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Journal articles on the topic 'Athanasius Kircher'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Udías, S.J., Agustín. "Athanasius Kircher and Terrestrial Magnetism: The Magnetic Map." Journal of Jesuit Studies 7, no. 2 (January 29, 2020): 166–84. http://dx.doi.org/10.1163/22141332-00702002.

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Athanasius Kircher paid special attention to magnetism, more specifically terrestrial one, in his work Magnes sive de arte magnetica. Other Jesuits of his time, such as Garzoni and Cabeo, also wrote on this subject. Kircher studied in particular magnetic declination and its possible use to determine geographical longitudes. At his time, this was an important subject for long sea journeys. First, he collected a large number of observations of magnetic declination from different sources in three tables and two lists with a total of 518 values, among them forty-three made by Jesuits. Kircher proposed that a magnetic map could be made based on these observations, but he did not do it. From Kircher’s observations a map of magnetic declination has been drawn and it is presented here. Kircher discussed the causes of declination and presented a model for the origin of the magnetic field of the Earth, which differed from that proposed by Gilbert. Kircher finally considered magnetism as a cosmic force with its origin in God.

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2

Tronchin, Lamberto, and David J. Knight. "Transmitting acoustic phenomena and aural illusions: Examples from Athanasius Kircher’s Phonosophia anacamptica." Building Acoustics 25, no. 2 (May 19, 2018): 101–10. http://dx.doi.org/10.1177/1351010x18772709.

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This article continues the preliminary exploration of the sonic observations of Athanasius Kircher, namely, the first book of his Phonurgiæ Nova (1673), the Phonosophia anacamptica (Tronchin, Durvilli and Tarabusi). This book analyzes in particular sound propagation in enclosed spaces. In this work, Kircher also describes the statua citofonica, or ‘talking statue’, in relation to the magical effect created by aural illusion and the famous ancient Egyptian acoustical phenomenon and cultural sound-mark associated with the Colossus of Memnon, the famous lost sound phenomenon of the northern of the two colossi of Amenhotep III in the Theban Necropolis, near Luxor, Egypt, that reportedly emitted a sound with the first and final daily touch of sunlight at dawn and dusk. This article aims to describe, analyse and comment on the 17th century contributions of Athanasius Kircher by understanding his Phonosophia anacamptica and the contemporary intellectual context in which he worked. This article differs from our former work; for example, in this article, an earlier example of Francis Bacon’s methods of enquiry into acoustic phenomena illustrates differences with Kircher’s own line of inquiry. We show how Kircher accepts and embraces a Baroque fascination for the ‘marvellous world’ and the allegiance between science and magic, specifically with the mysterious magical affect of sound through the construction of interior listening strategies, or aural espionage, as in the Heidelberg Palace, the Villa Simonetta, and via talking statues such as the Colossus of Memnon.

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3

Čermáková, Lucie. "Athanasius Kircher and Vegetal Magnetism: Analogy as a Method." Early Science and Medicine 23, no. 5-6 (December 6, 2018): 487–508. http://dx.doi.org/10.1163/15733823-02356p05.

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AbstractDuring the sixteenth and seventeenth centuries, plants were the object of a primarily descriptive approach: naturalists were concerned mainly with collecting and classifying. When confronted with the splendour of great herbals and florilegia, one can easily overlook the works which deal with plants from a more theoretical or philosophical perspective. This paper examines a chapter on vegetal magnetism in Athanasius Kircher’s treatise Magnes sive de arte magnetica. My analysis shows how Kircher uses the analogy with magnets to describe the various features of plants. He uses analogy as an epistemological tool. In Kircher’s view, analogy is not merely an illustration, it also helps him to show how plants with all their more-or-less peculiar morphological and physiological properties can be included in the whole order of creation.

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4

Lelková, Iva, Paula Findlen, and Suzanne Sutherland. "Kircher’s Bohemia: Jesuit Networks and Habsburg Patronage in the Seventeenth Century." Erudition and the Republic of Letters 5, no. 2 (April 25, 2020): 163–206. http://dx.doi.org/10.1163/24055069-00502002.

