Os diálogos escritos por Leão Hebreu no século XVI evidenciam como o tema amor foi objeto de contemplação filosófica no período e trazem diversas reflexões, citações, referências e amplificações de autores da Antiguidade Clássica, tanto Ocidentais como Orientais. Sobressaem Platão e Aristóteles, pois Leão Hebreu frequentemente os insere nas discussões promovidas pelas personagens Fílon e Sofia, utilizando-os como base para a construção de suas argumentações a respeito de diversos temas adjacentes ao principal. Serão discutidos os papéis dos dois filósofos gregos nos Diálogos de Amor, e para tanto, deverá ser adicionado à leitura do texto de Hebreu um outro filósofo do mesmo período: Marsílio Ficino, que possivelmente influenciou os trabalhos do primeiro, mediante as traduções que fez de alguns diálogos platônicos, a partir do testemunho latino de tais obras, no século XV. Interessa também que sejam debatidas questões referentes às especificidades que o tema amor toma ao longo da obra, mostrando de que maneira os interlocutores acreditam ser o amor a motivação, a manutenção e o fim de todas as coisas. / The dialogues written by Leone Ebreo in the 16º century evidence how the theme love was an object of philosophical contemplation at the period, and take many from Classical Antiquity authors reflections, citations, references and amplifications, as well from Occident, as much from Orient. Protrude Plato and Aristotle, for Leone Ebreo often inserts them on the discussions promoted by the characters Filo and Sophia, and use their writes as a base for the argumentations about lots of themes adjoin to the main theme. The discussions on this work will be about this two Greek philosophers on the Dialogues of Love and for this much will be add to the reading of the Leo, The Hebrews works another philosopher from the same period: Marsilio Ficino, who possibly influenced Leos works, through translations he made of some platonic dialogues, from the Latin testimony of this works at the 15º century. It is interesting to this work to discuss questions about the specifications that the theme love takes during the Dialogues, and shows how the interlocutors believe that the love is the motivation, maintenance and the end of everything.

Os diálogos escritos por Leão Hebreu no século XVI evidenciam como o tema amor foi objeto de contemplação filosófica no período e trazem diversas reflexões, citações, referências e amplificações de autores da Antiguidade Clássica, tanto Ocidentais como Orientais. Sobressaem Platão e Aristóteles, pois Leão Hebreu frequentemente os insere nas discussões promovidas pelas personagens Fílon e Sofia, utilizando-os como base para a construção de suas argumentações a respeito de diversos temas adjacentes ao principal. Serão discutidos os papéis dos dois filósofos gregos nos Diálogos de Amor, e para tanto, deverá ser adicionado à leitura do texto de Hebreu um outro filósofo do mesmo período: Marsílio Ficino, que possivelmente influenciou os trabalhos do primeiro, mediante as traduções que fez de alguns diálogos platônicos, a partir do testemunho latino de tais obras, no século XV. Interessa também que sejam debatidas questões referentes às especificidades que o tema amor toma ao longo da obra, mostrando de que maneira os interlocutores acreditam ser o amor a motivação, a manutenção e o fim de todas as coisas. / The dialogues written by Leone Ebreo in the 16º century evidence how the theme love was an object of philosophical contemplation at the period, and take many from Classical Antiquity authors reflections, citations, references and amplifications, as well from Occident, as much from Orient. Protrude Plato and Aristotle, for Leone Ebreo often inserts them on the discussions promoted by the characters Filo and Sophia, and use their writes as a base for the argumentations about lots of themes adjoin to the main theme. The discussions on this work will be about this two Greek philosophers on the Dialogues of Love and for this much will be add to the reading of the Leo, The Hebrews works another philosopher from the same period: Marsilio Ficino, who possibly influenced Leos works, through translations he made of some platonic dialogues, from the Latin testimony of this works at the 15º century. It is interesting to this work to discuss questions about the specifications that the theme love takes during the Dialogues, and shows how the interlocutors believe that the love is the motivation, maintenance and the end of everything.

