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1
Morris, Kathryn 1970. "Geometrical physics : mathematics in the natural philosophy of Thomas Hobbes." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37789.
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My thesis examines Thomas Hobbes's attempt to develop a mathematical account of nature. I argue that Hobbes's conception of how we should think quantitatively about the world was deeply indebted to the ideas of his ancient and medieval predecessors. These ideas were often amenable to Hobbes's vision of a demonstrative, geometrically-based science. However, he was forced to adapt the ancient and medieval models to the demands of his own thoroughgoing materialism. This hybrid resulted in a distinctive, if only partially successful, approach to the problems of the new mechanical philosophy.
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Billinge, Richard. "Nature, grace and religious liberty in Restoration England." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:18c8815b-4e57-45f5-b2c1-e31314a09d4f.
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This thesis demonstrates the importance of scholastic philosophy and natural law to the theory of religious uniformity and toleration in Seventeenth-Century England. Some of the most influential apologetic tracts produced by the Church of England, including Richard Hooker's Laws of Ecclesiastical Polity, Robert Sanderson's Ten lectures on humane conscience and Samuel Parker A discourse of ecclesiastical politie are examined and are shown to belong to a common Anglican tradition which emphasized aspects of scholastic natural law theory in order to refute pleas for ceremonial diversity and liberty of conscience. The relationship of these ideas to those of Hobbes and Locke are also explored. Studies of Seventeenth-Century ideas about conformity and toleration have often stressed the reverence people showed the individual conscience, and the weight they attributed to the examples of the magistrates of Israel and Judah. Yet arguments for and against uniformity and toleration might instead resolve themselves into disputes about the role of natural law within society, or the power of human laws over the conscience. In this the debate about religious uniformity could acquire a very philosophical and sometimes theological tone. Important but technical questions about moral obligation, metaphysics and theology are demonstrated to have played an important role in shaping perceptions of magisterial power over religion. These ideas are traced back to their roots in scholastic philosophy and the Summa of Aquinas. Scholastic theories about conscience, law, the virtues, human action and the distinction between nature and grace are shown to have animated certain of the Church's more influential apologists and their dissenting opponents. The kind of discourse surrounding toleration and liberty of conscience is thus shown to be very different than sometimes supposed. Perceptions of civil and ecclesiastical power were governed by a set of ideas and concerns that have hitherto not featured prominently in the literature about the development of religious toleration.
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Oliver, Ryan. "Aliens and atheists: The Plurality of Worlds and Natural Theology in Seventeenth-Century England." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5134/.
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The plurality of worlds has had a long history in England, which has not gone unnoticed by scholars. Historians have tended to view this English pluralist tradition as similar to those found on the continent, and in doing so have failed to fully understand the religious significance that the plurality of worlds had on English thought and society. This religious significance is discovered through a thorough investigation of plurality as presented by English natural philosophers and theologians, and in so doing reveals much about England in the seventeenth century. As natural philosophers incorporated plurality within the larger framework of natural theology, it became a weapon of science and reason to be used against the unreasonable atheists of late seventeenth-century England.
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Shillito, Alex Benjamin. "How the Heart Became Muscle: From René Descartes to Nicholas Steno." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7939.
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This dissertation addresses the heartbeat and the systems of natural philosophy that were used to explain it in the 17th century. Thus, I work in two domains of explanation. The first domain is physiology, in which William Harvey correctly ordered the heart’s systolic and diastolic motions, while René Descartes incorrectly reversed them. By looking at Harvey and Descartes’ more complete physiological models I reconsider the controversy that spun out of their divergent accounts. The second domain is the junction of physics and metaphysics, representing the frameworks of natural philosophy behind physiology. I argue that Harvey’s physiology was correct while his supporting principles were “wrong,” and Descartes’ physiology was incorrect while his supporting principles were “right.” Thus, my thesis is that Harvey was “right” but perhaps for the wrong reasons, while Descartes was “wrong” but perhaps for the right reasons. Of course, this judgement is made from a contemporary perspective. By using a contextualist approach to history, I aim to show how the controversy between Harvey and Descartes resolved in Nicolas Steno, when he discovered that the heart is a muscle.
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Walmsley, Jonathan Craig. "John Locke's natural philosophy (1632-1671)." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.286485.
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Chipman, Gary V. "Robert Boyle and the Significance of Skill and Experience in Seventeenth-Century Natural Philosophy." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2652/.
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The purpose of this study is to examine how English natural philosophers of the seventeenth centuryin particular, Robert Boyle (1627-1691) considered and assessed the personal traits of skill and experience and the significance of these characteristics to the practice of seventeenth-century science. Boyle's writings reveal that skill and experience impacted various aspects of his seventeenth-century experimental natural philosophy, including the credibility assessment of tradesmen and eyewitnesses to natural phenomena, the contingencies involved in the making of experiments, and Boyle's statements about the requisite skills of experimental philosophy in contrast to other traditions. Subtopics explored include the popularization of science and Boyle's expectations concerning the future improvement of natural philosophy.