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This study analyzes the relations between the Jesuit polymath Athanasius Kircher (1602–1680) and his correspondents in Bohemia and elsewhere in Central Europe. This research began as a digital humanities project. By analyzing data from Kircher’s correspondence with the Palladio visualization tool, we discovered a remarkable number of letters that had been sent from Bohemia, especially early on. The Jesuit network proved crucial for Kircher’s early career advancement, and he benefited, for example, from Jesuit immigration to Bohemia after the Battle of White Mountain. Our research considers how a correspondence network, that was Jesuit in origin, had expanded to include scholars, noblemen, and even the emperor and his court. All of them supported Kircher, discussed his works, and were highly invested in them. Finally, we turn to explore why Kircher ultimately fell out of favour with the imperial court, while remaining a major figure in Jesuit scholarship in Central Europe throughout the seventeenth century.

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5

Klawitter, Arne. "Athanasius Kircher als Exeget ägyptischer Hieroglyphen und chinesischer Schriftzeichen." Daphnis 43, no. 2 (May 3, 2015): 392–413. http://dx.doi.org/10.1163/18796583-10000002.

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In many of his lavishly illustrated books, the German Jesuit scholar Athanasius Kircher deals with foreign writing systems such as hieroglyphs and ideograms. He claimed to have deciphered the Egyptian hieroglyphs, and in the supposed iconicity of Chinese written characters he wanted to track down an original resemblance to the objects. In fact, his assumptions were based on serious misunderstandings that were typical of his time. This article explores Kircher’s ‘christological hallucinations’ as a form of the 17th century’s ‘semiotic ideology’ and shows how his views have been adapted until the 18th and 19th century.

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6

Bähr, Andreas. "Wissenschaft auf Umwegen. Athanasius Kirchers Schiffbruch." Zeitschrift für Ideengeschichte 14, no. 3 (2020): 21–30. http://dx.doi.org/10.17104/1863-8937-2020-3-21.

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Im Herbst 1618, kurz nach seinem Eintritt ins Noviziat des Jesuitenordens in Paderborn, hatte Athanasius Kircher ein Problem: Er war nicht gesund. Zu dieser Zeit kämpfte er mit einem Leistenbruch, mit dem er, wie er in seiner Autobiographie offen bekennt, den Preis für allzu ruhmbegieriges Eislaufen zahlte; und er litt an einem gefährlichen Ausschlag und kalten Brand an den Schienbeinen, der auf nicht minder von Eitelkeit getriebenes nächtliches Studieren zurückging. Da nach kanonischem Recht bei irreparablen körperlichen Gebrechen an eine geistliche Laufbahn nicht zu denken war, griff Kircher zu einer List: Er verheimlichte den Schaden – um zu verhindern, dass er aus jenem Orden ausgeschlossen wurde, der nicht nur seinen geistlichen Bedürfnissen, sondern auch seinen gelehrten Ambitionen am meisten entsprach.

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7

La Nave, Francesco, and Caterina Marrone. "I Geroglifici fantastici di Athanasius Kircher." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 613. http://dx.doi.org/10.2307/20477462.

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8

Maxey, Bryce. "La iconografía de "Ars magna lucis et umbrae" en "Primero sueño" de Sor Juana." Anales de Literatura Hispanoamericana 49 (December 18, 2020): 321–34. http://dx.doi.org/10.5209/alhi.73134.

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En este artículo examino la importancia de Ars magna lucis et umbrae de Athanasius Kircher en Primero sueño de Sor Juana. Propongo que las descripciones técnicas y metafísicas que aparecen en el tratado enciclopédico y sobre todo la iconografía del volumen ejercieron una gran influencia en el poema. Dados los múltiples vínculos que existen entre la iconografía de Kircher y el diseño del paisaje mental que Sor Juana construye, sugiero que Primero sueño puede leerse como un comentario de ciertas imágenes que figuran en el tratado. Considerando los sentidos literales y metafóricos de la luz y la oscuridad en Primero sueño, reafirmo asimismo el legado de Kircher en Sor Juana

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9

Cashner, Andrew A. "Kirchercianos y trisectores: el sistema automático de composición de Athanasius Kircher." Anuario Musical, no. 77 (December 29, 2022): 51–75. http://dx.doi.org/10.3989/anuariomusical.2022.77.04.

