The creation and manipulation of infinite images is central to Bruno's thought, but to the best of my knowledge, this has never been properly treated before. This project is a departure from much of the current scholarship on Bruno which has focused on his contribution to scientific thought, and downplayed or ignored the Hermetic and magical elements which pervade his work. Each chapter deals with different works of Bruno, and different aspects of his philosophy, and each is rooted in the larger project of uncovering the role, meaning, and application of images in Bruno's thought. / The general arc of the thesis is from the interior and personal to the cosmological and metaphysical. Chapter 1 begins with a study of the faculty of phantasy and the role of images on human cognition. This is Bruno's epistemology and anthropology as expressed in Imaginum. Chapter 2 covers the ethical and social applications of images, and how the control of images manipulates reality. This concept is represented in the reconstruction of the universe in The Expulsion of the Triumphant Beast. Chapter 3 deals with the physics---or mechanics---of his philosophy, with its roots in Hermetic magic as described in Vinculis and Magia, wherein images are used to create bonds. Chapter 4 addresses Bruno's cosmology, which adopts the Copernican model and reinterprets that model as a hieroglyph. It is the heuristic key in Ash Wednesday Supper, the image of which exists in the faculty of phantasy and becomes embedded on to the universe. The two become indistinguishable and work in union. Through the coincidence of opposites, matter becomes form and God becomes man. The image of the infinite cosmos becomes re-embedded in the single instance of an image in the faculty of Phantasy. / The conclusion will bring together these epistemological, ethical, mechanical, cosmological, and metaphysical strains of Bruno's philosophy into a statement on the Brunian reformation as he saw it, and on the contemporary relevance of his theory and application of images.

In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.

Orientador: Hermas Gonçalves Arana / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-22T15:35:44Z (GMT). No. of bitstreams: 1 Santos_PatriciaLessa_M.pdf: 8228721 bytes, checksum: 8895eab7202a0e0ead55fa68a2a6a792 (MD5) Previous issue date: 1997 / Mestrado / Filosofia da Educação / Mestre em Educação

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L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte ». / The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining.

Cette recherche se constitue comme un parcours généalogique dans la pensée naturelle et politique de Giordano Bruno autour de la notion de « vinculum » ‘lien’ ou ‘relation’, à travers la reconstruction de son origine et de son élaboration à partir des écrits magiques jusqu’aux dialogues italiens et aux premiers ouvrages latins. L’exigence est de retracer dans l’œuvre ainsi que dans l’expérience intellectuelle et biographique du Nolain, quelle est la relation entre philosophie naturelle et politique et comment elle se constitue. En d’autres termes, il s’agit de comprendre si l’analyse du politique pourrait être déliée ou réellement distinguée de l’étude de la nature ou si elle prendrait plutôt son point d’origine et se développerait au cœur de la connaissance de la physis : isoler et analyser quel que soit le rôle et la fonction que la notion de « vinculum » assume entre la réflexion métaphysique et anthropologique de Bruno. Ces questions constituent le problème de fond qui anime ce travail et auquel j’ai essayé de répondre dans ces pages, bien que conscient du caractère jamais définitif et ouvert de cette réponse comme pour chaque recherche. / This research is a genealogic study of the natural and political thought of Giordano Bruno, about the notion of «vinculum», ‘bond’ or ‘relation’, by the reconstruction of its origin and development from the magic writing to the Italians dialogues and the firsts Latins works The necessity of this work is to track down the Bruno’s opera and in his intellectual and biographic experience which is the relation between natural and political philosophy. In others words, the work lies in understanding if is possible to separate and distinguish the analysis of the politic from the nature; or the political thought is originate and it is inseparable from the reflection about the physis: isolating and analyzing which is the role and the function of the notion of «vinculum» between the metaphysical and anthropological reflection of Giordano Bruno. Those questions constitute the problem of this research and to which I try to respond in theses pages, even if conscious of the character never complete of this answer, as well as every research.