Made available in DSpace on 2014-12-17T15:12:08Z (GMT). No. of bitstreams: 1 LeilaMJS.pdf: 540140 bytes, checksum: 9f60cf08f4d7511ce348a5edb9ff925e (MD5) Previous issue date: 2007-10-09 / The aim of the present dissertation constitutes to analyse the way in how light assumes the meaning of universal bond in the cosmovision of Marsilio Ficino, especially from his works Quid sit lumen, De Sole, De Amore and De Vita. The influence of Marsilio Ficino (1433-1499) in the history of occidental thought is impressive. Besides having translated to Latin the important texts of the neoplatonic tradition, Ficino presided over the Academy of Careggi, congregating important humanists in the top of the Renaissance. His treatises on love, beauty, light, magic and immortality of the soul have influenced strongly the production of other thinkers. The subject of light is of fundamental importance among his works since it is deeply related with all the other aspects of his philosophy. For him, light is spiritual emanation that perpasses everything without staining itself. Originated how the divine goodness, the light blows up in beauty in multiplicity, setting fire on the soul that truily contemplates it and that identifies whith it. The starting point of this loving relation between man and deity is, therefore, the physical world, that occults in itself the metaphysical light. / O objetivo da presente disserta??o constitui analisar como a luz assume o sentido de v?nculo universal na cosmovis?o de Marsilio Ficino, especialmente a partir de suas obras Quid sit lumen, De Sole, De Amore e De Vita. A influ?ncia de Marsilio Ficino (1433-1499) na hist?ria do pensamento ocidental ? impressionante. Al?m de ter traduzido para o latim textos importantes da tradi??o neoplat?nica, Ficino presidiu a Academia de Careggi, reunindo importantes humanistas no auge do Renascimento. Os seus tratados sobre amor, beleza, luz, magia e imortalidade da alma influenciaram marcantemente a produ??o de outros pensadores. O tema da luz ? de import?ncia fundamental em sua obra, pois est? profundamente relacionado com todos os outros aspectos de sua filosofia. Para ele, a luz ? ema??o espiritual que a tudo perpassa, sem se macular. Originada da bondade divina, a luz explode em beleza na multiplicidade, incendiando de amor a alma que verdadeiramente a contempla e que com ela se identifica. O ponto de partida dessa rela??o amorosa entre homem e divindade. ?, portanto, o mundo f?sico, que oculta em si a luz metaf?sica.

Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Talyta Cristina de Carvalho.pdf: 908003 bytes, checksum: 60c2814e90d3fb885be22f5b05afe8bd (MD5) Previous issue date: 2010-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / When considering the philosophical work of Marsílio Ficino, The Platonic Theology, it was said that the philosopher had paganized Christianity when he tried to harmonize it with Greek thought.Our work is dedicated to examining the concept of God shown at the Second Book of the Platonic Theology for, through it, check whether the hypothesis of Christianism's paganisation at Rennnaisance is valid or not. Thereby, if the concept of God in Ficino‟s work is not the Christian concept of God then the hypothesis is confirmed; on the other hand, if the God found in Ficino is the Christian God, the hypothesis has thus been invalidated / Ao se considerar a obra filosófica de Marsílio Ficino, a Teologia Platônica, foi dito que o filósofo haveria paganizado o Cristianismo ao tentar harmonizá-lo com o pensamento grego. Nosso trabalho se dedica a analisar o conceito de Deus apresentado no Livro II da Teologia Platônica para, a partir dele, verificar se a hipótese da paganização do Cristianismo na Renascença é válida ou não. Assim, se o conceito de Deus em Ficino não for o conceito do Deus cristão teremos então, a confirmação da hipótese; por outro lado, se o Deus encontrado em Ficino for o Deus cristão, a hipótese terá sido, portanto, invalidada

Thesis (M.M.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 67-70).

No description available.

édition critique du commentaire au Parménide de l'humaniste Marsile Ficin, avec traduction française annotée et introduction / Doctorat en philosophie et lettres, Orientation histoire des religions / info:eu-repo/semantics/nonPublished

