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Hust, Christoph. "Athanasius Kircher und die Verzeichnung der Musik." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-171978.
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Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der "Institutiones mathematicae" (ca. 1630), der "Mathematica curiosa" (ca. 1640) und der "Musurgia universalis" (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennisBetween 1630 and 1650, a change in Athanasius Kircher's way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher's "Institutiones mathematicae" (c1630), "Mathematica curiosa" (c1640), and "Musurgia universalis" (1650). Special emphasis lies on Kircher's use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy
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Stolzenberg, Daniel. "Egyptian Oedipus antiquarianism, oriental studies and occult philosophy in the work of Athanasius Kircher /." Full text available at, 2003. http://stolzius.ipsiad.com/dissertation.htm.
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Thesis (Ph. D.)--Stanford University, 2004.Submitted to the Department of History. Copyright by the author. Description based on web page; title from title screen (viewed 1 September 2005). Includes bibliographical references.
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Bach, José Alfredo. "Athanasius Kircher and his method : a study in the relations of the arts and sciences in the seventeenth century /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1985.
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Totaro, Giunia. "L' autobiographie d'Athanasius Kircher l'écriture d'un jésuite entre vérité et invention au seuil de l'oeuvre ; introduction et traduction française et italienne." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2007. http://d-nb.info/99627913X/04.
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McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.
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Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatise and provides context from within the intellectual discourse of the time. The first chapter explores the seventeenth-century conception of encyclopedias, as well as the possible meanings associated with an encyclopedia musica, a novel term Kircher uses in his preface to describe Musurgia. Kircher’s attempt to describe all that was known about music, from highly speculative theories to the most utilitarian compositional tools, results in a complex blend of philosophical and practical elements. The middle chapters disentangle a few strands from this web of ideas, tracing the development of Pythagorean traditions and speculative music theory, as well as changing attitudes regarding empirical and occult methodologies in the early modern period. The final chapter concerns Kircher’s central goal for Musurgia, an algorithmic method based on the ars combinatoria and the emerging mathematical field of combinatorics that would allow anyone to compose musical settings, including the setting of texts in any poetic meter and in any language. Kircher’s arca musurgica—a device that contained tables to generate music—was in effect a distillation of the rules of harmony and counterpoint in the seventeenth century. Its underlying syntax of standard four-part progressions stands at the juncture between old and new ideologies of music theory and composition.Music
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Siebert, Harald. "Die grosse kosmologische Kontroverse : Rekonstruktionsversuche anhand des Itinerarium exstaticum von Athanasius Kircher SJ (1602-1680) /." Stuttgart : Franz Steiner, 2006. http://catalogue.bnf.fr/ark:/12148/cb40138740c.
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Wegener, Ulrike B. "Die Faszination des Masslosen : Der Turmbau zu Babel von Pieter Bruegel bis Athanasius Kircher /." Hildesheim : Georg Olms, 1995. http://catalogue.bnf.fr/ark:/12148/cb38987536r.
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Jiménez, Vargas Álvaro Patricio. "Sincretismo y paracristianismo: Peculiaridades inherentes al ideario filosófico presentes en la Arithmologia de Athanasius Kircher." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/667143.
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El siglo XVII marcó el fin de una era cuya gnoseología se fundamentaba en principios metafísicos trascendentes para abrir paso a una experiencia fáctica del mundo basada en un paradigma sintetizado por el cartesianismo. Además, la mística religiosa se vio asediada por las fracturas producidas en el interior de la comunidad eclesiástica, a lo que cabe añadir una actitud receptiva (puntual pero relevante) hacia la religiosidad en Oriente Próximo. Este contexto proporcionó los nutrientes con los cuales el jesuita Athanasius Kircher (1600 - 1680) desarrolló una obra escrita dedicada a prácticamente todos los temas culturales de interés para la población más instruida de Europa. La finalidad última de su obra publicada era la restitución de una figura divina universal y única como fuente de explicación de la realidad fenoménica del mundo.
No son pocos los autores e historiadores que se han sentido atraídos por su erudición, en otros casos por las relativa novedad de sus teorías, o por su eclecticismo teórico, y además el hecho de que una cantidad no pequeña de otros investigadores han estudiado han estudiado con detalle el rotundo fracaso de algunas de sus publicaciones, mientras que otros han profundizado en las sospechas que parecen esconderse tras los segundos registros de algunas de sus palabras.
