Astrology is a science which has had an uncertain status throughout its history, from its beginnings in Greco-Roman Antiquity to the medieval Islamic world and Christian Europe which led to frequent debates about its validity and what kind of a place it should have, if any, in various cultures. Written in the second century A.D., Ptolemy’s Tetrabiblos is not the earliest surviving text on astrology. However, the complex defense given in the Tetrabiblos will be treated as an important starting point because it changed the way astrology would be justified in Christian and Muslim works and the influence Ptolemy’s presentation had on later works represents a continuation of the method introduced in the Tetrabiblos. Abū Ma‘shar’s Kitāb al-Madkhal al-kabīr ilā ‘ilm akām al-nujūm, written in the ninth century, was the most thorough surviving defense from the Islamic world. Roger Bacon’s Opus maius, although not focused solely on advocating astrology, nevertheless, does contain a significant defense which has definite links to the works of both Abū Ma‘shar and Ptolemy. As such, he demonstrates another stage in the development of astrology. These three works together reveal the threads of a trend of a rationalized astrology separated from its mythical origins which began with Ptolemy and survived through both medieval Islam and medieval Europe. In the two examples of defending astrology I have used, Abū Ma‘shar and Roger Bacon, Ptolemy’s influence can be seen to have persisted from the second century through to the thirteenth, and the nature of the differences in their defenses illustrates the continuation and evolution of the tradition of defending astrology.

Kepler is mainly known among historians of science due to his astronomical theories and his approaches to problems having to do with philosophy of science and ontology. This thesis attempts to contribute to Kepler studies by providing a comprehensive discussion of a topic hitherto not really considered, namely Kepler’s theory of the soul, a general theory of knowledge or epistemology whose central problem is what makes knowledge possible—rather than what makes knowledge true, as happens in the case of Descartes’s and Bacon’s epistemologies. Kepler’s theory consists of four issues: the theory of the different sorts of soul—i.e. the human soul, the animal soul, the vegetable soul, and the Earth soul—concerning their faculties, the differences and the resemblances that emerge among them, the relation they maintain with their own bodies and the world, and the distinction soul-world. The thesis discusses these issues from a historical perspective, that is, it reconstructs the way they appear in three periods of Kepler’s career: the period prior to the publication of the Mysterium Cosmographicum, the period going from 1596 to 1611, and the harmonic period. Finally, Kepler’s epistemology is briefly contrasted with Descartes’s and Bacon’s in order to suggest why Kepler’s is philosophically interesting and valuable. / October 2006

Ce mémoire propose une réflexion sur le processus de création chorégraphique que nous avons élaboré à partir des concepts philosophiques proposés par Gilles Deleuze, dans l'ouvrage Francis Bacon. Logique de La sensation. Au sein de l'essai chorégraphique Certaines scènes peuvent ne pas convenir, nous avons cherché à entrer en dialogue avec la pensée de Deleuze et le monde, et surtout à « faire rhizome », afin d'ouvrir la danse à des pistes de sens et des territoires sensibles inattendus. Dans le présent document, nous cherchons d'abord à définir les modalités de notre recherche création autour du concept de « rhizome », puis à dégager de notre processus créatif une Logique de La sensation qui serait proprement chorégraphique, tout en maintenant un lien étroit avec la philosophie de Deleuze et l'oeuvre picturale de Francis Bacon. La notion d'un devenir du corps tient lieu, dans cette logique, de dynamique centrale. Nous abordons ensuite l'usage particulier que nous avons fait du corps dansant, où ce dernier devient « matériau de la Figure ». En procédant à ce que Deleuze nomme la « capture des forces », nous cherchons à découvrir dans la danse le « fait du corps », au-delà de tout effet narratif ou figuratif. Par la suite, nous cherchons à identifier, à partir des concepts deleuziens de territoire, de rythme et de structure, ce qui participe à générer la cohérence de l'oeuvre, en dépit de nos tactiques visant à déjouer et à multiplier les développements possibles du sens. L'oeuvre devient alors la cartographie d'un territoire que l'on arpente et que l'on découvre au fil de son développement. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Création chorégraphique, Rhizome, Sensation, Figuration, Corps, Rythme, Philosophie.

Thesis (M.A.)--University of Hong Kong.