La censure de la musique existe depuis l’antiquité. Aristote et Platon ont rappelé le danger de la mimesis musicale et sa valeur morale a été largement discutée par les Pères de l’église, mais le débat est également enflammé à l’époque moderne, lorsque l’on trouve deux tendances fondamentales sur les fronts catholiques et réformés : d’un côté le rôle central de la musique pour la liturgie, de l’autre le contrôle des autorités ecclésiastiques à tous les aspects de la vie des fidèles (la religion, les lectures, les croyances magiques, les habitudes alimentaires et sexuelles, et toutes les formes de sociabilité desquelles la musique est l’ingrédient essentiel). Un examen des sources peut montrer qu’aux XVIe et XVIIe siècles, le domaine dans lequel on trouve une formulation claire et des réponses à cette problématique n’est pas l’humanisme laïque. Les intérêts des humanistes se concentrent sur la reconstruction d’une grammaire des affects qui est un alibi pour l’émancipation de la musique moderne, la seconda pratiqua, et la capacité de la musique à provoquer les affects importe davantage que sa faculté à leur imposer une limite. C’est dans le terrain de la théologie et de la casuistique qu’on discute l’aspect éthique de la question. Le concile de Trente (1564) et les édits diocésains condamnent le chromatisme, la messe parodie et l’utilisation des répertoires musicaux profanes dans la liturgie. La censure de la Congrégation de l’Index et du Saint Office s’étend à toutes les pratiques de communication populaire écrites et orales, et notamment au pétrarquisme. De Savonarole à Descartes, toutes les tentatives de déterminer la valeur affective des éléments de la composition supposent un diagnostic sur les facultés de l’âme et sur ses opérations lors de la fascination. La grammaire polyphonique peut modifier par ses tressages sonores le rapport entre le texte et la mélodie, détourner l’attention et conduire l’auditeur à une transgression émotionnelle (altérité, alienatio, excessus mentis). Étant donnée la corruption de la nature humaine, l’abandon au plaisir de la mélodie constitue un désordre coupable, sans commune mesure avec la musique qui pouvait bercer l’âme harmonieuse du premier homme. Reste, comme remède, la grâce sanctifiante du texte révélé des psaumes, à utiliser comme frein modérateur pour tempérer la puissance émotive de la musique. / Is it possible to censure music? This question may sound rather extravagant, and this is perhaps why music is often overlooked in studies on ecclesiastical censorship in the early modern period, for it would seem that its very essence is incompatible with any form of control. In fact, the huge transformation the Catholic Church had to face, between the sixteenth and the seventeenth century, had a big impact on the music scene. Unavoidably, music was involved in the disputes between Catholics and Protestants as essential liturgical element. The musicologists have mainly studied the Council of Trent action, which seemed to be animated by the desire to remove the secular textual and melodic components from the church repertory. Therefore, Rome became the main center of production for sacred and spiritual music used in celebrations, devotional practices and also in teaching catechism. The case of the Society of Jesus is exemplar: music represent a powerful means of education in college programs, and a strategic tool in the catechesis work. To the enhancement of spiritual genres corresponds as well the will of ‘suppress’ the profane repertories. This is well documented during the age of Counter Reformation, by the variety of cases of ‘‘travestimento’’ which invest canzonette and madrigals. This attitude was also proved by some of the measures the ecclesiastical censure adopted against the vocal production since the seventies of the sixteenth century. In ancient Greek musical theory, harmony was seen as being endowed with a natural virtue capable of altering the rational faculties of the listener’s soul, to the extent of depriving that person of his freedom. The many ethical implications of this classical axiom featured in early modern theological debates. My thesis tries to provide a first answer to these questions by studying the conciliar decrees, the documents of the Index Congregation, the treatises on music and the manuals on demonology. These sources reveal musical censorship did not only involve zealous inquisitors battling with some licentious musician, but also the language of worship and the circulation of prohibited knowledge, which included dangers in the form of sounds that went beyond erotic seduction.

