Recent innovations in the field of Artificial Intelligence raise epistemological issues regarding the nature of knowledge and the reproducibility of human intelligence, with some uncertain implications about the ambiguity of their application and their future developments. This reflection aims at bringing to light some problems related with the incipient use of these tools in the area of scientific knowledge and thinking.

RésuméLes auteurs traduisent et commentent un passage du Kitāb al-āṯār al-bāqiya concernant l'hydrologie. Ce passage révèle comment al-Bīrūnī comprenait les régimes fluviaux, le comportement physique de l'eau, et quelques phénomènes naturels spéciaux. Al-Bīrūnī ne se contente pas d'une discussion sur la prévision météorologique et les régimes fluviaux saisonniers du Tigre, de l'Euphrate, de l'Oxus et du Nile. Il défend surtout le principe qu'en l'absence de force externe, l'eau se meut vers le bas. Ce faisant, le savant du Khwarezm touche à (...) l'origine de la salinité des mers et au fonctionnement des machines à syphon hydraulique, et il décrit un phénomène artificiel, qu'il rejette comme résultant d'observations erronées, mais qu'on pourrait reconnaître comme un cas de saut hydraulique. De plus, ce passage renseigne sur ce qu'al-Bīrūnī comprenait du caractère inhabitable des régions sub-équatoriales, de la possibilité du vide, et du cycle de l'eau. (shrink)

En este artículo sostengo, frente a las explicaciones de carácter general basadas en supuestos doctrinales (p.ej., Allen y Falco), que el tipo de platonismo (y su relación con el orfismo) que revive con las labores filosóficas de Marsilio Ficino está anclado en el ejercicio de las tecnologías textuales que hereda de los neoplatónicos tardíos. Para mostrarlo, examino la negativa de Ficino de comentar el pasaje del Banquete (179d) donde se presenta a Orfeo como contraejemplo del valor de los amantes (...) y la comparo con la posición de Pico della Mirandola. Con ello pretendo distinguir el platonismo ficiniano del posible platonismo piquiano y subrayar su importancia como transmisor de la tradición platónica que incluye, en su caso, un orfismo comprometido no sólo doctrinalmente, sino también textualmente. In this paper I propose, against general explanations based on doctrinal assumptions (e.g., Allen and Falco), that the kind of Platonism (and its relationship with Orpheus) reviving in the philosophical works of Marsilio Ficino is anchored in the exercise of textual technologies inherited from the late Neoplatonists. To show this, I examine Ficino's refusal to comment on Symposium (179d) where Orpheus is presented as a counterexample of the lovers' courage and I compare it to the position of Pico della Mirandola on the same passage. This way, I distinguish Ficino's Platonism from Pico's and I emphasize its importance as a transmitter of the Platonic tradition that includes a committed Orphism not only doctrinally but also in a textual manner. (shrink)

Un pequeño grupo de vasos apulios de la segunda mitad del siglo IV a.C. representan el descenso de Orfeo a los Infiernos, su llegada ante el palacio de Hades y Perséfone, donde logró con su canto conmover a los dioses infernales. El programa iconográfico de estos vasos, pleno de relatos míticos y de enseñanzas religiosas destinadas a proporcionar consuelo y esperanza de vida más allá de la muerte, nos permite conocer el imaginario del reino subterráneo y a esta figura (...) religiosa que intercede ante los dioses del inframundo para obtener de ellos la salvación de los mortales, su ingreso en un allende beatífico y paradisíaco. (shrink)

L’article présente le projet ORFEO (outils pour l’étude du Français écrit et oral). Ce projet a consisté à rassembler 4M de mots de Français oral et 6M de mots d’écrit à partir de ressources existantes. Les ressources orales ont été unifiées dans un format trs et alignées avec les fichiers sons au phonème. Les corpus sont présentés avec des métadonnées qui permettent de constituer des sous-corpus d’étude. Les données orales ont été segmentées et annotées en POS et relations de (...) dépendance semi automatiquement. La précision des annotations a fait l’objet d’une évaluation. L’ensemble est interrogeable à partir d’une plateforme adaptée du logiciel libre ANNIS. La ressource sera mise à disposition en open source courant 2017. (shrink)

The intention in this paper is analyze how and why Pausanias relate the difference with the mythic Orpheus. This will reveal another face of the vast myth of the bard. For this particular research some aspects of Orpheus myth will be studied: place of birth, appearance, legend, magician’s role and his relation with Musaeus and the Eleusinian Mysteries.