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Athanasius Kircher (1602-1680) describió en Musurgia universalis (1650) un aparato para la composición musical automática que llamó Arca musarithmica, y al menos tres implementaciones físicas del Arca sobreviven en el Reino Unido y el resto de Europa. Aunque ya se ha establecido la influencia general de Kircher sobre la élite letrada del imperio español, Sor Juana Inés de la Cruz incluida, este artículo presenta las primeras pruebas de que en realidad algunas personas en los reinos de España intentaron usar el Arca. Dos misceláneas de manuscritos —una copiada en Puebla alrededor de 1695 y la otra en Madrid alrededor de 1785— incluyen versiones abreviadas del Arca. La fuente de la Biblioteca Palafoxiana de Puebla, sostengo, constituye una implementación parcial pero funcional del aparato — una cuarta Arca superviviente. A la vez esta colección abre una mirada para entender las preocupaciones de los aficionados de Kircher en Nueva España, porque contiene notas geométricas sobre la trisección del ángulo al lado de cuentas de diezmos de la catedral y escritos sobre ingeniería, alquimia, cronología, arquitectura, y otros temas que se consideraban en la época aspectos de las matemáticas. Si el Arca en la Puebla de 1690 fomentaba una búsqueda del saber universal, la fuente de Madrid de un siglo después, por contra, representa una tentativa relativamente tosca de dar sentido al complejo sistema de Kircher y sugiere que a finales del siglo XVIII el Arca se consideraba más como una curiosidad.

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10

Žukauskienė, Odeta. "Transhistorical Dialogue Concerning Images: Baltrušaitis and Kircher." Art History & Criticism 16, no. 1 (December 1, 2020): 5–17. http://dx.doi.org/10.2478/mik-2020-0001.

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SummaryThe article explores the works of Jurgis Baltrušaitis on depraved perspectives. In particular, it examines his references to Jesuit scholar Athanasius Kircher in the books dedicated to anamorphoses, aberrations, Egyptomania and distorting mirror’s reflections. The paper questions what led Baltrušaitis to the dialogue with the German visionary. The close reading of Baltrušaitis works reveals that in Kircher’s pre-modern thinking the art historian found those domains of between-the-two, communalities of art and science, art and nature, art and social imaginary that have become more important in postmodernist period. Kircher’s treatises, previously uninterpreted in the context of art history, encouraged the development of the broader studies of images focused on visual phenomena that remained for a long time outside the autonomous field of art history. Without privileging an aesthetic and evolutionary approach in art history, Baltrušaitis’ works reveal anthropological and ontological dimensions of images. They disclose that the image is always related to visual experience and imagination, which takes us beyond the horizon of reality.

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11

Dubrovskaya, Dinara V. "The Way Athanasius Kircher Illustrated China in His “China Illustrata” (1667)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 5 (2022): 171. http://dx.doi.org/10.31857/s086919080021557-9.

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The paper seeks to further research the long-forgotten compilation work of the German Jesuit encyclopedist of the 17th century Athanasius Kircher “China Illustrata ...”, which has acquired relevance since the beginning of the 21st century not only in the context of the European Sinology history, but also in historical, imagological and philosophical-missiological context. The publication aims to integrate this hitherto little-known and underestimated work of the German erudite and “the last Renaissance man, who knew everything” into several lines of information transmission: From the preachers collecting facts and carrying out initial systematization in China to the creator of “China Illustrata”, and further from the author of this first “Encyclopedia of China” to subsequent philosophers of the Enlightenment and first professional European Sinologists. The paper provides a brief description and history of the “Encyclopedia of China” creation, identifies some important Jesuit informants and colleagues of the scientist (including his Chinese collaborators), whose data Kircher used while compiling his work. The author comes to the conclusion that the long present in history of science claims made to Kircher for factual errors, dissemination of mythologized information and the construction of several false hypotheses (such, e.g., as the genesis and structure of Chinese symbols, the origin of which Athanasius Kircher deduced from Egyptian hieroglyphics) are not entirely fair, since the German scientist conscientiously worked out the information field outlined for the book by himself, and his inevitable mistakes largely served as a guarantee that they were not made by researchers following in his footsteps.

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12

Daxecker, Franz. "Der Jesuit Athanasius Kircher und sein Organum mathematicum." Gesnerus 57, no. 1-2 (November 27, 2000): 77–83. http://dx.doi.org/10.1163/22977953-0570102006.

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P. Athanasius Kircher SJ (1602-1680) was a man of great erudition who carried out research in both the natural sciences and the humanities. He drew one of the first maps of the moon, performed microscopic studies of blood, worked on hieroglyphics and described China. He also invented the socalled Organum mathematicum. The device (located in Florence) has nine compartments containing wooden slats devoted to various mathematical subjects: arithmetic, geometry, fortifications, chronology, horography, astronomy, steganography (encryption) and music.