Por todos esos motivos hemos estudiado los puntos más relevantes de la Arithmologia, una obra dedicada al estudio de ciertas cuestiones aritmosóficas desarrolladas por los musulmanes que se introdujeron en Europa a partir del s. XII a través de la península ibérica, lo cual, contribuirá a la comprensión del legado que Athanasius Kircher ha dejado para la filosofía, para la historia y para la cultura.The 17th century marked the end of an era whose gnoseology was based on transcendent metaphysical principles to make way for a factual experience of the world based on a paradigm synthesized by Cartesianism. In addition, religious mysticism was besieged by the fractures produced within the ecclesiastical community, to which must be added a receptive attitude (punctual but relevant) towards religiosity in the Near East. This context provided the nutrients with which the Jesuit Athanasius Kircher (1600 - 1680) developed a written work dedicated to practically all the cultural subjects of interest for the most educated population of Europe. The ultimate purpose of his published work was the restitution of a universal divine figure and as a source of explanation of the phenomenal reality of the world. Not a few authors and historians have been attracted by their erudition, in other cases by the relative novelty of their theories, or by their theoretical eclecticism, and furthermore the fact that a not small number of other researchers have studied in detail the resounding failure of some of their publications, while others have deepened their suspicions that seem to hide behind the second registers of some of his words. For all these reasons we have studied the most relevant points of Arithmologia, a work dedicated to the study of certain arithmophic questions developed by Muslims who were introduced into Europe from the 12th century through the Iberian Peninsula, which will contribute to the understanding of the legacy that Athanasius Kircher has left for philosophy, for history and for the culture.
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Siebert, Harald. "Die große kosmologische Kontroverse : Rekonstruktionsversuche anhand des "Itinerarium exstaticum" von Athanasius Kircher SJ (1602-1680)." Paris 1, 2004. http://www.theses.fr/2004PA010656.
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La controverse cosmologique des 17e et 18e siècles est revisitée à partir de l' "Itinerarium exstaticum" (Rome, 1656) écrit par le jésuite Athanasius Kircher pour lancer une nouvelle hypothèse du monde. En forme d'un dialogue, Kircher y présente un univers de dimensions coperniciennes et d'une structure cartésienne tout en soutenant l'immobilité de la Terre. Pour réfuter le contre-argument des coperniciens, à savoir l'effet dévastateur du mouvement diurne, Kircher se sert de la définition galiléenne de la force centrifuge. Pour réfuter d'avance l'expérience cruciale de la controverse, à savoir la parallaxe stellaire, Kircher expose une nouvelle conception des étoiles, inspirée d'une astronomie stellaire tout naissante pratiquée par des géocentristes seuls et ignorée par les historiographes des coperniciens gagnants. Cette réfutation préventive s'insère dans le contexte d'une recherche active de la parallaxe stellaire depuis l'invention du télescope. La question cosmologique devient indécidable.
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Harrop, Patrick H. "Inseminate architecture : an archontological reading of Athanasius Kircher's Turris Babel." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56976.
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Among the vast assembly of Biblical mythology, the tower of Babel stands as an exclusive representation of the limits of human endeavor. As a paradigmatic extremity, it circumscribes the field of civic artifice. Babel is the absolute limit, and in that regard, its presence is enduring and timeless. The legacy of exegetic readings are textual shades, emanating from the point source of the paradigm. Athanasius Kircher's Turris Babel is an appropriate and intentional unfolding of this condition.Firstly, that in the awakening of the Baroque scholar to history, origin materializes as the sole legitimate chronological reference.
Secondly, that the paradigmatic extremities collapse into the empirical standard of the theoretical discourse.
This thesis is a speculative study of architecture, drawn through Turris Babel, in the shadow of the paradigmatic limits of Babel. Written in three parts, each dealing with the implications of artifice in confrontation with the post-Babel adversaries of dispersion, tyranny, and decay.
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Totaro, Giunia. "L'autobiographie d'Athanasius Kircher : l'écriture d'un jésuite entre vérité et invention au seuil de l'œuvre." Caen, 2007. http://www.theses.fr/2007CAEN1504.