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LAWRENZ, JURGEN. "LEIBNIZ: DOUBLE-ASPECT ONTOLOGY AND THE LABYRINTH OF THE CONTINUUM." University of Sydney, 2008. http://hdl.handle.net/2123/2475.
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Doctor of Philosophy<br>The main issue to be articulated in this thesis is the proposition that Leibniz’s mature philosophy is best, or preferably, presented as a double-aspect ontology. All the arguments to be furnished herein support this case; however, their intrinsic weight and extent far exceeds that of the principal contention, so that the whole of Leibniz’s natural philosophy and metaphysics will be seen to be involved and to undergo some measure of re-orientation away from more traditional interpretive concerns. Part I follows Leibniz in his emendation of Aristotelian-Scholastic notions as a result of his need for a “higher, metaphysical principle” to remedy the defects of the ‘modern’ account of motion. From this flowed his new conception of substance. The fundamental premise of Leibniz’s metaphysics is that spirit and body lie in series. The cosmos presents itself as aspects of an unbroken continuum. Ineluctably our conclusions as to the ‘whole’ is therefore an intellectual reconstruction of the perspectives delivered to us by these aspects. This emerges most clearly from the phenomenotaxis which has been collated in this part of the thesis – apparently the first such exercise in the scholarly literature. All this involves a separation of domains which require appropriate levels of description to explain their autonomous features. A double-aspect theory seems indispensable to account for the one world to which these levels nonetheless refer. In Part II we engage with Leibniz’s conception of substance as a unit of force. From this protean idea (aka monad) the whole material and spiritual cosmos is derived. The basis of this theory is that to act is to be. Accordingly we arrive at an ontology of agency. The nature of a monad is to exert Daseinstreben, the equivalent of individuation. Included in its definition is an absolute freedom to act. God’s “concession” of existence therefore refers to the autonomous collectivisation of monads into universes eligible for actualisation. Accordingly Leibniz arrives at a theory of a self-constructing universe. Post-Arnauld, Leibniz discarded the complete concept, having realised that contingency breaks open the system of determinism. Accordingly Leibniz replaced the ‘sum of predicates’ doctrine with the law of the series. In this conception monads collect the asymmetrical and irreversible information relevant to their internal states; for it transpires that freely executed choices guarantee avoidance of indiscernibles. The section therefore presents a schema of the ten main issues entangled in the conception of agency as well as an analytical chart of the structure of monads. In Part III, the “Labyrinth of the Continuum” resolves the perspectives on the world. Leibniz declares his colours unambiguously – realism concerns the world of facts, idealism the realm of foun-dations. The Principle of Continuity covers a vast range of indeterminate parts which serve as the foundations of real parts. We investigate some case studies, e.g. petites perceptions and especially the Pacidius, in which the conception of an agent-in-motion is studied in depth to reveal Leibniz’s extraordinary conclusions on change. We also consider Shapes, Limits and Boundaries which are relevant to the theory of the self-constructing universe (infolding and unfolding order); and finally his models of self-similarity and scale invariance. PART IV is concerned with grounding existents from the principle of sufficient reason. The virtue claimed here for the double-aspect theory is the possibility of penetrating into the thought of an exceptionally complex thinker through more than one portal. It yields a greater variety of facets, an inner coherence and a much richer texture of thought than the traditional insistence on just one primary aspect reveals.
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LAWRENZ, JURGEN. "LEIBNIZ: DOUBLE-ASPECT ONTOLOGY AND THE LABYRINTH OF THE CONTINUUM." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2475.
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The main issue to be articulated in this thesis is the proposition that Leibniz’s mature philosophy is best, or preferably, presented as a double-aspect ontology. All the arguments to be furnished herein support this case; however, their intrinsic weight and extent far exceeds that of the principal contention, so that the whole of Leibniz’s natural philosophy and metaphysics will be seen to be involved and to undergo some measure of re-orientation away from more traditional interpretive concerns. Part I follows Leibniz in his emendation of Aristotelian-Scholastic notions as a result of his need for a “higher, metaphysical principle” to remedy the defects of the ‘modern’ account of motion. From this flowed his new conception of substance. The fundamental premise of Leibniz’s metaphysics is that spirit and body lie in series. The cosmos presents itself as aspects of an unbroken continuum. Ineluctably our conclusions as to the ‘whole’ is therefore an intellectual reconstruction of the perspectives delivered to us by these aspects. This emerges most clearly from the phenomenotaxis which has been collated in this part of the thesis – apparently the first such exercise in the scholarly literature. All this involves a separation of domains which require appropriate levels of description to explain their autonomous features. A double-aspect theory seems indispensable to account for the one world to which these levels nonetheless refer. In Part II we engage with Leibniz’s conception of substance as a unit of force. From this protean idea (aka monad) the whole material and spiritual cosmos is derived. The basis of this theory is that to act is to be. Accordingly we arrive at an ontology of agency. The nature of a monad is to exert Daseinstreben, the equivalent of individuation. Included in its definition is an absolute freedom to act. God’s “concession” of existence therefore refers to the autonomous collectivisation of monads into universes eligible for actualisation. Accordingly Leibniz arrives at a theory of a self-constructing universe. Post-Arnauld, Leibniz discarded the complete concept, having realised that contingency breaks open the system of determinism. Accordingly Leibniz replaced the ‘sum of predicates’ doctrine with the law of the series. In this conception monads collect the asymmetrical and irreversible information relevant to their internal states; for it transpires that freely executed choices guarantee avoidance of indiscernibles. The section therefore presents a schema of the ten main issues entangled in the conception of agency as well as an analytical chart of the structure of monads. In Part III, the “Labyrinth of the Continuum” resolves the perspectives on the world. Leibniz declares his colours unambiguously – realism concerns the world of facts, idealism the realm of foun-dations. The Principle of Continuity covers a vast range of indeterminate parts which serve as the foundations of real parts. We investigate some case studies, e.g. petites perceptions and especially the Pacidius, in which the conception of an agent-in-motion is studied in depth to reveal Leibniz’s extraordinary conclusions on change. We also consider Shapes, Limits and Boundaries which are relevant to the theory of the self-constructing universe (infolding and unfolding order); and finally his models of self-similarity and scale invariance. PART IV is concerned with grounding existents from the principle of sufficient reason. The virtue claimed here for the double-aspect theory is the possibility of penetrating into the thought of an exceptionally complex thinker through more than one portal. It yields a greater variety of facets, an inner coherence and a much richer texture of thought than the traditional insistence on just one primary aspect reveals.
