Publications of Nancy Siraisi
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Masarykova Univerzita Filozofická Fakulta Katedra Filozofie Reforma
Masarykova univerzita Filozofická fakulta Katedra filozofie Reforma vzd ělávání Rogera Bacona Diserta ční práce Vypracoval: Mgr. Josef Šev čík Školitel: prof. PhDr. Břetislav Horyna, Ph.D. Brno 2012 Prohlašuji, že jsem tuto diserta ční práci vypracoval samostatn ě s využitím uvedených pramen ů a literatury. V Brn ě dne 29. února 2012 ________________ Josef Šev čík Děkuji svému školiteli profesoru B řetislavu Horynovi za odborné vedení a cennou podporu v pr ůběhu doktorského studia, Mgr. Bronislavu Stup ňánkovi za pro čtení disertace, rodi čů m a přátel ům. O B S A H Předmluva................................................................................................................................. 1 I. Úvod ....................................................................................................................................... 4 I.1 Baconovská legenda......................................................................................................... 8 I.2 Hodnota pramen ů a literatury ........................................................................................ 11 I.3 Životní osudy Rogera Bacona........................................................................................ 18 I.4 Opus maius , Opus minus a Opus tertium....................................................................... 32 I.5 Kontext a d ůsledky Tempierova cenzurního výnosu (1277) ......................................... 41 II. Reforma vzd ělávání Rogera Bacona .............................................................................. -
The New Astral Medicine Hiro Hirai Introduction
CHAPTER EIGHT THE NEW ASTRAL MEDICINE Hiro Hirai Introduction The impact of astrology on medical theories and practice in the Renais- sance still remains to be fully explored. Besides the general influences of celestial bodies on sublunary and terrestrial beings, physicians were traditionally taught to take astrology into account in questions such as: 1) conception or nativity; 2) crises of health or illness, known as “criti- cal days”; and 3) medication. The link between medicine and astrology became especially firm after the work of Pietro d’Abano (1257–ca. 1315).1 In the Renaissance, two major factors contributed to the modifica- tion of this traditional relationship between medicine and astrology. One is the severe criticism of judicial astrology, advanced by Giovanni Pico della Mirandola (1463–1494) in his posthumous work, entitled Disputa- tions against Judicial Astrology (Disputationes adversus astrologiam divina- tricem) (Bologna, 1496). Many of his contemporaries (followed by modern historians) generally considered that Pico rejected the divinatory aspects of astrology and accepted only its physical dimensions, which can be labeled as “natural astrology.” According to this interpretation, the influ- ences of the celestial region were exerted only by physical means: motion, light and heat.2 Pico thus criticized the astrological aspects of the doctrine 1 See Nancy G. Siraisi, Medieval and Early Renaissance Medicine: An Introduction to Knowledge and Practice (Chicago: University of Chicago Press, 1990). Cf. also Andrew Wear, “Galen in the Renaissance,” in Galen: Problems and Prospects, ed. Vivian Nutton (London: The Wellcome Institute for the History of Medicine, 1981), pp. 229–267, esp. 245–250; Wolf-Dieter Müller-Jahncke, Astrologisch-magische Theorie und Praxis in der Heilkunde der frühen Neuzeit (Stuttgart: Steiner, 1985); Roger French, “Astrology in Medical Prac- tice,” in Practical Medicine from Salerno to the Black Death, ed. -
Dangerous Disorder: 'Confusione' in Sixteenth- Century Italian Art Treatises
Dangerous disorder: ‘confusione’ in sixteenth- century Italian art treatises Caroline Anjali Ritchie In sixteenth-century Italian writing on art, confusione is a much-maligned concept. While many scholars skim over the word, swiftly pressing on to examine neutral or positively charged words like composizione, varietà or grazia, the connotations of confusione as used in Renaissance art treatises are far from self-evident.1 Particularly in the second half of the cinquecento, writers used the word confusione to express manifold concerns regarding the supposedly detrimental effects of confused and hence confusing artworks upon the beholder’s enjoyment or pleasure, as well as upon their intellectual, psychological, and spiritual experiences. The profusion of cinquecento instances of the word, in the treatises of artistic practitioners and non- practitioners, is potentially symptomatic of writers’ reactions against so-called ‘mannerism’ and their concerns about the perceived decline or senescence of art; more explicitly, some important instances are bound up in counter-reformation debates about sacred images. Most fundamentally, considered in the context of Renaissance art theory and faculty psychology, confusione indicates the prevalent fears surrounding inherently ‘bad’ artistic qualities. I thus begin not with artworks but with the words that writers used to describe artworks. Such words are revealing of the ‘broad phenomena’ of responses that David Freedberg expounded as the stuff of legitimate historical inquiry.2 I argue specifically that images were also thought to reveal their efficacy through a perceived formal defectiveness, as distinct from the kind of morally dubious subject matter examined by Freedberg in relation, for example, to Savonarola’s burning of ‘profane’ images.3 Words like confusione, expressing negative value-judgements about the quality of artworks, can help to detect and diagnose the concerns of their users regarding the potentially malign powers of images considered defective. -