L’évocation de la Renaissance italienne des XVe et XVIe siècles est souvent synonyme de la propagation d’une nouvelle pensée de l’homme, exaltant les valeurs oubliées de l’excellence et de la liberté humaines. Chez un philosophe comme Giordano Bruno (1548-1600), la question de la liberté ne se présente pas aussi facilement que chez d’autres grands auteurs des Quattrocento et Cinquecento (tel Marsile Ficin ou Pic de la Mirandole). Sa défiance héroïque envers l’autorité ecclésiastique et son exécution par l’Inquisition, le 17 février 1600, sur le campo dei Fiori, illustrent sa longue lutte pour libérer la philosophie des entraves de la religion révélée. Bruno peut se targuer d’être l’un des premiers penseurs depuis l’Antiquité à intégrer une cosmologie, une physique, une psychologie et une éthique dans un système de philosophie (la nova filosofia). Malgré une terminologie parfois fluctuante et des contradictions souvent apparentes, la philosophie de Bruno possède une réelle cohérence interne et peut être regardée comme annonçant celle de Spinoza. Or à la différence du déterminisme de ce dernier, Bruno soutient que l’homme est doté d’un libre arbitre, s’opposant en cela aux thèses de Luther et abondant dans le sens d’Erasme. Son affirmation d’une liberté humaine intimement liée aux problèmes éthiques et religieux de son époque n’est toutefois pas sans provoquer certaines tensions au regard de sa conception métaphysique d’un univers infini en acte. L’objet de ce travail est d’analyser la thèse brunienne de la compossibilité de la liberté humaine avec la nécessité divine qui s’exprime dans un univers métamorphique et infini, en recherchant, dans une première partie, les sources de son compatibilisme et en interprétant, dans une seconde partie, la manière dont Bruno concilie liberté et nécessité. / The evocation of the Italian Renaissance of the fifteenth and sixteenth centuries is often synonymous with the spread of a new human thought, exalting the forgotten values of human excellence and freedom. For a philosopher like Giordano Bruno (1548-1600), the problem of freedom does not arise as easily as it does for other great authors of Quattrocento and Cinquecento (such as Marsilio Ficino or Pico della Mirandola). His heroic defiance of ecclesiastical authority and his execution by the Inquisition on 17 February 1600 onto the Campo de’ Fiori, exemplifies his long struggle to free philosophy from the trammels of revealed religion. Bruno can claim to be the first thinker since Antiquity to integrate a cosmology, physics, ethics and psychology into a system of philosophy (nova filosofia). Despite sometimes inconsistent terminology and often apparent contradictions, Bruno’s philosophy has a real inner coherence and can be seen as announcing Spinoza’s. However, unlike the latter’s determinism, Bruno maintains that human being is endowed with a free will, opposing Luther’s theses and agreeing with Erasmus. Nonetheless, his affirmation of human freedom, intimately linked to the ethical and religious problems of his time, is not without causing tensions with regard to his metaphysical conception of the actual infinity in the universe. The purpose of this work is to analyse the brunian thesis of the compossibility of human freedom with the divine necessity expressed in a metamorphic and infinite universe, by seeking, in a first part, the sources of its compatibility and by interpreting, in a second part, the way in which Bruno reconciles liberty and necessity.