El objeto de este estudio es el análisis del papel y la función del fr. 241 Bernabé en la exégesis del demiurgo que aparece en el libro II del Comentario al Timeo de Proclo. Este análisis se centra en el primero de los tres demiurgo-Zeus que caracterizan el panteón de este autor, el contenido en la tríada intelectiva Cronos-Rea-Zeus, y plantea la cuestión de por qué opta por el uso de la teología órfica en lugar de la caldaica. Para responder (...) a esta pregunta, el estudio se divide en tres partes: a) el análisis de la estructura y el contenido del fr. 241 Bernabé; b) el vínculo que establece el Comentario al Timeo entre Orfeo, Pitágoras y Platón; y c) la definición que este tratado ofrece el demiurgo y su adaptación a la teología órfica. La conclusión a la que se pretende llegar es que, en este caso concreto, el uso del orfismo viene dado por la adecuación de la segunda creación al concepto de demiurgo defendido por Proclo. (shrink)

"Orpheos Bakkikos: La cruz desaparecida". La pequeña piedra de Orpheos Bakkikos grabada con la representación de una crucifixión, se ha perdido desde la Segunda Guerra Mundial. A principios del siglo pasado, la piedra se consideraba original, pero en la década de 1920 surgieron dudas sobre su de 1920 surgieron dudas sobre su autenticidad debido a su clasificación como paleocristiana. la actualidad. Los argumentos a favor y en contra de la se examinan los argumentos a favor y en contra de la (...) autenticidad del artefacto. que la aporía puede resolverse no considerando la piedra unilateralmente como órfica o cristiana, sino situándola en su contexto histórico original. contexto histórico original. La argumentación de apoyo va desde el culto imperial romano a través de los Iobakchoi atenienses del siglo II d.C., así como de los siglo II d.C., así como a los poetas romanos y a los Cultores Liberi de la época de Augusto, hasta los funerales de Julio César, donde una efigie de cera del asesinado, que se parece mucho a la "figura crucificada" del grabado de Orpheos Bakkikos en un tropaeum cruciforme y se mostraba a la gente. Sobre estas bases se establecen hipótesis que explican tanto la aplicación de la piedra Orpheos Bakkikos como crucifixum signum en el ápice del flamen Divi Iulii, que se ha conservado en los tocados del Papa y los Patriarcas, así como el origen de los crucifijos articulados, que se han transmitido desde la Antigüedad y que se utilizan hasta hoy durante la Semana Santa. (shrink)

La figura de Orfeo, el poeta mítico, ha trascendido a través de la tradición poética e influido en ella de diversas maneras: el personaje está ligado a géneros poéticos, y a tópicos, motivos y temas literarios. Además, es el prototipo del poeta y el origen de la idealización de sus facultades. Esto último es en sí un tópico, como se puede observar en dos poemas, “Introito” de Ramón López Velarde y “Arte poética” de Alfonso Reyes.

A Orfeu, durante toda a Antiguidade, não só foi atribuída a autoria de uma considerável quantidade de obras literárias e filosóficas, mas foi considerado como o fundador de numerosos cultos, entre os quais as chamadas τελεται , ritos de iniciação que permitiriam alcancar um destino privilegiado no mundo do Além. O objetivo deste artigo é apresentar os testemunhos mais significativos de autores gregos que afirmavam, explicita ou implicatamente, ser Orfeu um filósofo, ou dele tratavam em contextos filosóficos, bem como procurar (...) entender as razões pelas quais esses autores o fizeram. (shrink)

Poliziano´s Favola d´Orfeo is one of the most rich and enigmatic literary works of the Renaissance, specially in terms of the debate it has generated amongst scholars when discerning its allegorical background. Starting from its general contextualization within the simbolic program of Marsilio Ficino´s Florentine Accademy, this paper aims to show: Its uniqueness with regards to the rest of Renaissance philosophical and literary productions of orphic subject; Its particular critical reception of three basic elements of the ficinian system: love, (...) frenzy and catharsis; and Its adoption of a new moralising tendency within Renaissance neoplatonism in explicit accordance with Christianity. (shrink)