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Oliveira, Maercio Antonio de. "A relação entre o entendimento e a vontade na Etica de Espinosa." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279319.
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Orientador: Roberto Romano da Silva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-07T03:05:00Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: A relação entre o entendimento e a vontade na Ética de Espinosa é um dos pontos de entrada importante para a inteligibilidade do sistema espinosano. Esta relação permite compreender, diretamente, não só a sua doutrina da vontade, como também a aplicação prática das concepções de tal doutrina. Neste sentido, o objetivo dessa dissertação é expor e examinar esta relação, visando principalmente à delimitação do universo ontológico que a sustenta e o estabelecimento de que o entendimento e a vontade são uma e a mesma coisa, como deduz as proposições 48 e 49 da Segunda Parte da Ética<br>Abstract: The relation between the understanding and the will in Spinoza¿s Ethics is one of the important entrance points for the intelligibility of the Spinozan system. This relation allows people to understand, directly, not only his doctrine of the wil, but also the practical application of the conceptions of such doctrine. In this sense, the objective of this dissertation is to demonstrate and examine this relation, seeking primarily the delimitation of the ontological universe that sustains it and the establishment that the understanding and the will are one and the same thing, as was traced by the propositions 48 and 49 of the Second Part of Ethics<br>Mestrado<br>Mestre em Filosofia
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Guidi, Anastasia. "Astronomia nova : a historia da guerra contra Marte como exposição do metodo astronomico de Kepler." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280329.
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Orientador: Fatima Regina Rodrigues Evora<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-07T00:17:14Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: Apresentamos aqui um estudo da Astronomia nova, trabalho publicado pelo astrônomo alemão Johannes Kepler em 1609. O livro é composto na forma de uma narrativa histórica daquela que o astrônomo chamou sua guerra contra Marte, trabalho exaustivo de análise e interpretação dos dados previamente coletados pelo grande observador Tycho Brahe que teve como resultado a descoberta das duas primeiras leis dos movimentos planetários que levam o nome de Kepler. Mostramos que, à luz da Defesa de Tycho contra Ursus, tratado póstumo escrito por Kepler cerca de uma década antes da publicação da Astronomia nova, a estrutura narrativa desta última revela-se como a exposição de um método de pesquisa, segundo o qual o astrônomo percorreu o caminho que leva dos movimentos observados do planeta à determinação de seu percurso real em torno do Sol. Procuramos destacar os principais elementos constituintes deste método, reconstruindo o caminho que leva à descoberta da forma elíptica da órbita do planeta<br>Abstract: We present an exposition on the New astronomy, published by the german astronomer Johannes Kepler in 1609. The book is composed in the form of a historical narrative of Kepler's war on Mars, exhaustive work of analysis and interpretation of data relative to the planet previously collected by the great obderver Tycho Brahe, which resulted on the discovery of the two first laws of planetary motion that bear Kepler¿s name. We have shown here that in light of Tycho¿s defence against Ursus, posthumous work written by Kepler about a decade before the publication of the New astronomy, the historical narrative presented in the latter is the blueprint of a method, by means of which the astronomer derived the true orbit of Mars around the Sun from the observed motions of the planet. We have attempted to provide an account of the main elements of this method, reconstructing the path that leads to the discovery of the elliptical shape of the planet's orbit<br>Doutorado<br>Doutor em Filosofia
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Read, Nicole Elizabeth. "The Adolescence of France: Teaching for Historical Empathy." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1241050971.
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Sribnai, Judith. "Figurations et relations : le sujet dans les romans à la première personne et les textes philosophiques du XVIIe siècle." Thèse, Paris 4, 2011. http://hdl.handle.net/1866/6924.
