoffman West Chester University, Pennsylvania Editorial Advisor (Foreign) : Milton H. Snoeyenbos Georgia State University, Atlanta: Georgia. EDITORIAL BOARD Rene Wellek Yale University Peter Lamarque University of Hull Philip Alperson University of Louisville W.I.T. Mitchel University of Chicago Ralph Chohen University of Virginia Denis Dutton University of Canterbury Grazia Marchiano University of Siena Dorothy Figueira University of Illinois Ellen Dissanavake Washington Goran Hermeren University of Lund Ales Erjavec Slovenian Academy of Science & Arts V.K. Chari University Carleton S.K. Saxena University of Delhi Suresh Raval University of Arizona J.N. Mohanty Temple University Salim Kemal University of Dundee All subscriptions / books for review / papers / reviews / notes for publication are to be sent to the Editor Current information about JCLA is available on the Internet web site: http:// www.sas.upenn.edu/~fhoffman/jcla.html JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Volume: XVI: Nos. 1-2: 1993 A VISHVANATHA KAVIRAJA INSTITUTE PUBLICATION The Prsent Volume is Edited By: GRAZIA MARCHIANO CONTENTS 1 About the Authors Grazia Marchiiano 3 Editorial Gianni Vattimo 9 On the Challenge of Art to Philosophy; Aesthetics at the End of Epistemology Stefano Zecchi 17 The Theory of Art in Italian Idealism Aldo Trione 29 The De Sanctis: Croce line and the Problem of Modernity Stefano Benassi 41 Orientations of Phenomenological Aesthetics in Italy: The Encounter with Marxism and Semiotics Luisa Bonesio 51 Italian Philosophical Aesthetics: A New Generation Grazia Marchiano 59 Ananda Kentish Coomaraswamy: A Short Critical Survey About the Authors . -
Portrait of Italian Jewish Life (1800S – 1930S) Edited by Tullia Catalan, Cristiana Facchini Issue N
Portrait of Italian Jewish Life (1800s – 1930s) edited by Tullia Catalan, Cristiana Facchini Issue n. 8, November 2015 QUEST N. 8 - FOCUS QUEST. Issues in Contemporary Jewish History Journal of Fondazione CDEC Editors Michele Sarfatti (Fondazione CDEC, managing editor), Elissa Bemporad (Queens College of the City University of New York), Tullia Catalan (Università di Trieste), Cristiana Facchini (Università Alma Mater, Bologna; Max Weber Kolleg, Erfurt), Marcella Simoni (Università Ca’ Foscari, Venezia), Guri Schwarz (Università di Pisa), Ulrich Wyrwa (Zentrum für Antisemitismusforschung, Berlin). Editorial Assistant Laura Brazzo (Fondazione CDEC) Book Review Editor Dario Miccoli (Università Cà Foscari, Venezia) Editorial Advisory Board Ruth Ben Ghiat (New York University), Paolo Luca Bernardini (Università dell’Insubria), Dominique Bourel (Université de la Sorbonne, Paris), Michael Brenner (Ludwig-Maximilians Universität München), Enzo Campelli (Università La Sapienza di Roma), Francesco Cassata (Università di Genova), David Cesarani z.l. (Royal Holloway College, London), Roberto Della Rocca (DEC, Roma), Lois Dubin (Smith College, Northampton), Jacques Ehrenfreund (Université de Lausanne), Katherine E. Fleming (New York University), Anna Foa (Università La Sapienza di Roma), François Guesnet (University College London), Alessandro Guetta (INALCO, Paris), Stefano Jesurum (Corriere della Sera, Milano), András Kovács (Central European University, Budapest), Fabio Levi (Università degli Studi di Torino), Simon Levis Sullam (Università Ca’ -
In Calumniatorem Platonis