El presente escrito propone una interpretación filosófico-literaria de la obra de Rainer Maria Rilke, realizada, fundamentalmente, a partir de Las elegías del Duino (1923) y los Sonetos a Orfeo (1923). Se plantea que la obra rilkeana contiene una propuesta de solución al problema existencial del hombre en el mundo, en el contexto de la crisis de la modernidad. El poeta describe una vía para lograr un ‘nuevo arraigo’ humano, cuyo eje fundamental es la aceptación de la muerte, que se (...) concreta en la adquisición de conciencia respecto del propio cuerpo y su finitud, a partir de las vivencias sensibles. (shrink)

Two of the tales mentioned in the title are in many ways typical of the great collections of stories to which they belong. What makes them conspicuous is no doubt the intensity of the erotic desire presented as the ultimate law which justifies even the most outrageous actions. The cult of eroticism is combined there with a cult of youth, which means disaster for the protagonists, who try to combine eroticism with advanced age. And yet the stories in question have (...) roots in a very different tradition in which overt eroticism is punished and can only reassert itself in a chastened form, its transformation being due to sacrifices made by the lover to become reunited with the object of his love. A medieval example of the latter tradition is here the Middle English romance, Sir Orfeo. All of the three narratives are conspicuously connected by the motif of the enchanted tree. The Middle Ages are associated with a tendency to moralize ancient literature, the most obvious example of which is the French anonymous work Ovide moralisé, and its Latin version Ovidius Moralizatus by Pierre Bersuire. In the case of The Merchant’s Tale and The Tale of the Enchanted Pear-Tree, we seem to meet with the opposite process, that is with a medieval demoralization of an essentially didactic tradition. The present article deals with the problem of how this transformation could happen and the extent of the resulting un-morality. Some use has also been made of the possible biblical parallels with the tales in question. (shrink)

In the half-century since Kenneth Sisam characterized the Middle English Sir Orfeo as a Greek myth “almost lost in a tale of fairyland,” scholars have struggled to synthesize these two apparently disparate elements into a unified reading of the poem. The narrator has seemingly transformed the ancient legend of Orpheus and Eurydice into a contemporary romance of a king Orfeo and his queen Heurodis. The Greek harper becomes an English minstrel, and some readers have explored the meaning of (...) this transformation through the traditions of medieval mythography and the music theory of Boethius. In Orfeo's loss of his wife and kingdom, his wandering in the wilderness, and his final successful return, other readers have seen the outlines of a specifically Christian allegory. Many of these scholars have explored the exegetical resonances between Orpheus and David and Orpheus and Christ, and, in spite of differences in emphasis and technique, they share a view of Orfeo's journey as a kind of penance or pilgrimage of the soul. Unlike his classical counterpart, however, Orfeo finds his wife not in Hell but in fairyland, and in defining the precise nature of this other world, suggestions range from a version of the Celtic world of “the dead and the taken” to associations between fairyland and the architecture of Revelation. (shrink)

This paper deals with Marcel's thought about the subject of death. It wants to elucidate a matter that has a preferential place in Marcel'Philosophy and Theatre. The mystery of death is for Marcel the key to understanding the image we have of the human being.

This paper deals with Marcel’s thought about the subject of death. It wants to elucidate a matter that has a preferential place in Marcel’Philosophy and Theatre. The mystery of death is for Marcel the key to understanding the image we have of the human being.