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Athanasius Kircher (1601/2-1680) fut l'un des acteurs de la respublica literarum du XVIIe siècle et l'un des derniers polygraphes du monde occidental. Ce travail porte sur son autobiographie (Vita), publiée à Augsbourg en édition posthume en 1684 par les soins de l'Académicien allemand Hieronymus Ambrosius Langenmantel (1641-1718) dans un volume qui inclut également des lettres faisant partie de la correspondance de Kircher. Le texte original latin de la Vita est amendé, traduit en français et analysé : une confrontation directe est instituée entre les éléments essentiels de la biographie de Kircher (préalablement reconstruits grâce aux sources manuscrites et à la littérature secondaire) et le récit autobiographique. Les données tirées de l'exégèse du texte sont ensuite employées pour aborder d'un nouveau point de vue certains lieux de la biographie de Kircher qui ont toujours fait l'objet de descriptions divergentes de la part des critiques. Les problèmes d'harmonie interne et de fiabilité historique du texte, les éléments suggérant une rédaction non aboutie ou non accomplie de l'œuvre, la réélaboration et l'omission des données et la fictionnalisation délibérée sont soulignés afin de de mettre en évidence des modalités de fonctionnement du récit qui semblent obéir à des critères précis de présentation des données. À travers une évaluation de la place que cet ouvrage occupe à l'intérieur de la tradition littéraire de l'autobiographie et à travers l'étude du rapport existant entre le récit de Kircher et l'Autobiographie (1675) du cardinal Roberto Bellarmino, une hypothèse est avancée concernant la raison de la rédaction de la Vita et son dessein caché
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Camenietzki, Carlos Ziller. "L'harmonie du monde au XVIIe siècle : essai sur la pensée scientifique d'Athanasius Kircher." Paris 4, 1995. http://www.theses.fr/1995PA040276.
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La conception du monde du jésuite Athanasius Kircher (1602-1680) est fondée sur un éclectisme philosophique qui prétend combiner la métaphysique de Francisco Suarez, adoptée dans la compagnie, et la métaphysique néoplatonicienne et hermétique. Ses efforts n'ont pas abouti à des bons résultats. Une science appuyée sur de telles bases ne pouvait pas s'affirmer à une époque où toute la pensée occidentale était en train de se transformer radicalementThe world view of the Jesuit Athanasius Kircher is based on a philosophical eclecticism which intends to reconcile the metaphysics of Francisco Suarez, generally adopted in the Jesus society with the neo-platonic and hermetic metaphysics. His efforts did not succeed. A science founded upon such bases was not able to thrive in a whole of western thinking was being radically transformed
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Azevedo, Evelyne. "O Egito mitico de Athanasius Kricher : o Obeliscus Pamphilius e a Fonte Quatro Rios na Praça Navona." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278855.
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Orientadores: Luiz Cesar Marques Filho, Maria Cristina Louro BerbaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A Fonte dos Quatro Rios situada na Piazza Navona, em Roma, foi projetada e construída por Gian Lorenzo Bernini (1598-1680) entre os anos 1648 e 1651. Grosso modo, ela é constituída de quatro colossos representando os quatro maiores rios da Terra, aos quais são vinculados elementos da flora e fauna respectivos das zonas geográficas às quais os rios pertencem. Sobre o conjunto, encontra-se um obelisco encimado por uma pomba levando em seu bico um ramo de oliveira. Ao projeto iconográfico da fonte vincula-se a figura do jesuíta alemão Athanasius Kircher (1602 -1680), que, em 1650, finaliza sua obra Obeliscus Pamphilius, na qual trata, dentre outras coisas, especificamente da simbologia dos animais utilizados na fonte e sua relação com a mitologia egípcia. Peça fundamental deste estudo, a tradução do texto kircheriano revela diferentes significados para o monumento berniniano, permitindo uma nova interpretação que associa ambas obras.
Abstract: The Four Rivers Fountain is located at the Piazza Navona, in Rome and it was projected and constructed by Gian Lorenzo Bernini between 1648 and 1651. It is formed by four colossi representing the greatest rivers of each continent known at that time. Above them an obelisk was erected having on its top a dove with an olive branch. The iconographic project is associated to the german Jesuit Athanasius Kircher which published in 1650 the Obeliscus Pamphilius. This book reveals the simbology of the animals used in the fountain and its relation with the egyptian mythology. The translation from the latin of this text shows differents meanings for the monument, which permits a knew interpretation for Bernini's fountain.