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Cette thèse a pour objectif de déterminer quelques aspects des figurations du sujet au XVIIe siècle à travers une lecture conjointe des romans à la première personne et des textes philosophiques de cette période. Partant de questionnements proches, ces deux genres discursifs construisent une figure du sujet savant et itinérant : être animé d'un désir de connaissance et amené à repenser les conditions d'énonciation de son expérience particulière. Pour les auteurs du corpus, la vérité se découvre au fil d'expériences singulières si bien que dire le monde avec exactitude revient à l'énoncer à la première personne, à en rendre une perception d'abord subjective. Se pose alors le problème de la légitimation de l'énonciation personnelle, légitimation qui permet d'articuler la première personne à une altérité tout en conservant la singularité du sujet. Cette singularité se double toujours d'une dispersion des identités du sujet et des référents de la première personne. Mais narration, fiction et usages du corps figurent cette identité en constellation. Les deux premières exposent la diversité des visages du « je », leurs concordances ou leurs discordances, à la fois être passé et présent, homme réel et personnage imaginaire, narrateur et auteur. Dans les usages liés aux peines et aux plaisirs du corps se dessine une autre forme de rencontre possible entre la particularité du sujet et l'autre : celui qu'il désire, avec lequel il souffre, avec lequel il jouit, qui vit en lui. Par tous ces aspects, énonciatif, narratif, fictionnel, physique, la subjectivité construite par les textes est toujours et essentiellement une relation : récit raconté pour rejoindre autrui.<br>The objective of this thesis is to set out several aspects of the figuration of the subject in the 17th Century, through a joint reading of first person novels and philosophical texts from this period. Beginning with similar questions, these two discursive genres construct a figure of a knowing and itinerant subject, a subject animated by the desire to know and thus guided to rethink the conditions that articulate his particular experience. For the authors of these works, the truth is discovered through a series of singular experiences and experiments; the world more clearly announces itself in the first person, rendering a principally singular perception. This poses the problem of the legitimation of personal pronouncement, legitimation which allows for the articulation of the first person with an alterity, while conserving the singularity of the subject. This singularity always doubles as a dispersion of the identities and referents of the first person. Still, narration, fiction and corporal practice show this identity as constellation. The first two expose the diverse faces of the ‘I’, their agreements and disagreements, their being at the same time past and present, real persons and imaginary characters, narrator and author. From the practices tied to the pain and pleasure of the body is drawn another form of possible encounter between the particularity of a subject and an other: the one he desires, with whom he suffers and plays, the one who lives in him. Through all these aspects, enunciative, narrative, fictional, physical, the subjectivity that is inscribed in and described by these texts is always primarily relational: an account recounted to encounter the other.
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Barr, Kara Elizabeth. "“In Search of Truth Alone”: John Locke’s Exile in Holland." Walsh University Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors1240525958.
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Nolasco, Fábio Mascarenhas. "Apresentação da "Universidade do Pensamento" no séc. XVII = intuicionismo cartesiano e formalismo leibniziano." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281917.
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Previous issue date: 2010<br>Resumo: Tentou-se nesta dissertação apresentar um ponto de vista - fragmentário e inacabado como necessariamente deve ser - acerca do percurso histórico do imbricamento entre matemática e filosofia que marcou intensamente o séc. XVII, imbricamento este assinalado pelos termos more geometrico, mathesis universalis, algebra, dentre outros. Isto com o intuito distante de abordar, posteriormente, a questão mais genérica de situar tal imbricamento específico do séc. XVII perante outras conformações da relação entre filosofia e matemática, notadamente, as que presentemente mais nos interessam, a do idealismo alemão do início do séc. XIX e a dos princípios do que veio a se chamar de filosofia analítica, do início do séc. XX. Para tanto, desta forma, buscamos apresentar dois momentos desse imbricamento especificamente seiscentista entre matemática e filosofia que, em nossa opinião, abrangem uma vastíssima gama de temas sintomáticos do período: (i) a conformação cartesiana entre matemática e filosofia, dita inauguradora da modernidade, tipificada pelo conceito de intuicionismo, e (ii) a conformação leibniziana, tipificada pelo conceito de formalismo. Julgamos que a apresentação do percurso apenas tocando estes dois pólos do movimento, mesmo que incompleta por não tratar de temas da filosofia de Hobbes, Pascal, Spinoza, Locke, dentre outros, apresenta, todavia, os contornos gerais do desenvolvimento buscado: como se o momento da crítica de Leibniz a Descartes, e a re-formulação leibniziana do dito imbricamento, pudesse ser tomado como uma caracterização exemplar do percurso do imbricamento de matemática e filosofia do séc. XVII<br>Abstract: Our effort in this dissertation was to present a point of view - fragmentary and unachieved as it ought to be - concerning the historical development of the conjunction between Mathematics and Philosophy which has so characteristically marked the XVIIth century; a conjunction denoted by the terms more geometrico, mathesis universalis, algebra, to name but a few. And this, due to the further goal of approaching, afterwards, the more generic question of situating such a conjunction, specific of the XVIIth century, in regards to other conformations of the relation between Philosophy and Mathematics, namely the ones which are of our present interest, that of the German Idealism of the early XIXth century, and that of the first moments of what came to be called as Analytic Philosophy, of the first years of the XXth century. So as to approach the more basic part of this goal, we have thus tried to present two moments of this specifical XVIIth century conjunction between Mathematics and Philosophy which, in our opinion, touch a very large array of symptomatic questions of the period: (i) the cartesian conformation between mathematics and philosophy, said to be the inauguration of modernity, typified by the concept of intuitionism, and (ii) the leibnizian conformation, typified by the concept of formalism. We claim that such an exposition, which only touches the two poles of the movement, even if incomplete for not treating themes from Hobbes, Pascal, Spinoza and Locke's Philosophy, in among others, nevertheless presents the general outlines of the development we are trying to enlighten: as if the moment of Leibniz' criticism to Descartes, and the leibnizian re-conformation of the said conjunction, could be taken as an exemplary characterization of the development of the relation between mathematics and philosophy of the XVIIth century<br>Mestrado<br>Historia da Filosofia Moderna<br>Mestre em Filosofia
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Bigonville, Delphine. "Association des idées et intuition: la réponse des architectes anglais à la Querelle des Anciens et des Modernes." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209775.