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 pp. (...) 1 black-and-white ill. Cloth, $99.Bers, Victor. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies 33. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. ix + 159 pp. Paper, $15.95.Bowie, Ewen, and Jaś Elsner, eds. Philostratus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2009. xii + 401 pp. 14 black-and-white ills. Cloth, $135.Bowlby, Rachel. Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford: Oxford University Press, 2009. viii + 251 pp. Paper, $49.95.Calame, Claude. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Hellenic Studies 18. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. xii + 267 pp. 9 black-and-white figs. Paper, $19.95Collins, Paul. Assyrian Palace Sculptures. With photographs by Lisa Baylis and Sandra Marshall. Austin: University of Texas Press, 2009. 144 pp. Numerous color ills. Cloth, $45.Coltman, Viccy. Classical Sculpture and the Culture of Collecting in Britain Since 1870. Classical Presences. Oxford: Oxford University Press, 2009. xiv + 315 pp. 85 black-and-white figs., 32 color plates. Cloth, $99.Comoth, Katharina. Gott selbst und die Idee. Beiträge zur Philosophie. Heidelberg: Universitätsverlag Winter, 2009. 86 pp. 2 black-and-white ills. Paper, €10.Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton, N.J.: Princeton University Press, 2007. xv + 421 pp. Numerous black-and-white figs., 27 color plates, 3 maps. Paper, $35. [End Page 345]Eezzuduemhoi, James. I. A. A Fundamental Greek Course. Ed. Glenn Storey. Lanham, Md.: University Press of America, 2009. xxxv + 547 pp. Paper, $65.Erskine, Andrew, ed. A Companion to Ancient History. Blackwell Companions to the Ancient World. Malden, Mass.: Wiley-Blackwell, 2009. xxxvii + 693 pp. 27 black-and-white figs., 5 maps. Cloth, $199.95.Flower, Harriet I. Roman Republics. Princeton, N.J.: Princeton University Press, 2010. xv + 204 pp. Cloth, $29.95.Föllinger, Sabine. Aischylos: Meister der griechischen Tragödie. Munich: C. H. Beck, 2009. 224 pp. 5 black-and-white ills. Cloth, €24.90.Goldhill, Simon, and Edith Hall, eds. Sophocles and the Greek Tragic Tradition. Cambridge: Cambridge University Press, 2009. xvi + 336 pp. Cloth, $99.Grethlein, Jonas, and Antonios Rengakos, eds. Narratology and Interpretation. Trends in Classics 4. Berlin: Walter de Gruyter, 2009. vii + 630 pp. Cloth, €93.41.Haziza, Typhaine. Le Kaléidoscope hérodotéen: Images, imaginaire et représentations de l'Égypte à travers le livre II d'Hérodote. Études anciennes 142. Paris: Les Belles Lettres, 2009. 393 pp. 7 black-and-white figs. Paper, €45.Jouanna, Jacques, and Franco Montanari, eds. Eschyle: À l'aube du théâtre occidental. Entretiens Hardt 55. Geneva: Fondation Hardt, 2009. Dist. by Vandoeuvres. xi + 510 pp. Cloth: SFr 85.Johnson, Mark J. The Roman Imperial Mausoleum in Late Antiquity. Cambridge: Cambridge University Press, 2009. xviii + 296 pp. Numerous black-and-white figs., 16 color plates. Cloth, $95.Kronenberg, Leah. Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge: Cambridge University Press, 2009. xi + 223 pp. Cloth, $99.Loukopoulou, Louisa D., and Selene Psoma, eds. Thrakika Zetemata. Vol. 1. In collaboration with Athéna Iakovidou. Meletemata 58. Athens: Research Centre for Greek and Roman Antiquity of the National Hellenic Research Foundation, 2008. Dist. by Boccard. 175 pp. Numerous black-and-white figs. Paper, price not stated.Lowrie, Michèle, ed. Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press, 2009. viii + 472 pp. Cloth, $199; paper, $75.Martin, Gunther. Divine Talk: Religious Argumentation in Demosthenes. Oxford Classical Mongraphs. Oxford: Oxford University Press, 2009. ix + 345 pp. Cloth, $125. [End Page 346]Mendoni, Lina G., and Sophia B... (shrink)

The article treats the presence of stars in terrestrial landscapes, in opposition to the Underworld and in connection to the topos of katabasis, above all in order to pursue in more depth a textual problem in the fabula Orphei of Vergil’s Georgics. The philological question is approached both on the basis of context and in relation to the descent into Hades of Aeneas, as well as in diachronic comparison with the earlier Homeric katabasis of Odysseus and the later otherworldly voyage (...) of Dante in the Commedia. This internal and intertextual investigation reveals multiple functions of the celestial bodies in similar stories, as well as analogies between Homer, Vergil and Dante, linked by interests in nature and astronomy and by reciprocal influences. In fact, the Greek model and the Italian emulator seem to help clarify the contested passage in the Vergilian katabasis of Orpheus, while the Latin poet and Dante rework a celestial detail already present in the νέκυια of Homer. Finally, both these classical authors, as well as Ovid, are subtly present at the ends of the three parts of the Commedia, each of which closes with the suggestive and symbolic image of “stars”, which evokes and renews an ancient tradition. (shrink)

1. Dioniso, Apollo, Eleusi, Orfeo, Museo, Iperborei, Enigma -- 2. Epimenide, Ferecide, Talete, Anassimandro, Annassimene, Onomacrito (2. ed., 1994) -- 3. Eraclito (2a ed., 1982).