Hacia El Dialogo Della Pittura Lodovico Dolce Y Sus Lettere Di Diversi (1554 - 1555)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal de Revistas Científicas Complutenses Hacia el Dialogo della Pittura Lodovico Dolce y sus Lettere di diversi (1554 - 1555) Santiago ARROYO ESTEBAN Real Academia de España en Roma [email protected] Recibido: 4 de Marzo de 2009 Aceptado: 24 de Junio de 2009 RESUMEN Acercamiento a la prehistoria del Dialogo della pittura de Lodovico Dolce (1557), prestando especial atención a su relación con las cartas de Miguel Ángel, Rafael y Tiziano incluidas en las Lettere di diversi (1554) recopiladas por el literato. Se traducen y comentan en Apéndice las cartas de sujeto artístico aparecidas en la segunda edición de las Lettere (1555) que Dolce dirige a Gasparo Ballini y Alessandro Contarini. Palabras Clave: Lodovico Dolce. Cartas. Diálogo de la pintura. Gasparo Ballini. Alessandro Contarini. Tiziano. Rafael. Miguel Ángel. Literatura artística. Teoría. Ut pictura poësis. Ékphrasis. Venus y Adonis. Variedad. Inven- ción. Dibujo. Colorido. To the Dialogo della pittura: Lodovico Dolce and his Lettere di diversi of 1554-1555 ABSTRACT Approach to the prehistory of the Dialogo della pittura by Lodovico Dolce (1557), paying special attention to its connection with the letters by Michelangelo, Raphael and Titian included in the Lettere di diversi (1554) compiled by the writter. In Appendix also the translation into Spanish and comment of the letters of artistic argument that appeared in the second edition of the Lettere (1555) which Dolce addressed to Gasparo Ballini and Alessandro Contarini. Key Words: Lodovico Dolce. Lettere. Dialogo della pittura. Gasparo Ballini. Alessandro Contarini. -
Medicine As a Cultural Connection Between Jews and Christians in Early Modern Italy Andrew Berns, UCLA
EMW -Workshops EMW 2012 EARLY MODERN WORKSHOP: Jewish History Resources Volume 9: Cross-Cultural Connections in the Early Modern Jewish World, Brown University, Providence, RI, February, 26-27, 2012 Medicine as a Cultural Connection Between Jews and Christians in Early Modern Italy Andrew Berns, UCLA Abstract This presentation explores cultural connections between Jews and Christians in sixteenth-century Italy through the lens of medicine. I present and analyze two texts. The first (from 1587) is a letter from Girolamo Mercuriale, a Catholic, to Moses Alatino, a Jew. The second (from 1592) is an excerpt from a consilium sent by the Jewish physician David de' Pomi to Francesco Maria della Rovere, Duke of Urbino. Introduction The two texts presented below contain evidence of Jewish-Christian interaction in sixteenth-century Italy. The first is a medical consultation written by the Catholic physician Girolamo Mercuriale to the Jewish physician Moses Alatino regarding a young woman suffering from an assortment of gynecological and urinary ailments. Mercuriale’s letter is a response to a query, unfortunately lost, from Alatino. Girolamo Mercuriale (1530-1606) was a distinguished doctor and prolific writer. His first Book of Medical Responses and Consultations, from which this text is taken, was published in Venice in 1587; one other volume followed in 1598, and two others in 1604. Mercuriale’s reputation rests not only on his medical monographs but also on his antiquarian works. Perhaps his best-known book is De arte gymnastica libri sex [Six Books on the Gymnastic Art] (Venice 1579), an exploration of physical activity in the ancient world. -
History, Medicine, and the Traditions of Renaissance Learning
History, Medicine, and the Traditions of Renaissance Learning History, Medicine, and the Traditions of Renaissance Learning • • nancy g. siraisi the university of michigan press • ann arbor Copyright © by the University of Michigan 2007 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2010 2009 2008 2007 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Siraisi, Nancy G. History, medicine, and the traditions of Renaissance learning / Nancy G. Siraisi. p. cm. — (Cultures of knowledge in the early modern world) Includes bibliographical references and index. ISBN-13: 978-0-472-11602-7 (cloth : alk. paper) ISBN-10: 0-472-11602-9 (cloth : alk. paper) 1. Medicine—History—16th century. 2. Renaissance. I. Title. R146.S57 2008 610.9—dc22 2007010656 ISBN13 978-0-472-02548-0 (electronic) For nobuyuki siraisi PREFACE AND ACKNOWLEDGMENTS his book is a study of connections, parallels, and mutual interaction T between two in›uential disciplines, medicine and history, in ‹fteenth- to seventeenth-century Europe. The elevation of history in status and signi‹- cance, the expansion of the scope and methods of history, and the related (but distinct) growth of antiquarianism are among the most striking—and recently among the best studied—features of the humanist culture of that period. -