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13

Kuntz, Marion Leathers. "Guillaume Postel and the Syriac Gospels of Athanasius Kircher*." Renaissance Quarterly 40, no. 3 (1987): 465–84. http://dx.doi.org/10.2307/2862520.

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One of the many treasures of the Herzog August Bibliothek, Wolfenbüttel, is the manuscript of the Gospels written in Syriac in the year 945. This rare and beautiful codex was the property of the Jesuit Athanasius Kircher, who gave his “most dear and precious” book to Duke August the Younger of Braunschweig-Lüneburg as an ornament for his most famous library. Duke August (1579-1666) was known as a wonder in his age because among pious rulers he was the most learned, and among men of greatest learning, he was the most pious. For thirty years he studied all branches of learning, and his devotion to political life is witnessed by thirty volumes of correspondence. Among his writings were books on the game of chess and on cryptography. Most important for posterity is his library at Wolfenbüttel, which contains one of the largest collections of Bibles in Europe.

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14

Lugli, Adalgisa. "Inquiry as Collection: The Athanasius Kircher Museum in Rome." Res: Anthropology and Aesthetics 12 (September 1986): 109–24. http://dx.doi.org/10.1086/resv12n1ms20166756.

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15

Bevilacqua, Alexander. "Egyptian Oedipus: Athanasius Kircher and the secrets of antiquity." Intellectual History Review 24, no. 4 (September 4, 2014): 557–58. http://dx.doi.org/10.1080/17496977.2014.945253.

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16

Rowland, I. "Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity." Common Knowledge 20, no. 3 (October 1, 2014): 509. http://dx.doi.org/10.1215/0961754x-2733257.

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17

Ullmann, Dieter. "Athanasius Kircher und die Akustik der Zeit um 1650." NTM International Journal of History and Ethics of Natural Sciences, Technology and Medicine 10, no. 1-3 (September 2002): 65–77. http://dx.doi.org/10.1007/bf03033102.

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18

Fabbri, Natacha. "La Musurgia Universalis di Athanasius Kircher. Contenuti, fonti, terminologia." Nuncius 26, no. 2 (2011): 416–17. http://dx.doi.org/10.1163/182539111x596720.

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19

Principe, Lawrence. "The Ecstatic Journey: Athanasius Kircher in Baroque Rome (review)." Bulletin of the History of Medicine 76, no. 4 (2002): 817–18. http://dx.doi.org/10.1353/bhm.2002.0198.

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20

Waddell, Mark A. "Magic and artifice in the collection of Athanasius Kircher." Endeavour 34, no. 1 (March 2010): 30–34. http://dx.doi.org/10.1016/j.endeavour.2009.11.003.

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21

Wilkins, Caroline. "The Panacousticon: by way of echo to Freddie Rokem." Performance Philosophy 2, no. 1 (July 29, 2016): 5. http://dx.doi.org/10.21476/pp.2016.2179.

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The impulse for this essay came about as a direct reaction to reading Freddie Rokem’s contribution in Volume 1 of this journal. Whereas Rokem refers to eavesdropping scenes in plays and philosophical discourse, I shall examine this act within the context of an acoustic mechanical theatre invented by philosopher Athanasius Kircher in the 1600s.The Panacousticon was a system of spiral-shaped funnels hidden within walls that were operated as amplifiers, connecting public spaces to the eavesdropper via ‘talking heads’ or stone busts. An audience witnessing the deeds of Polonius or Orgon in classical theatre was replaced by an auditor of unseen ‘performers’ in the act of conversing. The ‘closet’ in Hamlet was replaced by a stone bust with gaping mouth. Furthermore, Rokem’s discussion of the supernatural as an eavesdropping presence in the same play, finds an echo in Kircher’s acoustic theatre, where the talking busts began to speak as people passed by, creating an uncanny mise-en-scèneof omnipresence.Whilst Kircher performed his conceptual creations through theatrical techniques, his actor-audience was subject to the sonic address of an unknown source. With passing references to natural magic, ventriloquism and automata I shall discuss the convergences that occur between these two perspectives of performer / audience.

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22

Siebert, Harald. "Le mouvement du Soleil. Athanasius Kircher et les variations stellaires." Archives Internationales d'Histoire des Sciences 66, no. 177 (July 2016): 379–97. http://dx.doi.org/10.1484/j.arihs.5.115065.