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Finley, Sarah E. "Acoustic Epistemologies and Aurality in Sor Juana Inés de la Cruz." UKnowledge, 2014. http://uknowledge.uky.edu/hisp_etds/16.
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This dissertation considers the intersection of aurality and visuality in seventeenth-century New Spanish poet Sor Juana Inés de la Cruz’s (1648/1651-95) acoustico-poetic discourse. Prior scholarship has focused either on the author’s engagement with Western music theory and compositional practices or else the role of musical references in her works. This has resulted in the marginalization of Sor Juana’s engagement with sound through disciplines that are not strictly musical or poetic, including: acoustics, cognitive theory and visual art. I address these lacunae by considering such concepts as echo, reflection, Ear, Voice, musica poetica (links between music and rhetoric) and musical pathos within the poet’s canon. Throughout my readings, Athanasius Kircher’s encyclopedic musical treatises— Musurgia universalis (1650) and Phonurgia nova (1673), both of which circulated within New Spain during Sor Juana’s lifetime—stand out as important sources by which such ideas were transmitted. My approach sharpens extant scholarship on these topics and identifies two new influences within Sor Juana’s poetic world: Aristotelian theories of cognition and Kircher’s unique position on musica poetica. More generally, this dissertation engages emerging scholarship on Ear in the early modern world and thus responds to the critical limits of ocularcentrism.
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Kim, Nam-See. "Grammatologie der Schrift des Fremden." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2009. http://dx.doi.org/10.18452/15929.
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Die vorliegende Arbeit beschäftigt sich mit dem westlichen Verständnis von chinesischer Schrift. Im westlichen Diskurs herrscht eine Auffassung vor, der zufolge die chinesischen Schriftzeichen eine „fast naturalistische Darstellung“ von Dingen seien, die unabhängig von der gesprochenen Sprache im Sinne „eines visuellen Objekts“ funktionieren soll. Dabei wird die Tatsache, dass auch sie wie alle anderen Schriftsysteme zur Wiedergabe der gesprochenen Wörter verwendet werden und dadurch funktionieren, ausgeblendet. Die Vorstellung der sprachunabhängigen chinesischen Schrift wirkt darüber hinaus auch auf die Kulturtheorien ein, die auf der Schrift basierend die chinesische bzw. asiatische Kultur zu charakterisieren und sie mit der europäischen zu vergleichen versuchen. Dabei ist zu beobachten, dass die angenommene sprachunabhängige Bildhaftigkeit oder Konkretheit der chinesischen Schrift zwar einerseits Grund für eine Aufwertung ist, wobei das aus ihr resultierende Denkmodell als ein alternatives des westlichen Denkens aufgefasst wird, dass aber letztendlich aus derselben Auffassung auch das negative Urteil entspringt, mit jener visuellen Konkretheit gehe ein ‚geringer Abstand zu den Gegenständen‘ einher und daraus folge eine Unfähigkeit zum abstrakten Denken bei dem, der sich dieser Schrift bediene. Die Frage, die vorliegende Arbeit durchzieht, lautet daher: Woher stammt dieser ‚Mythos‘ der chinesischen Schrift, der wiederum zurückwirkt auf das westliche Ostasienbild? Und warum bewahrt er sich so hartnäckig im westlichen Denken, dass seine Nachwirkung bis in aktuelle Theorien zu beobachten ist? Wie ist die ambivalente Einschätzung chinesischer bzw. ostasiatischer Kultur in ihnen zu verstehen, die aus derselben ideographischen Auffassung chinesischer Schrift stammt? Durch eine kritische Auseinandersetzung mit der Rezeptionsgeschichte der chinesischen Schrift unter Berücksichtigung des abendländischen China-, bzw. Ostasienbilds wird versucht, darauf zu antworten.This dissertation deals with the Western views of Chinese characters. In Western discourses the Chinese written language has generally been viewed as a naturalistic representation of things, close to visual images (pictographs) or as a means of conveying ideas (ideographs), unrelated to spoken language. The fact that they reproduce spoken language like all other writing systems has been underexplored. Under this assumption, cultural theories have defined Chinese or Asian cultures as essentially distinct from European cultures. However, the language-independency and concreteness of Chinese script provides reason for revaluation of those views that consider the Chinese (or Asian) ways of thinking as an alternative to Western thought: that which ultimately arises from the negative judgments that those with visual concreteness are farther detached from objects, and are, therefore, unable to exercise abstract thinking. Through a critical analysis of the history of discourses of Chinese writings, this work address the following questions: Whence comes the ‘myth ''of the Chinese character, which, in turn, reinforces the Western views of Asia: why it remains so persistent in Western views as observed in contemporary cultural theories; how the ambivalent appreciation of Chinese or East Asian-culture resulted from the same ideographic view of the Chinese written language.