Aestimatio: Critical Reviews in the History of Science
Summa doctrina et certa experientia. Studi su medicina e filosofia per Chiara Crisciani edited by Gabriella Zuccolin Micrologus Library 79. Florence: SISMEL—Edizioni del Galluzzo, 2017. Pp. xv + 484. ISBN 978–88–8450–762–4. Paper €68.00 Reviewed by Alessandra Foscati University of Lisbon [email protected] Anyone undertaking research in the fields of medieval science, scholastic medicine (its institutional and epistemological aspects), alchemy, and the history of medicine will inevitably compare Chiara Crisciani’s work and the doctrines set forth in these studia, especially with regard to matters of everyday practice.This hefty volume is dedicated to Crisciani as a birthday gift in recognition of her outstanding, tireless work and generosity, as shown by her frequent involvement in research by colleagues and students. Edited by her colleague and friend, Gabriella Zuccolin, it is published by SISMEL (Società Internazionale per lo studio del Medioevo Latino) as part of the Micrologus Library series. Having published many of Crisciani’s works, SISMEL is the ideal promoter of this project, given the international character and excellence of its output and, in particular, the interdisciplinary nature of the Micrologus Library series. The importance of the book is immediately reflected in the calibre of the contributing scholars, who are among the best known in their respective dis- ciplines.The subject matter combines (mostly natural) philosophy with vari- ous aspects of medical science, and the topics chosen are related to the areas covered by Crisciani’s research.In many cases, the contributions take shape as the ideal continuation of her studies. For example, Marilyn Nicoud focuses on the medical consilia, whose structure was outlined by Crisciani as a new literary genre that became established between the 13th and 14th centuries, while Agostino Paravicini Bagliani examines a 16th-century text on the pro- longation of life, which Crisciani has studied extensively. -
Lodovico Dolce's Somma Della Filosofia D'aristotele and The
Addressing the Reader: Lodovico Dolce’s Somma della filosofia d’Aristotele and the Audience for Vernacular Philosophy in Sixteenth-Century Italy Lodovico Dolce’s popularization of Aristotelian philosophy, the Somma della filosofia d’Aristotele, was published in Venice around 1565. It is a rather loosely organised compendium of philosophical material, comprising books on logic, practical philosophy (ethics, economics, and politics) and natural philosophy. It has not been much studied,1 and yet offers valuable insights into both the vernacularization of Aristotelian philosophy and the increasingly sophisticated ways, often through the use of paratext, that sixteenth-century authors (working together with editors and publishers) sought to appeal to and communicate with their audience. This article will examine the differing readerships foreseen for the Somma della filosofia d’Aristotele and how the work seeks to persuade, mollify or rebuff these readers. The Somma della filosofia d’Aristotele serves as an example of the ways Renaissance authors and publishers sought to shape readings of a work of popularized philosophy, and Dolce, as a poligrafo accustomed to writing for a commercial audience, shows a particularly keen awareness of the “diverse quality” (Somma 3: 97v) of readers which might encounter the text; this diversity is addressed with overtures intended for his cultured but non-scholarly readers, his learned critics, and those who might take issue with his work on religious grounds. In his magisterial Aristotle and the Renaissance, Charles Schmitt demonstrated not only the persistence of Aristotelianism as a philosophical force in the Renaissance but also the tradition’s variety, subtlety and ability to adapt to changed intellectual and cultural circumstances. -
Anatomy of a Dispute: Leonardo, Pacioli, and Scientific Entertainment in Renaissance Milan.', Early Science and Medicine, Vol
Edinburgh Research Explorer Anatomy of a Dispute Citation for published version: Azzolini, M 2004, 'Anatomy of a Dispute: Leonardo, Pacioli, and Scientific Entertainment in Renaissance Milan.', Early Science and Medicine, vol. 9, no. 2, pp. 115 -135. https://doi.org/10.1163/1573382041154088 Digital Object Identifier (DOI): 10.1163/1573382041154088 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Early Science and Medicine Publisher Rights Statement: © Azzolini, M. (2004). Anatomy of a Dispute: Leonardo, Pacioli, and Scientific Entertainment in Renaissance Milan.Early Science and Medicine, 9(2), 115 -135doi: 10.1163/1573382041154088 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. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 anatomy of a dispute 115 ANATOMY OF A DISPUTE: LEONARDO, PACIOLI AND SCIENTIFIC COURTLY ENTERTAINMENT IN RENAISSANCE MILAN* MONICA AZZOLINI University of New South Wales Abstract Historians have recently paid increasing attention to the role of the disputation in Italian universities and humanist circles. By contrast, the role of disputations as forms of entertainment at fifteenth-century Italian courts has been somewhat overlooked. -