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23

Leinkauf, Thomas. "DieCentrosophia des Athanasius Kircher SJ: Geometrisches Paradigma und geozentrisches Interesse." Berichte zur Wissenschaftsgeschichte 14, no. 4 (1991): 217–29. http://dx.doi.org/10.1002/bewi.19910140403.

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24

Cadi Sulumuna, Temina. "A Context-Based Translation of Chapter 14 “De vocibus naturalibus in animalibus eorumque anatomia” from the Liber anatomicus de natura soni et vocis of Athanasius Kircher’s Musurgia Universalis sive Ars Magna Consoni et Dissoni." Roczniki Humanistyczne 69, no. 12 (December 9, 2021): 197–230. http://dx.doi.org/10.18290/rh216912-13.

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The author’s aim is to present a context-based English translation of chapter 14 titled “De vocibus naturalibus in animalibus eorumque anatomia”, from the Liber anatomicus de natura soni et vocis of Athanasius Kircher’s Musurgia Universalis sive Ars Magna Consoni et Dissoni published in 1650 in Rome. The article is divided into three parts. The first one (introduction) states the reasons for doing a context-based translation of the chapter. The second part forms the main and most extensive part because it presents the translation itself, along with annotations. In the third part, emphasis is laid on the author’s conclusions regarding the importance of a context-based approach to the translation of Kircher’s text. An examination of the context proved to be essential for achieving both clarity and quality in the translation, avoiding significant interpretative errors, distinguishing between Kircher’s own statements and covert quotations, and providing the reader with additional information contained in the annotations, which shed light on, and comment upon, the issues raised by Kircher himself.

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25

Hunter, Michael. "John Ray in Italy: lost manuscripts rediscovered." Notes and Records: the Royal Society Journal of the History of Science 68, no. 2 (February 26, 2014): 93–109. http://dx.doi.org/10.1098/rsnr.2013.0061.

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This paper discloses the content of two manuscripts of John Ray that have hitherto been unknown to Ray scholars. The manuscripts survive in the Hampshire Record Office, having descended through the Prideaux-Brune family. They record information about Ray's tour of Italy in the 1660s that does not appear in his Observations … made in a journey through … the Low-countries, Germany, Italy and France (1673), including a visit to the museum of Athanasius Kircher in Rome, and provide clues concerning the composition of Ray's 1673 book.

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26

Brownstein, Daniel, and Daniel Stolzenberg. "The Great Art of Knowing: The Baroque Encyclopedia of Athanasius Kircher." Sixteenth Century Journal 33, no. 3 (2002): 889. http://dx.doi.org/10.2307/4144081.

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27

Burnett, Charles. "Daniel Stolzenberg. Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity." American Historical Review 119, no. 5 (December 2014): 1761–62. http://dx.doi.org/10.1093/ahr/119.5.1761.

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28

Sutherland, Suzanne, Paula Findlen, and Iva Lelková. "Etruscan Dreams: Athanasius Kircher, Medici Patronage, and Tuscan Friendships, 1633–1680." I Tatti Studies in the Italian Renaissance 21, no. 2 (September 2018): 299–349. http://dx.doi.org/10.1086/699710.

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29

Tronchin, Lamberto, Ilaria Durvilli, Valerio Tarabusi, and Galia Mastromatteo. "The marvellous sound world in the 'Phonurgia Nova' of Athanasius Kircher." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3606. http://dx.doi.org/10.1121/1.2934785.

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30

Rowland, Ingrid. ""Th' United Sense of th' Universe": Athanasius Kircher in Piazza Navona." Memoirs of the American Academy in Rome 46 (2001): 153. http://dx.doi.org/10.2307/4238784.

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BILLINGS, TIMOTHY. "Jesuit Fish in Chinese Nets: Athanasius Kircher and the Translation of the Nestorian Tablet." Representations 87, no. 1 (2004): 1–42. http://dx.doi.org/10.1525/rep.2004.87.1.1.

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ABSTRACT This essay offers a ““sinographic”” reading of Athanasius Kircher's bilingual critical edition of a famous Tang dynasty monument (discovered in 1625) about Nestorian Christians, which frames the material in China Illustrata (1667). The author argues that Kircher's mode of translation is a doctrinal polemic that attempts to reconstruct an imaginary originary text from the Chinese inscription in order to contain unorthodox meanings that interfere with the Jesuit identity that is positively projected onto the stone.