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Lelková, Iva. "Athanasius Kircher (1602-1680) a jeho vliv na přírodní filosofii v Českých zemích." Doctoral thesis, 2011. http://www.nusl.cz/ntk/nusl-311485.
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Resumé: The dissertation deals with various layers of influence that Athanasius Kircher and his work had on the development of natural philosophy in the Czech lands around the half of the seventeenth century. It is possible to observe one such layer of this influence in his correspondence with the Czech lands, which often had patronage seeking character but was also a source of natural philosophic knowledge, observations and interests. Besides the correspondence influence, a diachronic influence and changing evaluation of Athnasius Kircher's work in the course of time is explored in one chapter. Another chapter introduces his own autobiography, which provides evidence of Kircher's conscious effort to shape the opinion of his person and his work to be made by his contemporaries and next generation of scholars. The last layer of influence being in focus of this work regards the influence of ideas based on an analogy between the movement of sea waters and movement of fluids in human body. Kircher's ideas on geocosmos expressed in his Mundus subterraneus (1664-1665) and Iter extaticum II (1657) are compared with the work of his correspondent, physician from Wroclaw and editor of the first medicine journal, Philipp Jacob Sachs von Löwenheim's Oceanus macro-microcosmicus (1664). Sachs reflects William Harvey's...
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Stilo, Katharina. "Tarantella und ekstatisches Tanzen heute." 2014. https://slub.qucosa.de/id/qucosa%3A7700.
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Based on a comparative research idea on non institutionalized ecstatic forms of dance and its music in Europe, ‘Trantella and ecstatic dancing’ concentrates on the myth of the Tarantula, which inspires today to multiple and heterogeneous hybrid forms and genres. Beginning with the comparison of coeval definitions of folk music, folklore and the discourse of myths (J.-L. Nancy, A. Assmann) and specially the myth of Tarantula (A. Kircher, E. de Martino, D. Carpitella), the focus goes then on to contemporary forms of its embodiment in Salento (Italy) and to the question which melodic, rhythmic and functional fragments as well as instruments and discourses survive in the heads of today’s receipting and producing people in southern Italy. What is being reproduced though the time? This work is pointing out the therapeutic functionality of the dance and music. It is not concentrating on the diverse, confusing and changing forms the Tarantella can have.
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Matte, Marie-France. "Conceptions européennes de la Chine aux XVIIe et XVIIIe siècles l'Empire du Milieu est-il égyptien ?" Thèse, 2007. http://hdl.handle.net/1866/17929.
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Anjos, David Rodrigues dos 1984. "Relações sociais : do real ao pictórico e esquemático : visualização da informação nas redes sociais." Master's thesis, 2017. http://hdl.handle.net/10451/28220.
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This dissertation is about the visualization of information in the context of social networks. It aims to describe, from a historical perspective, the evolutionary process of social relations in the field of visualization and intends to understand how both – social relationships and visualizations - change according to its evolution. The dissertation addresses firstly the topic of visualization of information, its scope, definitions, limits and taxonomies proposals for categorizing the field. Then it examines the concept of network visualization and its various areas of expertise. Finally, through an analytical study, which uses the reference of projects created in different ways and at different times, the research explores practices and the capabilities of the visualization of social networking. The study provides an historical record of different views on social networks and shows how the evolution of technology has changed social relations and that this is reflected in the way the projects of visualization are now designed through digital platforms. Although this study has been developed in the field of design, the present information allows us to understand the role of other professionals involved in the area of information, taking particularly into account areas which study social networks and data manipulation through visualization projects