The Secrets of Health; Views on Healing from the Everyday Level to the Printing Presses in Early Modern Venice 1500-1650
The Pennsylvania State University The Graduate School College of the Liberal Arts THE SECRETS OF HEALTH; VIEWS ON HEALING FROM THE EVERYDAY LEVEL TO THE PRINTING PRESSES IN EARLY MODERN VENICE 1500-1650 A Dissertation in History by John Gordon Visconti @ 2009 John Gordon Visconti Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 ii The dissertation of John Gordon Visconti was reviewed and approved* by the following: Ronnie Hsia Edwin Earle Sparks Professor of History Dissertation Co-Advisor Chair of Committee A. Gregg Roeber Professor of Early Modern History and Religious Studies Dissertation Co-Advisor Interim Head of the Department of History Tijana Krstic Assistant Professor of Early Modern History Dissertation Co-Advisor Melissa W. Wright Associate Professor in Geography and in the Program of Women's Studies *Signatures are on file in the Graduate School iii Abstract In early modern Venice, and, to a large extent, the entire European continent, medical practitioners from a wide variety of social levels shared many similar ideas and common assumptions about the body, health, sickness and healing. Ideas regarding moderation in lifestyle, physiological balance within the body, the need to physically eliminate badness from the sick body, and the significance of temperature, moisture and dryness, can be found in healing practices across the social spectrum. The idea that the human body and the heavenly cosmos were divinely linked and that good health depended upon a harmonious relationship with nature can be found at all different social levels of early modern thought. The main reason for these similarities is that ideas about such things, even at the most scholarly levels, were intuitively derived, intellectually plausible, and commonsensical, hence, they occurred to many different people. -
Visualization in Medieval Alchemy
Visualization in Medieval Alchemy by Barbara Obrist 1. Introduction Visualization in medieval alchemy is a relatively late phenomenon. Documents dating from the introduction of alchemy into the Latin West around 1140 up to the mid-thirteenth century are almost devoid of pictorial elements.[1] During the next century and a half, the primary mode of representation remained linguistic and propositional; pictorial forms developed neither rapidly nor in any continuous way. This state of affairs changed in the early fifteenth century when illustrations no longer merely punctuated alchemical texts but were organized into whole series and into synthetic pictorial representations of the principles governing the discipline. The rapidly growing number of illustrations made texts recede to 1 the point where they were reduced to picture labels, as is the case with the Scrowle by the very successful alchemist George Ripley (d. about 1490). The Silent Book (Mutus Liber, La Rochelle, 1677) is entirely composed of pictures. However, medieval alchemical literature was not monolithic. Differing literary genres and types of illustrations coexisted, and texts dealing with the transformation of metals and other substances were indebted to diverging philosophical traditions. Therefore, rather than attempting to establish an exhaustive inventory of visual forms in medieval alchemy or a premature synthesis, the purpose of this article is to sketch major trends in visualization and to exemplify them by their earliest appearance so far known. The notion of visualization includes a large spectrum of possible pictorial forms, both verbal and non-verbal. On the level of verbal expression, all derivations from discursive language may be considered to fall into the category of pictorial representation insofar as the setting apart of groups of linguistic signs corresponds to a specific intention at formalization. -
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The Body of Evidence Medieval and Early Modern Philosophy and Science Editors C.H. Lüthy (Radboud University) P.J.J.M. Bakker (Radboud University) Editorial Consultants Joel Biard (University of Tours) Simo Knuuttila (University of Helsinki) Jürgen Renn (Max-Planck-Institute for the History of Science) Theo Verbeek (University of Utrecht) volume 30 The titles published in this series are listed at brill.com/memps The Body of Evidence Corpses and Proofs in Early Modern European Medicine Edited by Francesco Paolo de Ceglia LEIDEN | BOSTON Cover illustration: Vesalius dissecting a body in secret. Wellcome Collection. CC BY 4.0. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2019050958 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN 2468-6808 ISBN 978-90-04-28481-4 (hardback) ISBN 978-90-04-28482-1 (e-book) Copyright 2020 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.