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32

Trzęsicki, Kazimierz. "Idea of Artificial Intelligence." Studia Humana 9, no. 3-4 (October 1, 2020): 37–65. http://dx.doi.org/10.2478/sh-2020-0027.

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Abstract Artificial Intelligence, both as a hope of making substantial progress, and a fear of the unknown and unimaginable, has its roots in human dreams. These dreams are materialized by means of rational intellectual efforts. We see the beginnings of such a process in Lullus’s fancies. Many scholars and enthusiasts participated in the development of Lullus’s art, ars combinatoria. Amongst them, Athanasius Kircher distinguished himself. Gottfried Leibniz ended the period in which the idea of artificial intelligence was shaped, and started the new period, in which artificial intelligence could be considered part of science, by today’s standards.

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33

López Villalba, Almudena. "DENTRO DEL ESPEJO. LA MÁQUINA CATÓPTRICA O ESPEJO TEATRAL." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 42 (June 18, 2019): 15–36. http://dx.doi.org/10.32621/acotaciones.2019.42.01.

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Desde la Antigua Grecia los primeros científicos que se dedi-caron al estudio de la óptica idearon sistemas de espejos planos enlaza-dos con distintos ángulos que denominaron máquina catóptrica o espejo teatral. El jesuita Athanasius Kircher recuperó dichas investigaciones para construir sus diferentes cajas catóptricas y teatros ilusorios. Gian Lorenzo Bernini, en su faceta como director y escenógrafo, utilizó fal-sos espejos mezclando realidad y ficción para generar «la maravilla» y el entretenimiento del público. Este artículo explica el uso del espejo en las artes escénicas como elemento de diversión, y en la creación de espacios ambiguos que generan heterotopías.

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34

Rabin, Sheila J., and Agustín Udías, S.J. "Introduction." Journal of Jesuit Studies 7, no. 2 (January 29, 2020): 161–65. http://dx.doi.org/10.1163/22141332-00702001.

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Jesuit scholars have pursued studies in mathematics and science since the founding of the order. Authors in this issue discuss the work on magnetic declination by the Jesuit polymath Athanasius Kircher, the reform of Spanish naval education using the treatise on naval warfare by the Jesuit Paul Hoste, the Jesuit contributions to the Japanese clock-making industry, the dissemination of scientific knowledge through the Jesuit journal Brotéria, the Jesuit Erich Wasmann’s attempts to grapple with Darwinian evolution, Jesuit contributions to understanding the natural environment of India, and the many accomplishments of the Jesuit-run Vatican Observatory.

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35

Regier, Willis G. "Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity by Daniel Stolzenberg." MLN 128, no. 5 (2013): 1215–16. http://dx.doi.org/10.1353/mln.2013.0077.

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36

Godwin, Joscelyn. "Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity by Daniel Stolzenberg." Catholic Historical Review 100, no. 2 (2014): 363–65. http://dx.doi.org/10.1353/cat.2014.0122.

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37

VERMEIR, KOEN. "The magic of the magic lantern (1660–1700): on analogical demonstration and the visualization of the invisible." British Journal for the History of Science 38, no. 2 (May 25, 2005): 127–59. http://dx.doi.org/10.1017/s0007087405006709.

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The history of the magic lantern provides a privileged case study with which to explore the histories of projection, demonstration, illusion and the occult, and their different intersections. I focus on the role of the magic lantern in the work of the Jesuit Athanasius Kircher and the French Cartesian Abbé de Vallemont. After explaining the various meanings of the seventeenth-century concept of illusio, I propose a new solution for the long-standing problem that Kircher added the ‘wrong’ illustrations to his description of the lantern. The complex interaction between text, image and performance was crucial in Kircher's work and these ‘wrong’ figures provide us with a key to interpreting his Ars Magna. I argue that Vallemont used the magic lantern in a similar rhetorical way in a crucial phase of his argument. The magic lantern should not be understood merely as an illustrative image or an item of demonstration apparatus; rather the instrument is employed as part of a performance which is not meant simply to be entertaining. Both authors used a special form of scientific demonstration, which I will term ‘analogical demonstration’, to bolster their world view. This account opens new ways to think about the relation between instruments and the occult.Sol fons lucis universi, vas admirabile, opus Excelsi, divinitatis thalamus, risus coeli, decor, & pulchritudo mundiA. KircherFor one of those Gnostics, the visible universe was an illusion or, more precisely, a sophism. Mirrors and fatherhood are abominable because they multiply it and extend it.J. L. Borges

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38

Krummacher, Friedhelm. "Phantastik und Kontrapunkt: Zur Kompositionsart Frescobaldis." Die Musikforschung 48, no. 1 (September 22, 2021): 1–14. http://dx.doi.org/10.52412/mf.1995.h1.1056.