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Ce travail s’intéresse au problème de la relativisation de l’expression architecturale liée à la remise en question, durant le XVIIe siècle, de l’origine divine et de la valeur des canons proportionnels qui sous-tendent la tradition classique. Emblématique de la Querelle qui opposa Claude Perrault et François Blondel au sein de l’Académie royale de Paris, ce problème recevra une formulation privilégiée dans la tradition théorique anglaise qui se caractérise par la volonté de préserver une forme d’objectivité à l’expression formelle tout en cherchant à y intégrer la valeur subjective de l’usage. A travers l’étude de textes esthétiques et de théories d’architecture produits en Angleterre durant le XVIIIe siècle et le début du XIXe siècle, nous avons cherché à identifier les différentes solutions proposées par les théoriciens pour parvenir à concilier le sujet et l’objet dans la forme architecturale et ainsi aboutir à une expression qui autorise l’appropriation individuelle tout en satisfaisant à l’impératif du consensus.<br>Doctorat en Histoire, art et archéologie<br>info:eu-repo/semantics/nonPublished
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Philippon, de Meyer Anne-Laure. "Sir Kenelm Digby (1603-1665), un penseur à l'âge du baroque." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA051.
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Dans le sillage des révolutions intellectuelles qui marquent l’avènement de l’époque moderne, Sir Kenelm Digby, catholique anglais, poursuit avec ardeur la connaissance du monde matériel et spirituel au gré des événements politiques qui ponctuent son époque tourmentée. À Londres comme à Paris où il est exilé, mais aussi au fil de ses nombreux voyages, Digby communique inlassablement des livres, échange des idées, et correspond sans relâche avec les savants de son époque comme Descartes, Hobbes, et Mersenne. Au sein du vaste réseau européen que constitue la jeune République des Lettres, il occupe une place de choix qui lui permet de produire une synthèse des idées en vogue. Digby participe à la sensibilité baroque que l’on définit non seulement par l’expression d’une crise liée à l’instabilité du monde et à la contradiction des choses mais aussi par la tentative de surmonter cette crise. Par ses intérêts variés pour l’alchimie, l’atomisme, la logique et la métaphysique, il tente de rendre compte, de façon baroque, du fonctionnement du monde et de l’homme afin d’en permettre la maîtrise et le gouvernement. Dans Two Treatises, il adopte et adapte l’hypothèse atomiste qui lui permet de dépeindre un monde fondamentalement chaotique, en changement permanent et agité d’une myriade de collisions invisibles qui expliquent la gravité et le magnétisme, mais aussi la reproduction ou la sympathie. Son approche démonstrative se veut un rempart contre la crise sceptique de son temps, et il ne cesse d’affirmer que la certitude est atteignable par les seuls moyens humains. Soucieux de prosélytisme, il met en relief la qualité orale de la tradition catholique et justifie la résurrection des corps, amenant au premier plan le sujet et ses perceptions, mais aussi la métamorphose comme principe explicatif clé<br>In the wake of the intellectual revolutions of the early modern period, Sir Kenelm Digby, an English Catholic, endeavoured to increase the knowledge of the world, both physical and spiritual, against a backdrop of political turmoil. From London as from Paris, where he was in exile, the well-travelled Sir Kenelm sent books, communicated, and discussesd ideas tirelessly with the main thinkers of the time such as Descartes, Hobbes and Mersenne. His prominent place within the dense network of the incipient Republic of Letters allowed him to produce a seminal synthesis of the ideas then in circulation.Digby partook in the baroque sensitivity that we can define as the expression of a crisis linked to instability and contradiction, as well as the attempt to overcome it. Delving into alchemy, atomism, logic, and metaphysics, he strove to account for the secret workings of the world and of man in order to enable their mastery and government. In Two Treatises, he adopted and adapted the atomist hypothesis that allowed him to depict a deeply chaotic world, ridden with permanent change and fraught with innumerable and invisible clashes that explained all physical phenomena such as gravity, magnetism, generation, and sympathy. He aimed to proceed in a demonstrative manner so as to stave off the rampant crisis of scepticism, and he hammered through the idea that certainty was achievable by mere human means. In a proselyte effort, he tackled burning issues in the wake of the Reformation, promoting the oral quality of the Catholic tradition and the resurrection of bodies, while bringing forward the thinking individual and his perceptions, as well as the concept of metamorphosis, as key explanatory principles
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Scheu, Julia. "Ut pictura philosophia." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17801.