N ICCOLÒ P EROTTI AND B ESSARION’ S I N C ALUMNIATOREM P LATONIS By John Monfasani Perotti’s role in revising Bessarion’s Latin for the 1469 edition has long been established. It now seems probable that Giovanni Andrea Bussi helped with Bessarion’s various Latin revisions prior to 1469 and perhaps with the Latin of the new Bk. 3 of the 1469 edition. Giovanni Gatti, OP, however, was responsible for the mass of scholastic citations in the new Bk. 3. Pe- rotti’s intervention resulted in the translations of classical Greek sources being noticeably different from Bessarion’s original translations, especially in the case of Greek poetry. Perotti completed his revision in just a few months between April and August 1469. I would like to revisit in this paper a topic I first discussed in three articles of the early 1980s.1 I argued in those articles that Niccolò Perotti was re- sponsible for the Latin of the 1469 edition of Cardinal Bessarion’s In Ca- lumniatorem Platonis. I could not produce an autograph manuscript which would have, in a sense, caught Perotti in the act of revising Bessarion’s original Latin text, but I believed I had collected persuasive circumstantial evidence. Not only had I found in the Biblioteca Nazionale in Florence Pe- rotti’s own copy of the 1469 In Calumniatorem which he had corrected in his own hand as if he were the author,2 but in the Biblioteca Ambrosiana in Milan I had also discovered Perotti’s autograph of his Latin revision of a corpus of Bessarion opuscules already available in Bessarion’s own ver- sion,3 achieved it would seem, in the same period that he, Perotti, revised the Latin of the In Calumniatorem as part of a large project to re-present Bessarion to the Latin West in a more polished Latin dress. -
An Interpretation on the Ideas of Cesare Brandi in the Theory of Restoration YOLANDA MADRID ALANÍS
An interpretation on the ideas of Cesare Brandi in the Theory of restoration YOLANDA MADRID ALANÍS Translation by Valerie Magar Abstract Some of the fundamental concepts of the Brandi’s theory are analyzed with the aim of producing an interpretation which will detail its content and philosophical guides. The concept of Restoration, of work of art, of cases, of material and image, and of oneness are discussed, using different sources from philosophy, aesthetics, pragmatism, hermeneutics and phenomenology. Keywords: Cesare Brandi, theory of Restoration, philosophical guides, interpretation. Introduction This document is part of a reflection on the uses of the theory of Restoration employeed by the National School of Conservation in Mexico (Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete”, ENCRyM), which I am formulating as a final project in a Master in Critical Theory.1 Given that Cesare Brandi’s Theory of restoration has been a constant reference in Mexico, I decided to reread and interpret it, with the aim of detailing some of its sources and going deeper into the understanding of his ideas. The analysis is viable because there are explicit references by the author in several sections of the text itself, because his impact at an international level has been extensively studied, and because we are familiar with some of the philosophical sources that he employed to develop his theoretical concepts. Although part of his written production has already been translated into several languages, his philosophical references have seldom been made explicit. I consider it pertinent to make this interpretative reflection, because it is a text that is still valid in the Mexican context, although addenda have been made with other perspectives in mind, and because this can give rise to international multidisciplinary studies aimed at developing an in-depth panorama of Brandi’s thought. -
9370/Crosscurrents F01 8/21/02 2:22 PM Page A