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In seiner <Musurgia universalis> (1650) unterscheidet Athanasius Kircher acht Kompositionsstile, darunter den Stylus phantasticus, der als Lehre einer Art des Kontrapunkts definiert ist. Inwieweit diesem Stilbegriff so verschiedene Gattungen wie Fantasia und Toccata zuzuweisen sind, wird anhand von Frescobaldis <Fantasie a quattro> (1608) und seinen beiden Toccatenbüchern (1615/16 und 1627) näher untersucht. Ist die Fantasia als Ansatz konstanter Thematisierung verstehbar, so erscheint die Toccata umgekehrt als Versuch athematischen Komponierens. Beide Genera sind nicht nur abstrakt durch die verborgene Ratio der Harmonie im kontrapunktischen Kontext verbunden. Sie repäsentieren vielmehr konkret den Stylus phantasticus als polare Möglichkeiten einer frei disponierten Instrumentalmusik. bms online (Wagner, Dorothea)

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Císařová Smítková, Alena. "Malý náhled do světa sběratelů kuriozit v 16.–18. století." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 1-2 (2022): 66–77. http://dx.doi.org/10.37520/amnpsc.2022.009.

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The origins of collecting are as old as humanity itself, and practically anything can be collected. In the 16th century, it became fashionable to collect natural peculiarities with the aim to create so-called cabinets of curiosities. The owners were distinguished and wealthy people with high social status and scholars. The most important and largest collections were owned by Archduke Ferdinand II of Austria at Ambras Castle and Emperor Rudolf II in Prague. The cabinets of the Danish physician Ole Worm and the German Jesuit Athanasius Kircher were also prominent. The first comprehensive study of natural history collections in Europe is the richly illustrated work Museum Museorum by Michael Bernhard Valentini from the early 18th century.

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Rowland, Ingrid D. "Book Review: Kircher in Context, Die Große Kosmologische Kontroversie: Rekonstruktionsversuche anhand des Itinerarium Exstaticum von Athanasius Kircher, S.J. (1602–1680)." Journal for the History of Astronomy 38, no. 3 (August 2007): 388–89. http://dx.doi.org/10.1177/002182860703800312.

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Bähr, Andreas. "Die Waffen des Athanasius Kircher SJ (1602–1680) Prolegomena zu einer biographischen Enzyklopädie." Saeculum 65, no. 1 (November 2015): 135–76. http://dx.doi.org/10.7788/saeculum-2015-0107.

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Hedesan, Georgiana D. "Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity, written by Daniel Stolzenberg." Journal of Jesuit Studies 2, no. 2 (April 9, 2015): 359–62. http://dx.doi.org/10.1163/22141332-00202007-20.

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43

Tronchin, Lamberto, and David J. Knight. "Music and sound of the 17th Century: Athanasius Kircher and his Phonosophia anacamptica." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3935. http://dx.doi.org/10.1121/1.4988905.

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González Marchetti, Ricardo. "Los jesuitas y la imagen-signo." Antiguos jesuitas en Iberoamérica 6, no. 2 (December 27, 2018): 27. http://dx.doi.org/10.31057/2314.3908.v6.n2.22954.

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<p>El trabajo reflexiona sobre los problemas conceptuales y comunicacionales planteados por la expansión mundial del cristianismo en los siglos XVI y XVII y el papel de la orden jesuítica en este proceso, con particular atención al interés focalizado en las formas de comunicación no lingüísticas y especialmente en las icónicas. Se repasa la reelaboración de la idea de los jeroglíficos por parte de Athanasius Kircher y otros miembros de la orden, basados en la tradición neoplatónica y renacentista, así como la consideración de los lenguajes sígnicos propios de China y América y su interés para transmitir contenidos religiosos aprovechando las experiencias no europeas y evitando la distancia de las palabras.<strong></strong></p>

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Kim, Jeoung-Myoung. "The Study of Ancient Egypt by Muslim Scholars in the Middle Ages and Its Influence on the Study of Egypt in Modern Europe." Institute of Middle Eastern Affairs 21, no. 2 (August 30, 2022): 199–234. http://dx.doi.org/10.52891/jmea.2022.21.1.199.