Full textAbstract:
Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache.<br>The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
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Vileno, Anna Maria. "A l'ombre de la kabbale: philologie et ésotérisme au XVIIe siècle dans l'oeuvre de Christian Knorr de Rosenroth." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209259.
Full textAbstract:
My doctoral thesis focuses on the Christian Kabbalah and its relationship with its Jewish counterpart during the seventeenth century. I work especially on a Christian Kabbalist of the late 17th century, Christian Knorr von Rosenroth and his anthology of Christian Kabbalah called the "Kabbala Denudata." The work reflects the philosophical and religious debates of the 17th century (through Knorr’s collaboration with Henry More and the Belgian alchemist Francis Mercury van Helmont), includes many translations of works of Lurianic Kabbalah and a bilingual edition (Aramaic - Latin) of the Zohar. On one hand, the study of "Kabbala Denudata" sheds light on how the Lurianic Kabbalah was received in Europe in the 17th century. On the other hand, the anthology attests of a practice of "perennial philosophy" which is a continuation of the Renaissance thought. Through the use of symbolism, the author elaborates a new form of relationship with the religious orthodoxy of his time and paved the way to a deeper understanding of religious otherness. My research takes place both in the field of the study of Jewish-Christian relations and of the the study of western esotericism. / <p><p>Ma thèse de doctorat porte sur la kabbale chrétienne et sur ses rapports avec son homologue juive au 17e siècle. Je travaille en particulier sur un kabbaliste chrétien de la fin du 17e siècle, Christian Knorr von Rosenroth et son anthologie de kabbale chrétienne intitulée la "Kabbala denudata". L’œuvre reflète les débats philosophiques et religieux du 17e siècle (avec notamment des collaborations d’Henry More et de l’alchimiste belge François Mercure van Helmont), comporte de nombreuses traductions d’ouvrages de kabbale lourianique ainsi qu’une édition bilingue (araméen - latin) du Zohar. D’une part, l’étude de la "Kabbala denudata" permet de mieux comprendre la manière dont la kabbale lourianique a été reçue en Europe au 17e siècle. D’autre part, l’anthologie atteste d’une pratique de la "philosophia perennis" qui s’inscrit dans le prolongement de la Renaissance. À travers la pratique du symbolisme, l’auteur construit une nouvelle forme de rapports avec l’orthodoxie religieuse de son temps et ouvre la voie à une compréhension approfondie de l’altérité religieuse. Mes recherches s’inscrivent tant dans le domaine de l’étude des relations judéo-chrétiennes que de l’étude de l’ésotérisme.<br>Doctorat en Philosophie<br>info:eu-repo/semantics/nonPublished
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Roche, Denis. "Éclats et empire du moi dans la littérature française au XVIIe siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA128.
Full textAbstract:
Cette étude met au jour les traces de la bataille dans laquelle s’engage le moi humain pour exister à travers la littérature française du XVIIe siècle, ce moi dont Pascal, au milieu du siècle, a capté l’étrange image faite de présence et d’absence. Le moi n’est pas une collection de traits et de marques ; il est d’abord une totalité, ou un être qui tend à la totalité. Un dynamisme œuvre à son éclosion, qui le fait tantôt se joindre à une grandeur derrière laquelle il disparaît, tantôt revendiquer pour lui-même une grandeur et une dignité. Un premier élan le constitue autour d’un noyau d’extra-mondanité présent dans l’individu moderne, noyau générateur d’un conflit avec le monde. Le moi grandit à travers des éclats qui le font s’adosser à cette extra-mondanité : les éclats mélancolique, belliqueux, herméneutique, enfin l’éclat discret de l’honnête homme sont quatre sillages suivis par le moi dans sa quête d’une grandeur. En même temps que ces éclats dans lesquels il progresse se consolident, se développe sous la forme de la pensée, de la passion et de l’amour-propre, un puissant dynamisme propre à constituer le moi en un empire. Cependant, même si une tension l’anime vers l’unité, la fragilité et la division font partie de sa nature<br>This thesis brings to light the traces of a battle in which the human self struggles to exist throughout the 17th century in French literature. In the middle of the century, Pascal captured a strange image made up of presence and absence of the self. It was not a collection of characteristics but primarily a universal being or a being that reaches towards totality. Meanwhile, a certain momentum was working towards its emergence, which would sometimes make it join with grandeur and dignity - behind which it would disappear- or which would sometimes claim for itself that grandeur and dignity- in front of which it would appear. An initial impulsion shapes it around a nucleus of extra-worldliness present in modern man. This nucleus generates conflict with the world. The self grows through centripetal forces that make it cling to that nucleus of extra-worldliness. Melancholy, belligerence, hermeneutics and finally the discreet brilliance of the honnête homme are four paths followed by the self in its quest for grandeur. While these strands consolidate themselves, a powerful centrifugal motion develops in the realm of thought, passion and self-love. Nevertheless, even if these forces forge unity, division and fragility are part of their nature
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Berget, Claire. "Les représentations et l'imaginaire de la viole de gambe en Angleterre aux dix-septième et dix-huitième siècles." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2031.