9370/Crosscurrents F01 8/21/02 2:22 PM Page a FALL 2001 NORTHWESTERN UNIVERSITY VOLUME 2, NUMBER 2 WEINBERG COLLEGE OF ARTS AND SCIENCES cross currents UNCOVERING TEXTUAL TREASURES OF TIMBUKTU HIGHS AND LOWS OF ACADEME’S HIGHEST OFFICE A COMMUNITY LENDER WHOSE RISKS PAY OFF LIMITING THE DANGERS OF A PERSISTENT POISON 9370/Crosscurrents F01 8/21/02 2:22 PM Page c 6 Leading the Fight against Lead Poisoning JOEL PHOTO BY DAVID By Megan Fellman 10 Higher Ed’s Highest: College Presidents Who Hail from Northwestern By Nancy Deneen NORTHWESTERN UNIVERSITY 14 WEINBERG COLLEGE OF ARTS A Discovery AND SCIENCES That May Rewrite History By Nancy Deneen DEPARTMENTS SMOOTH P 1 From the Dean 20 Loan Ranger 2 By Lisa Stein Letters 23 3 In Memory Campaign Northwestern 24 Cover photos, A Message from the 4 from top: Wilson Society Chairs Awards a filmic image of Professor William 25 McGovern; CROSSCURRENTS IS Wilson Society detail of an Islamic PUBLISHED TWICE Membership Listing manuscript A YEAR FOR ALUMNI, PARENTS, AND from Timbuktu; FRIENDS OF THE 29 John Hunwick, Roads More JUDD A. AND MARJORIE professor of or Less Traveled, WEINBERG COLLEGE Then and Now history and OF ARTS religion; AND SCIENCES, an Illinois NORTHWESTERN playground UNIVERSITY. WE’D LIKE TO HEAR FROM YOU. SEND LETTERS AND STORY IDEAS TO NANCY DENEEN, CROSSCURRENTS, WEINBERG COLLEGE, AT ADDRESS ON BACK COVER, BY FAX TO (847) 491-4289, OR BY E-MAIL TO CROSSCURRENTS@ NORTHWESTERN.EDU 9370/Crosscurrents F01 8/21/02 2:22 PM Page 1 PHOTO BY DAVID JOEL PHOTO BY DAVID FROM THE DEAN seminars on line. -
INTRODUCTION Caesar Has Never Been an Author in Search of An
INTRODUCTION Caesar has never been an author in search of an editor. Witness the large number of printed texts of the Commentaries. 1 With this indisputable fact in mind, one wonders if anything more can be said about the textual transmission of an ancient writer who has enjoyed such popularity. The explanation and justification for this study are simply that the basic problems confronting any editor who approaches his task systematically are still unresolved for the Civil War. A brief survey of various editions from the Renaissance to the present will supply the background needed to make this clear, and may also be of interest to those concerned with the history of scholarship. The first phase in the editing of the Civil War belongs solely to Italian incunabula. Giovanni Andrea Bussi (Joannes Andreas Aleriensis) is responsible for the editio princeps which was printed in 1469 at Rome by Conrad Sweynheym and Arnold Pannartz 2 and contains the genuine as well as the spurious Wars. Born in 1417 at Vigevano, Bussi pursued a somewhat undistinguished career until 1451 when he became an acolyte to Pope Nicholas V. Hence forth his path lay in the service of pontiffs and cardinals, and he was named Bishop of Accia (Corsica) in 1462 by Pius II and trans ferred to the see of Aleria on that same island by Paul II in 1466. 3 Whether a matter of personal preference or whether he could not get away from more pressing duties, he appears never to have gone to Corsica. As an editor of classical works during a three-year association with Sweynheym and Pannartz (1469-71), he ranks among the most active scholars of the period: to him are due first editions of such authors as Apuleius, Aulus Gellius, Cicero (letters 1 There have been well over a hundred editions of the Civil War. -
Vico, Hegel and a New Historicism
Hegelians on the Slopes of Vesuvius: A Transnational Study in the Intellectual History of Naples, 1799-1861 Alessandro De Arcangelis, University College London Thesis submitted for the Degree of Doctor of Philosophy, University College London, April 2018 I, Alessandro De Arcangelis, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Acknowledgments I would like to express my gratitude to all the people who supported me in this challenging and exciting journey and contributed, in many ways, to its development and completion. Working with my main supervisor, Prof. Axel Körner, has been a terrific experience and I am deeply grateful for his undefeated enthusiasm, impeccable support, steady encouragement and, above all, for offering me so many opportunities to grow as a researcher. My second supervisor, Prof. Avi Lifschitz, has always been a dedicated mentor, whose point of view has been helping me improve my way of engaging with intellectual history since the very first day of my MA degree in 2013. I genuinely hope that the future may hold many more opportunities for me to work with them. A special mention goes to Dr. Fernanda Gallo: our common passion for Neapolitan Hegelianism has introduced us to a priceless friendship and enabled us to work together on several projects during the last year. Dr. Maurizio Isabella provided me with useful comments that greatly helped my argument to come into focus, as did Prof. Gareth Stedman Jones in 2015 and 2017. I also want to thank Dr. -