This research consists on a discursive analysis of the filmic materiality "Giordano Bruno" (1973), directed by Giulliano Montaldo. With the contemplation of this cinematographic film, we seek to understand the productions of meaning, in line with Discourse Analysis (French line), for which language, as a socio-historical object, produces effects of meanings, according to the postulates of Mussalim (2001 ), Orlandi (1984, 2002, 2012). Aside from this theoretical contribution, we look at the relations of power / knowledge, truth, discipline control, and vigilance, according to Foucauldian theories (1987, 1988, 1999, 2009, 2011, 2012, 2015). From this theoretical device, we analyzed discursively the film, verbal and nonverbal language, problematizing the relations of power / knowledge in the construction of truths. We also examined the relationships between the characters, the environment, the set design, reflecting on the production of meaning, from the objects, the scenes. In order to contextualize the cinema in the socioeconomic context in which it emerged, we studied the cultural industry, according to the teachings of Teixeira Coelho (1980). Regarding the questions about the formation of a value system in the film media, we used the Bernadet research (1985), Charaudeau (2007), Kristeva (2007), Martin (2011). As the methodological aspects, we related the theoretical and analytical devices, using Orlandi's (1984) proposal, according to which it is possible to delimit our object by making discursive cuts (RD), which consist of fragments of a discursive situation, in which correlate language and situation. In this sense, we made three cutouts on the discursive whole: the discourse of / on knowledge; the discourse of / on the power of surveillance; the discourse of / about the body tortured (the images constructed from the relation power / knowledge). From these cutouts, we analyzed some discursive sequences (SD), in order to relate the analytical devices to the theoretical devices. Because our object and the theories that sustain it, we consider our work with a qualitative character. As a result of our analysis, we verify which sense effects the discursive gestures promote. In this direction, we believe that this research becomes relevant insofar as, according to the observation of the power / knowledge / truth / subjectivity relations, in this filmic materiality, we return to the history of the teacher's constitution, from the position of the philosopher, in the history of knowledge. In this sense, according to Foucault (1997), we try to "eventalize" history, seeking the singularity, the rarity, the games of strength, searching for the signification of the concepts of time, space, according to the idea of infinity defended by the protagonist, Giordano Bruno. / Esta pesquisa consiste em uma análise discursiva da materialidade fílmica “Giordano Bruno” (1973), dirigido por Giulliano Montaldo. Com a contemplação dessa película cinematográfica, buscamos compreender as produções de sentido, à luz da Análise de Discurso (linha francesa), para a qual a língua, enquanto objeto sócio histórico, produz efeitos de sentidos, de acordo com os postulados de Mussalim (2001), Orlandi (1984, 2002, 2012). Afora esse aporte teórico, atentamos para as relações de poder/saber, de verdade, de controle da disciplina, de vigilância, consoante as teorias foucaultianas (1987, 1988, 1999, 2009, 2011, 2012, 2015). A partir desse dispositivo teórico, analisamos discursivamente o filme, linguagem verbal e não verbal, problematizando as relações de poder/saber na construção de verdades. Examinamos ainda as relações entre os personagens, o ambiente, a cenografia, refletindo sobre a produção de sentido, a partir dos objetos, das cenas. Com o intuito de contextualizar o cinema no quadro socioeconômico em que surgiu, estudamos a indústria cultural, conforme os ensinamentos de Teixeira Coelho (1980). No que concerne aos questionamentos sobre a constituição de um sistema de valores na mídia cinematográfica, lançamos mão das pesquisas de Bernadet (1985), de Charaudeau (2007), de Kristeva (2007), de Martin (2011). Quanto aos aspectos metodológicos, relacionamos o dispositivo teórico e o analítico, empregando a proposta de Orlandi (1984), segundo a qual é possível delimitarmos o nosso objeto realizando recortes discursivos (RD), os quais consistem em fragmentos de uma situação discursiva, nos quais se correlacionam linguagem e situação. Nesse sentido, efetuamos três recortes sobre o todo discursivo: o discurso do/sobre o conhecimento; o discurso do/sobre o poder da vigilância; o discurso do/sobre o corpo supliciado (as imagens construídas a partir da relação poder/saber). A partir desses recortes, analisamos algumas sequências discursivas (SD), a fim de relacionarmos os dispositivos analíticos aos dispositivos teóricos. Dado nosso objeto e as teorias que o sustentam, consideramos nosso trabalho de caráter qualitativo. Como resultado de nossa análise, verificamos quais efeitos de sentido os gestos discursivos promovem. Nessa direção, acreditamos que esta pesquisa se torna relevante, na medida em que, consoante a observação das relações poder/saber/verdade/subjetividade, nesta materialidade fílmica, retomamos a história da constituição do professor, a partir da posição do filósofo, na história do conhecimento. Nesse sentido, à luz de Foucault (1997), tentamos “acontecimentalizar” a história, buscando a singularidade, a raridade, os jogos de força, procurando a ressignificação dos conceitos de tempo, de espaço, de acordo com a ideia de infinito, defendida pelo protagonista, Giordano Bruno. / São Cristóvão, SE