Full textAbstract:
La viole de gambe en Angleterre connaît un destin singulier, passant d’une popularité incontestable dans l’aristocratie anglaise au dix-septième siècle à un rejet d’une intensité croissante au fil du dix-huitième siècle. Les représentations de l’instrument dans des documents périphériques à la sphère musicale – lettres, poèmes, peintures – trahissent la complexité de l’imaginaire qui entoure la viole. Dans sa période faste, la viole génère simultanément des images lubriques de corps sensuel, et d’instrument noble en raison de la mélancolie supposée de son timbre. Elle est alors étroitement associée au sentiment national anglais, dont elle cristalliserait la spécificité. Cependant, sa popularité décroissante auprès de l’élite voit la prolifération d’images négatives : vieillesse et stérilité semblent désormais être l’apanage de la viole, que l’on met également à distance idéologiquement comme instrument étranger. La viole réapparaît dans la deuxième moitié du dix-huitième siècle au moment où le culte de la sensibilité se développe : brièvement, son archaïsme et son timbre unique donnent voix à l’individu et ses émotions. La viole, dans le paradigme cyclique de la Renaissance tout comme dans le paradigme linéaire et discursif des Lumières, parvient à s’incarner selon des modalités esthétiques et idéologiques très différentes dans l’imaginaire anglais<br>In England, the viola da gamba has a singular destiny, from an incontestable popularity with the aristocracy in the seventeenth century to a rejection of increasing intensity over the eighteenth century. The representations of the instrument in documents peripheral to the musical sphere, such as letters, poems or paintings, reveal the complexity of the imaginaire surrounding the instrument. Although, in prosperous times, the viol conjures up lewd images of a sensual body, it is simultaneously associated with ideals of nobility through the supposed melancholy of its tone. At that period, it is also felt to be closely connected to the English national identity, whose specificity it appears to crystallise. However, its dwindling popularity with the elite leads to the proliferation of negative images. Senescence and sterility are increasingly associated with the viol, while ideologically, the instrument is spurned as non- English. The brief resurgence of the viol in the second half of the eighteenth century is brought on by the development of the cult of sensibility. Individual emotions are voiced through its perceived archaism and unique tone. The viola da gamba, both in the circular paradigm of the Renaissance, and in the linear and discursive paradigm of the Enlightenment, successfully embodies contrasting aesthetic and ideological imaginaires
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Barrera, Juan David. "La musique pour orgue en France à l'âge classique : une représentation du sacré." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC003/document.
Full textAbstract:
Notre étude de la musique pour orgue en France à l’Âge classique se centre sur sa dimension signifiante, et tout particulièrement sur sa fonction représentative du sacré. Notre intérêt a pour origine un constat : à l’heure actuelle, les travaux les plus importants consacrés à ce répertoire négligent la question, alors que la genèse de cette école organistique coïncide avec l’un des moments historiques les plus remarquables de la spiritualité catholique française (en effet, le XVIIe siècle n’est pas seulement le « Grand Siècle des idées » mais aussi le « Grand Siècle des âmes »). Dans cette optique, et partant du principe que la musique religieuse peut se comprendre comme un produit esthético-théologique façonné en fonction des besoins symboliques et expressifs de la liturgie (au même titre que d’autres manifestations d’art sacré), ce travail cherche à mettre en lumière la manière dans laquelle, grâce à un ensemble de catégories esthétiques et de topiques musicaux dirigés par des principes rhétoriques, la musique des organistes français peut communiquer les notions fondamentales de la doctrine chrétienne. Pour ce faire, nous proposons un parcours en quatre parties, abordant successivement les contextes culturel et spirituel du XVIIe siècle en France, les éléments constitutifs de l’univers signifiant du répertoire, l’organisation stylistique du répertoire, et finalement, d’un point de vue herméneutique, l’œuvre de trois compositeurs majeurs de cette tradition musicale : Nicolas de Grigny, Jean-Adam Guilain et François Couperin<br>This study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin
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Peterson, Heather Rose. "Heavenly influences : the cosmic and social order of New Spain at the turn of the seventeenth century." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-12-613.
Full textAbstract:
This is the story of Spanish belonging in New Spain and the creation of New Spaniards. Tracing Spanish perceptions of place, the body, belonging, and Indian mortality, as well as constructions of “nativeness” and “Spanishness” from the conquest, this work does three things. First it examines the ideological constructs behind Spanish belonging, and the ideas that Spaniards brought with them about their bodies and their relationship to the environment. Second it follows the progression of these ideas through the first three generations of Spanish colonization, paying particular attention to the way that political rivalries, the exigencies of the crown, and Indian mortality affected discourse on belonging and identity. Finally, it captures a moment at the turn of the seventeenth century, when residents of New Spain began to re-imagine their belonging and their relationship to the land and its original inhabitants.<br>text
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Streeter, Michael T. "Romantic Science: Science and Romance as Literary Modes in Sir Kenelm Digby's Loose Fantasies and Two Treatises." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-05-757.