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The purpose of this paper is to examine how the study of ancient Egypt conducted in the medieval Islamic world influenced the development of modern Egyptology in Europe after the 15th century. Medieval Muslim scholars such as Ibn Waḥshiyya made the most remarkable achievements in the study of Egyptian hieroglyphs. They found that the ancient Egyptian language was closely related to the Coptic language, and that some of the Egyptian hieroglyphs had phonetic values. And the writings of Muslim scholars were introduced to Europe by Athanasius Kircher in the 17th century and Joseph von Hammer in the 19th century. And it is believed that the ideas of Muslim scholars provided a very important clue to Champollion in the process of deciphering Egyptian hieroglyphs in 1822.

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Hirai, Hiro. "Interprétation chymique de la création et origine corpusculaire de la vie chez Athanasius Kircher." Annals of Science 64, no. 2 (March 26, 2007): 217–34. http://dx.doi.org/10.1080/00033790701246776.

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Graney, Christopher M. "How to Make the Earth Orbit the Sun in 1614." Journal for the History of Astronomy 50, no. 1 (February 2019): 16–30. http://dx.doi.org/10.1177/0021828618818643.

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In 1614 the Jesuit astronomer Christoph Scheiner and his student, Johann Georg Locher, proposed a physical mechanism to explain how the Earth could orbit the sun. An orbit, they said, is a perpetual fall. They proposed this despite the fact that they rejected the Copernican system, citing problems with falling bodies and the sizes of stars under that system. In 1651 and again in 1680, Jesuit writers Giovanni Battista Riccioli and Athanasius Kircher, respectively, considered and rejected outright this idea of an orbit as a perpetual fall. Thus this important concept of an orbit was proposed, considered, and rejected well before Isaac Newton would use an entirely different physics to make the idea that an orbit is a perpetual fall the common way of envisioning and explaining orbits.

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Miazek-Męczyńska, Monika. "Nauka w służbie wiary, czyli ile można zdziałać ad maiorem Dei gloriam. O wydanych i niewydanych pracach naukowych Michała Boyma SI." Poznańskie Studia Polonistyczne. Seria Literacka, no. 31 (January 2, 2018): 147–66. http://dx.doi.org/10.14746/pspsl.2017.31.6.

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Looking at an interesting and very diverse scientific out-put of Michael Boym, Polish jesuit missionary in China, one can ask why so many of his works still remain unpublished. This text analyses some circumstances and conditions that impacted this situation for example relation between Boym and two other Jesuits – Martino Martini and Athanasius Kircher, complicated political situation of the Middle Kingdom in the second half of 17th century or some religious factors of the inner policy of the Society of Jesus. Lecture of the original authorial introductions to the published books of Michael Boym (i.e. Flora Sinensis and Clavis medica ) suggests the author found inspiration for his work in Jesuit motto „Omnia ad maiorem Dei gloriam”. By setting both religious and scientific targets to his works Boym persuaded the order authorities that his books should have been published.

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Lock, Charles. "On roman letters and other stories." Journal of World Literature 1, no. 2 (2016): 158–72. http://dx.doi.org/10.1163/24056480-00102003.

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This essay questions the assumption that the roman alphabet is more purely phonetic than any other, and that other scripts and writing-systems are less efficient, whether for the production of texts or for their comprehension. Those who habitually use roman letters are asked to consider their competence to understand other writing systems. The work of Stanley Morison emphasizes the ideological significance of alphabets and of particular letter-forms. M.B. Parkes and Paul B. Saenger are cited to indicate how punctuation and spacing are aspects of the roman-letter writing system that cannot be treated as purely phonetic. Beyond the world of roman letters there is a focus on Syriac and the Xi’an stele, which was printed by Athanasius Kircher in 1667 and marks the first publication in the west of a substantial text in Chinese.

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Solís Santos, Carlos. "Erudición, magia y espectáculo. El juicio de la República de las letras sobre Athanasius Kircher." ENDOXA 1, no. 19 (January 1, 2005): 243. http://dx.doi.org/10.5944/endoxa.19.2005.5112.

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