Le présent travail de thèse est consacré à la question du désir et à la façon dont elle émerge dans la philosophie de Giordano Bruno (1548-1600). En dépit de sa place relativement marginale dans le corpus très vaste des études bruniennes, et malgré sa présence non immédiatement évidente dans les écrits du Nolain, nous pensons qu’une recherche sur le statut du désir peut ouvrir une perspective pertinente et radicale sur la pensée de ce philosophe de la Renaissance tardive. Loin d’être une question accessoire, le désir se situe au coeur de la philosophie de Bruno et incarne le rythme immanent de sa spéculation. Face au thème capital de la nolana filosofia – la modalité à travers laquelle le fini réalise et exprime l’infini – la question du désir nous ouvre des chemins suggestifs à travers l’imposante oeuvre de l’ex-moine dominicain. Nous avons abordé ce sujet sous plusieurs perspectives, toujours attentifs à exprimer le caractère systématique sus-jacent à la grande ampleur des thématiques que l’on trouve dans les écrits du philosophe. Nous avons préféré procéder de manière diachronique, en privilégiant une approche conceptuelle plutôt qu’un exposé de la philosophie brunienne dans son déroulement chronologique. Nous nous sommes d’abord penchés sur un traité tardif, la Lampas triginta statuarum, où le désir apparaît comme la force qui amène les « ténèbres »indistinctes à exprimer la richesse infinie de formes qu’elles renferment en puissance. Dans les dialogues cosmologiques en italien, le désir, force immanente aux révolutions des planètes (qui assurent la succession des saisons et des civilisations), réalise dans chaque être la vicissitude qui lui permet « d’être tout et de devenir tout ». La comédie italienne le Chandelier montre comment la poursuite d’un désir statique, obsessionnel et contraire à la nature amène inévitablement à la perte des personnages qui l’incarnent. Cette même aspiration “civile” sera présente dans le traité magique Des liens où le philosophe-mage s’appuie sur l’amour, « le lien le plus puissant », pour donner vie à une république qui, à travers ses citoyens, reflète la puissance infinie inhérente à la nature. En dernier lieu,nous verrons comment, dans Des fureurs héroïques, l’élan cognitif qui amène Actéon à « devenir nature » correspond à la manière la plus humaine qui soit de réaliser l’infini. / My PhD dissertation aims at analysing the concept of desire in relation to Giordano Bruno’s philosophy. Despite the relatively marginal place of this issue among secondary bibliography and its not immediately evident presence in Bruno’s works, I think that this kind of research can open apertinent and radical perspective on Bruno’s thought. Far from being a secondary aspect, the desire is at the core of Giordano Bruno’s philosophy and it embodies its immanent rhythm. In relation to the fundamental theme of Bruno’s philosophy – the way in which the finite realises the infinite – the question of desire can disclose to us new perspectives. I have looked at this problem from many perspectives, always attentive to express the systematic character under the great varieties of topicswe can find in the Nolana filosofia. I have proceeded diachronically, privileging a conceptual approach rather than a chronological account of Bruno’s thought. First, I have considered the Lampas triginta statuarum, a late Latin treatise in which the desire appears as the force that leads the tenebræ toexpress the infinity of forms they contain in potentiality. In the cosmological dialogues in Italian, the desire – immanent force that assures planets’ revolutions (and in that way the cycle of seasons andcivilisations) – realises in all the beings the vicissitude that allows it to “be everything and becomeeverything”. The comedy The Candle Bearer shows how the pursuit of a static, obsessional, andunnatural desire causes the loss of the three main characters. We can find the same “civil afflatus” inthe magical treatise De vinculis where the magic-philosopher builds through love (“the most powerfullink”) a republic that, through its citizens, reflects the infinite power of nature. Lastly, we will see how, in The Heroic Frenzies, the cognitive desire that allows the metamorphosis of the hunter Acteon in nature corresponds to the most human way to realise the infinite.

Centrée sur la thématique de la « fureur héroïque » développée dans le dernier ouvrage écrit en langue italienne par Giordano Bruno, De gli eroici furori (1585), cette recherche explore une double problématique suivant deux perspectives. D’une part, du point de vue historique, quels sont les schèmes philosophiques qui peuvent être considérés comme des conditions de possibilité de l’émergence de la figure du Furioso, le philosophe-poète dont les poèmes et leur commentaire philosophique nous font suivre l’itinéraire affectif et cognitif dans sa poursuite d’une union naturelle et rationnelle avec le principe infini du réel ? Suivant une méthode archéologique, il s’agit de retrouver dans les strates de la culture philosophique des traces précises et exemplaires de la mise en place, de la transmission et de la transformation de ces schèmes fondamentaux chez des auteurs de l’Antiquité, du Moyen Âge ou de la Renaissance. D’autre part, du point de vue conceptuel, comment une expérience psychologique telle que cette rencontre noético-amoureuse, qui n’est jamais totalement aboutie en raison de la disproportion entre « le sujet » et « l’objet », et qui se présente, néanmoins, comme une dissolution de soi dans la disparition de la distinction entre sujet et objet, met-elle en oeuvre, paradoxalement, une constitution de soi ? / Focused on the theme of the “heroic frenzy” developed in Giordano Bruno’s last opus written in Italian language, De gli eroici furori (1585), this work explores a double issue from two perspectives. On the one hand, from an historical point of view, what are the philosophical schemes that may be considered as conditions of possibility for the emergence of the Furioso’s figure, the philosopher-poet whose poems and their commentary lead through a path of affects and knowledge in his own intellectual pursuit of a natural and rational bonding with the infinite principle of reality? Following an archeological method, specific and exemplary traces of these fundamental schemes are found within layers of philosophical culture, throughout works of authors of Antiquity, Middle Ages or Renaissance who set, relayed and modified them. On the other hand, from a conceptual point of view, the process of the Furioso’s psychological experience is studied. His both noetic and loving encounter with the Principle is never completely fulfilled because of the disproportion between “the subject” and “the object”. Nevertheless, it is presented as a dissolution of self by ending the distinction between the subject and the object. How does this experience paradoxically implements a constitution of self?