Full textAbstract:
This thesis argues that 17th century polymath Sir Kenelm Digby treats his
scientific discourses as psychological romances in his works Loose Fantasies and Two
Treatises, with his use of courtly romantic tropes, and that a contemporary audience
would have read Digby's scientific treatises as literary. I first argue that science and
romance in Digby's narrative romance Loose Fantasies are literary modes of the text's
narrative form and that these modes are not mutually exclusive, since science is a
"pyschodrama" to Digby, who is both the audience and author of these putative "private
memoirs." I then relate Digby's "romantic science" in Loose Fantasies to his "poetike
Idea of science" in Digby's Two Treatises in order to argue that while the treatise is
traditionally received as a philosophical discourse, it is also a work of literary criticism.
I conclude that Digby's "poetike Idea of science" is always unstable, because Digby
cannot choose between the primacy of language and ideas in human cognition, due to the
rapid rationalistic developments in epistemology during his time.
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Joseph, Jacques. "Vývoj pojetí světové duše u Henryho Mora." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-374153.
Full textAbstract:
The main goal of this thesis is to describe the evolution of the concept of a world soul in the thought of Cambridge Platonist Henry More (1614-1687). However, this topic is discussed within the broader context of early modern philosophy and the birth of modern science. The philosophy of Henry More presents a very interesting confrontation between Renaissance Neo-Platonism and Cartesianism, early modern mechanicism and the newest scientific discoveries of his age, the notion of a world soul being exactly the point where all these thought currents meet. The classical conception of a platonic world soul in More's early thought later becomes the Spirit of Nature, a principle complimentary to mechanicism (and at the same time acting as its metaphysical foundation). Yet in order for the regularity of such phenomena as gravitation to be guaranteed, the Spirit of Nature has to be rid of any conscience and will of its own. However, besides this tendency to "strip" the world soul of its personal aspects, leading ultimately to the notion of a completely impersonal natural law, a deeper analysis of certain aspects of More's philosophical system shows also a determination to preserve the broader connections that tie the classical notion of a world soul to a specific world picture that does not necessarily fit...
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Florianová, Eliška. "Filosofie výchovy v díle Jana Amose Komenského." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-351725.
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Diploma thesis Philosophy in the work of John Amos Comenius is focused on demarcation main points in the work of John Amos Comenius, great thinker, philosopher, pedagogic and theologic authority. I deal with philosophy and with influences of most important people, atmosphere of 17th century, significant finding and inventions and his live on his work. Comenius was great thinker of education and pedagogue in praxis and metodology. This is another part of my work, I focused on education in praxis and of course his work in books. I mention ODO - Opera didactica omnia, huge work of pedagogic metodology and Obecná porada o nápravě věcí lidských - his masterpiece. This work have to unify his work in one big complex. Than I am trying to compare it with our today reality and find similar problems in our school and education proces.
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Muller, Stephanus. "An interpretative analysis of the Capriccio in B flat major, BWV 992, by J.S. Bach, with specific reference to comparative interpretations on the clavichord, harpsichord and piano." Diss., 1997. http://hdl.handle.net/10500/17540.
Full textAbstract:
The hypothesis of this study entails the formulation of interpretative solutions for J. S.
Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title,
strives to provide a synthesis in which the cognitive understanding of the music can
contribute to a more informed aesthetic interpretation of the music. In the ensuing study
this objective is realised by examining the origin of the work and the sources from which it
was handed down, the style in which the Capriccio was composed and conceived, the
performance practices prevalent in the early eighteenth century and the applicability thereof
to the music of J. S. Bach, the structure of the Capriccio, and lastly the different
instruments on which the Capriccio can be performed and the impact which this choice has
on any performance thereof.<br>Department of Musicology<br>M.Mus.
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Prokopová, Markéta. "S libertiny napříč stoletími." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321334.
Full textAbstract:
The thesis focused in details on libertine literary movement in 17th and 18th century and subsequently its influence in later centuries. The first part deals with the general meaning of libertine literary movement, the second part contains information about the development of libertine literary movement in the 17th century with authors Cyrano de Bergerac and Theophile de Viau. The third part concerns the development process of libertine literary movement in the 18th century, specifically through the six authors: Crébillon younger, Louvet de Couvray, Restif de la Bretonne, Boyer D'Argens, Vivan Denon and Choderlos de Laclos and four specific libertine works: Therese philosopher, No tomorrow, About education of women and Dangerous Liaisons. The fourth section contains selected authors, for which it is possible to find the impact of libertine movements on their work or lifestyle. Key words: libertine, libertine movement of 17th century, libertine movement of 18th century, Cyrano de Bergerac, Théophile de Viau, Crébillon son, Louvet de Couvray, Restif de la Bretonne, Boyer D'Argens, Vivant Denon, Choderlos de Laclos, Therese philosopher, No Tomorrow, Dangerous liaisons