Origins of Fascism
><' -3::> " ORIGINS OF FASCISM by Sr. M. EVangeline Kodric, C.. S .. A. A Thesis submitted to the Faculty of the Graduate School, Marquette Unive,r s1ty in Partial FulfillmeIlt of the Re qUirements for the Degree of Master of Arts M1lwaukee, Wisconsin January, -1953 ',j;.",:, ':~';'~ INTRODUCTI ON When Mussolini founded the Fascist Party in 1919, he " was a political parvenu who had to create his ovm ideological pedigree. For this purpose he drew upon numerous sources of the past and cleverly adapted them to the conditions actually existing in Italy during the postwar era. The aim of this paper 1s to trace the major roots of the ideology and to in terpret some of the forces that brought about the Fascistic solution to the economic and political problems as t hey ap peared on the Italian scene. These problems, however, were not peculiar to Italy alone. Rather they were problems that cut across national lines, and yet they had to be solved within national bounda ries. Consequently, the idea that Fascism is merely an ex tension of the past is not an adequate explanation for the coming of Fascism; nor is the idea that Fascism is a mo mentary episode in history a sufficient interpr etat ion of the phenomenon .. ,As Fascism came into its own , it evolved a political philosophy, a technique of government, which in tUrn became an active force in its own right. And after securing con trol of the power of the Italian nation, Fascism, driven by its inner logic, became a prime mover in insti gating a crwin of events that precipitated the second World War. -
Pliny, Naturalis Historia Xxx, 11)
THE ENIGMA OF THE MAGICIAN LOTAPES (PLINY, NATURALIS HISTORIA XXX, 11) BY STEPHEN GERO Eberhard-Karls-Universität Tübingen In a famous passage Pliny the Elder refers to a school of magic which, long after the time of Zoroaster, originated from Moses, Jannes, Lotapes and the Jews: "est et alia magices factio a Mose et Janne et Lotape ac Judaeis pendens, sed multis milibus annorum post Zoro- astren."' Moses' reputation as a powerful magician needs no comment here;' Jannes is also well known as an Egyptian wizard who resisted Moses.' The name of Lotapes by contrast has been a crux interpretum ever since the publication of Pliny's text in the fifteenth century.' The purpose of the present contribution is to survey the emendations and explanations which have been hitherto proposed and to proffer, with all due caution, still another, hopefully more satisfactory, solution. 1. The Printed Text and Its Interpretation The initial efforts at understanding the precise import of the pas- sage have been hindered by the unfortunate fact that at the point of 1 Ed. C. Mayhoff, C. Plini SecundiNaturalis Historiae libri XXXVII, vol. 4 (Leipzig, 1907; reprint Stuttgart, 1967), p. 423, lines 16-18. 2 See e.g. J.G. Gager, Mosesin Greco-RomanPaganism (Nashville/New York, 1972),pp. 134ff. 3 See the dossier now assembled in A. Pietersma, TheApocryphon of Jannesand Jambres the Magicians(Leiden, 1994), especially pp. 24ff. and the present writer's "Parerga to 'The Book of Jannes and Jambres,'" Journal for the Studyof the Pseudepigrapha9 (1991), pp. 67ff. 4 Though Pliny's work was of course much used also earlier, the passage of interest here was not cited or commented upon by any author in late antiquity or in the Middle Ages, to my knowledge.