<p>Historically, the wind has functioned in multiple capacities, both physically and symbolically. The following study explores the ways in which natural history, myth and folklore, craft knowledge, and religion contributed to a growing body of knowledge about the wind at a moment in British history when wind knowledge assumed unprecedented political and economic significance. How did people come to know the wind and to narrate and communicate wind knowledge in the seventeenth century? What work did these complex and competing narrations perform? And what do they make visible? In pursuing these lines of inquiry, my work brings together three principle bodies of knowledge: Environmental History, History of Science, and British Imperial history; and it draws upon documents that include scientific treatises, written records of oral anecdotes and weather wising, religious sermons, travel narratives, fictional novels, and imperial correspondence. I argue that because the wind and wind knowledge were ubiquitous to the emerging success and identity of the British empire, a great variety of historical actors sought to control and narrate what wind knowledge was, where it came from, and what political work it should do. These efforts were unequivocally rooted in first hand experience and observation of the wind--maker's knowledge--and created what I call an intellectual commons that enabled commoners as well as elites to shape and briefly control the contours of wind knowledge in early Modern Britain and its expanding empire.</p> / Dissertation

Kepler is mainly known among historians of science due to his astronomical theories and his approaches to problems having to do with philosophy of science and ontology. This thesis attempts to contribute to Kepler studies by providing a comprehensive discussion of a topic hitherto not really considered, namely Kepler’s theory of the soul, a general theory of knowledge or epistemology whose central problem is what makes knowledge possible—rather than what makes knowledge true, as happens in the case of Descartes’s and Bacon’s epistemologies. Kepler’s theory consists of four issues: the theory of the different sorts of soul—i.e. the human soul, the animal soul, the vegetable soul, and the Earth soul—concerning their faculties, the differences and the resemblances that emerge among them, the relation they maintain with their own bodies and the world, and the distinction soul-world. The thesis discusses these issues from a historical perspective, that is, it reconstructs the way they appear in three periods of Kepler’s career: the period prior to the publication of the Mysterium Cosmographicum, the period going from 1596 to 1611, and the harmonic period. Finally, Kepler’s epistemology is briefly contrasted with Descartes’s and Bacon’s in order to suggest why Kepler’s is philosophically interesting and valuable.

No description available.

Astrology is a science which has had an uncertain status throughout its history, from its beginnings in Greco-Roman Antiquity to the medieval Islamic world and Christian Europe which led to frequent debates about its validity and what kind of a place it should have, if any, in various cultures. Written in the second century A.D., Ptolemy’s Tetrabiblos is not the earliest surviving text on astrology. However, the complex defense given in the Tetrabiblos will be treated as an important starting point because it changed the way astrology would be justified in Christian and Muslim works and the influence Ptolemy’s presentation had on later works represents a continuation of the method introduced in the Tetrabiblos. Abū Ma‘shar’s Kitāb al-Madkhal al-kabīr ilā ‘ilm akām al-nujūm, written in the ninth century, was the most thorough surviving defense from the Islamic world. Roger Bacon’s Opus maius, although not focused solely on advocating astrology, nevertheless, does contain a significant defense which has definite links to the works of both Abū Ma‘shar and Ptolemy. As such, he demonstrates another stage in the development of astrology. These three works together reveal the threads of a trend of a rationalized astrology separated from its mythical origins which began with Ptolemy and survived through both medieval Islam and medieval Europe. In the two examples of defending astrology I have used, Abū Ma‘shar and Roger Bacon, Ptolemy’s influence can be seen to have persisted from the second century through to the thirteenth, and the nature of the differences in their defenses illustrates the continuation and evolution of the tradition of defending astrology.

Kepler is mainly known among historians of science due to his astronomical theories and his approaches to problems having to do with philosophy of science and ontology. This thesis attempts to contribute to Kepler studies by providing a comprehensive discussion of a topic hitherto not really considered, namely Kepler’s theory of the soul, a general theory of knowledge or epistemology whose central problem is what makes knowledge possible—rather than what makes knowledge true, as happens in the case of Descartes’s and Bacon’s epistemologies. Kepler’s theory consists of four issues: the theory of the different sorts of soul—i.e. the human soul, the animal soul, the vegetable soul, and the Earth soul—concerning their faculties, the differences and the resemblances that emerge among them, the relation they maintain with their own bodies and the world, and the distinction soul-world. The thesis discusses these issues from a historical perspective, that is, it reconstructs the way they appear in three periods of Kepler’s career: the period prior to the publication of the Mysterium Cosmographicum, the period going from 1596 to 1611, and the harmonic period. Finally, Kepler’s epistemology is briefly contrasted with Descartes’s and Bacon’s in order to suggest why Kepler’s is philosophically interesting and valuable.

"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006." / Master of Arts