Au XVe siècle, le philosophe florentin Marsile Ficin (1433-1499) rédige un texte singulier intitulé De vita coelitus comparanda ou « comment obtenir la vie du ciel » qui deviendra le troisième et dernier livre d’un ouvrage médical de plus large envergure, le De vita libri tres, consacré à conserver et à prolonger la santé des hommes de lettres accablés sous le poids de l’étude. Ce texte est tout entier consacré au pouvoir apotropaïque et prophylactique du talisman ou « image astrologique », une notion savante qui apparaît en Occident au milieu du XIIIe siècle, et insiste tout particulièrement sur la matérialité, la forme et l’apparence de ces images. Ainsi Ficin développe-t-il un discours original par rapport à la tradition en se concentrant sur le processus de fabrication, discours qui n’est pas sans rappeler les premières théories de l’art qui apparaissent à la même époque à Florence. Ficin réhabilite la figure du mage antique dans le cadre d’une réflexion plus vaste qui met en exergue le pouvoir créateur de l’homme en tant que savant, humaniste et philosophe. Si le postulat d’une influence tardive du néoplatonisme ficinien sur la littérature artistique du XVIe siècle a donné lieu à de nombreuses études, il apparaît en revanche que les rapports que Ficin était susceptible d’entretenir avec le monde des artistes, et surtout des artistes-théoriciens du XVe siècle, demeure un terrain relativement peu exploré. Tout l’enjeu de notre travail se situe donc dans la triple interrogation que ce concours de circonstances soulève : quel rôle jouent au sein de la pensée magique de Ficin les allusions à l’art et à sa pratique qui traversent l'ensemble de son œuvre? dans quelle mesure la notion d’«image astrologique» qu’il reprend et développe s’est-elle nourrie de la nouvelle littérature artistique alors en pleine formation? et enfin, comment peut-on affirmer que certaines œuvres typiques du Quattrocento florentin relèvent d’un caractère « mixte » oscillant entre le produit de l’art à proprement parler et l’objet magique? / In fifteenth-century Florence, the philosopher Marsilio Ficino (1433-1499) wrote the De vita coelitus comparanda, i.e. “how to capture life from the heavens”, which would later form the last and third book of a larger volume titled De vita libri tres. The latter exposes the means to preserve the health and extend the life of man of letters afflicted by their intense studies. The former deals with the apotropaic and prophylactic power of the talismans also called “astrological images”, following a learned concept which appeared in Western Europe in the mid-thirteenth century, and focuses on the materiality, form and appearance of these images. Ficino hence develops a new reflexion that focuses on the process of making which seems to echo new artistic theories devised during the same period in Florence. Ficino redeems the figure of the ancient magus by enhancing man’s creative power and his status as a philosopher and a humanist. The assumption of a late influence of Ficino’s neoplatonic thought on the arts in the sixteenth century has led to several studies but its genesis and its potential links with the artistic world and, especially his fellows artist-theoreticians, remained to be fully investigated. This thesis aims therefore to investigate the role of the artistic references within Ficino’s magic thought, the influence of contemporary ideas on the art practice upon his conception of “astrological image”, and the nature of specific artworks typical of fifteenth-century Florence, which seem to respond to both a magical and an artistic purpose.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:53:49Z (GMT). No. of bitstreams: 1 Stasi_Marcello_D.pdf: 6885248 bytes, checksum: 72213b5ac92bccddfffe802d422af700 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa teve por finalidade investigar a relação entre palavra e harmonia no repertório das monodias dramáticas da seconda pratica. Após considerar a alternativa da aplicação da doutrina do ethos associado ao modo, e examinar as implicações dos conceitos de pathos, mutatio e hexachordum, este trabalho situa a importância do platonismo ficiniano no contexto cultural que circundava surgimento da seconda pratica. Buscou-se então extrair diretamente da tradução latina da obra de Platão, indicada pelos cultores da seconda pratica como fonte de inspiração, a definição e as atribuições dos conceitos de melodia e suas partes constituintes: oratio, harmonia e rhythmus. A partir dos resultados desta investigação, que apontam para a importância da dialética na constituição do conceito platônico da oratio, relacionou-se este conceito à prática harmônica do repertório em questão tal como revelada pelo trabalho de Eric Chaffe. Tomando a specierum coppula como possível elemento constituinte comum entre a oratio e a harmonia, são analisados cinco exemplos de monodias dramáticas da seconda pratica, extraídos das obras de Jacopo Peri e Claudio Monteverdi baseadas no mito de Orfeu e Eurídice. Os resultados das análises sustentam a possibilidade de que estes compositores tenham buscado, através de elaborados encadeamentos harmônicos, dar forma material à relação entre as idéias expressas no texto poético, verdadeira essência do discurso para o pensamento platônico. Para tal efeito teriam tomado como pressuposto o princípio que considera contíguas duas tríades separadas por um intervalo de quinta gerando assim uma polarização do espectro harmônico sobre o eixo bemol-sustenido. O resultado dessa pesquisa aponta para um aumento da nossa percepção em relação à extensão e importância da influência do platonismo no movimento da seconda pratica. / Abstract: This research aimed to investigate the relationship between speech and harmony in the repertoire of dramatic monodies of the seconda pratica. After considering the alternative of applying the ethos doctrine associated to the modes and examining the implications of the concepts of pathos, mutatio, and hexachordum, it locates the importance of the platonic thought as advocated by Marisilius Ficino in the cultural context that surrounded the emergence of the seconda pratica. Consequently, this research aimed to extract directly from the source of inspiration indicated by the followers of the seconda pratica, the Latin translation of Plato's work, the definition and attributes of the concepts of melodia and its constituent parts: oratio, harmonia and rhythmus. Considering the results of this investigation which pointed towards the importance of dialectics in the constitution of the platonic concept of oratio, this works sought to relate this concept to the harmonic practice of the repertoire examined as revealed by the work of Eric Chaffe. Taking the specierum copula as a possible common denominator between oratio and harmonia, five examples of dramatic monodies of the seconda pratica extracted from Jacopo Peri's and Claudio Monteverdi's works based on the myth of Orpheus and Eurydice are analyzed. The results of the analyses support the possibility that these composers have aimed, by means of well elaborated harmonic progressions, to give material form to the relationship between the ideas expressed by the text, the true essence of speech according to platonic thought. This was accomplished presuming that two triads separated by a fifth are considered contiguous, generating therefore a polarization of the harmonic spectrum over the flat/sharp axis. The outcome of this research points towards an increase of our perception over the extension and significance of the influence of Platonism in the seconda pratica movement. / Doutorado / Doutor em Música