In an era characterized by fast technological progress that introduces new unpredictable scenarios every day, working in the law field may appear very difficult, if not supported by the right tools. In this respect, some systems based on Artificial Intelligence methods have been proposed in the literature, to support several tasks in the legal sector. Following this line of research, in this paper we propose a novel method, called PRILJ, that identifies paragraph regularities in legal case judgments, to support legal (...) experts during the redaction of legal documents. Methodologically, PRILJ adopts a two-step approach that first groups documents into clusters, according to their semantic content, and then identifies regularities in the paragraphs for each cluster. Embedding-based methods are adopted to properly represent documents and paragraphs into a semantic numerical feature space, and an Approximated Nearest Neighbor Search method is adopted to efficiently retrieve the most similar paragraphs with respect to the paragraphs of a document under preparation. Our extensive experimental evaluation, performed on a real-world dataset provided by EUR-Lex, proves the effectiveness and the efficiency of the proposed method. In particular, its ability of modeling different topics of legal documents, as well as of capturing the semantics of the textual content, appear very beneficial for the considered task, and make PRILJ very robust to the possible presence of noise in the data. (shrink)

La presente obra se trata de un ejercicio de reflexión colectiva para [re]pensar a Bobbio con verdaderos artículos científicos por parte de los estudiosos de su obra más acreditados en Europa y América Latina: Michelangelo Bovero, Arnaldo Córdova, José Fernández Santillán, Ermanno Vitale, entre otros. A la vez que un homenaje al filósofo turinés, se logra con estos textos una revisión crítica de muchas de las ideas clave de su pensamiento a la luz de los retos del siglo XXI: (...) democracia, terrorismo, derechos fundamentales, etc. (shrink)

Tomando como punto de partida un análisis de los conceptos que aparecen en el título de su participación, Bovero sostiene que atribuir toda especie de derechos al «ciudadano», al miembro de una comunidad determinada, cierra la posibilidad de considerar el problema de los derechos de la persona y su específica relevancia actual en un mundo atravesado por grandes masas de migraciones de personas desesperadas. Más en general, concebir los derechos fundamentales como derechos de ciudadanía impide plantear correctamente el problema de (...) su defensa, cuyo nivel crucial sólo puede ser el supranacional. (shrink)

Excerpt from L'Esiglio di Sant'agostino: Note Sulle Contraddizioni di un Sistema di Filosofia per Decreto; L'Objet De la Connaissance Humaine l'Essere e la Conoscenza l'Unité De la Philosophie Et la Théorie De la Connaissance Il solo occuparsi di queste cose pare ad alcuni indizio di spirito non libero, non filosofico. E da costoro che io mi aspetto un rimprovero di questo genere: Voi perdete. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at (...) www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Ästhetische und politische Diskurse standen im späten 18. Jahrhundert in einem untrennbaren Wechselverhältnis. Die ästhetischen Entwürfe und literarischen Fiktionen von Autoren wie Karl Philipp Moritz, Salomon Maimon, Daniel Jenisch, Johann Friedrich Reichardt oder dem jungen Wilhelm von Humboldt sind sowohl Reflexionen als auch normative Vorwegnahmen des Wandels von der noch weitgehend höfisch dominierten Residenzkultur der friderizianischen Epoche zur emanzipierten Stadtkultur des Reformzeitalters. Der in der Studie verfolgte topographische methodische Zugang ermöglicht es, die untersuchten ideellen Diskurse institutionen- und mediengeschichtlich zu verankern (...) und als Argumentationsstrategien innerhalb konkreter Debatten zu verstehen. Durch die lokale und temporale Konzentration lässt sich der Gegenstand zudem quer zur disziplinären Arbeitsteilung (Geschichte, Literatur, Philosophie) und zu literatur- und kulturgeschichtlichen Epochengrenzen untersuchen. (shrink)

- Diskussion von Epochenbegriff und Epochengrenzen - Autor, Markt und Publikum: Strukturwandel der literarischen Öffentlichkeit - Die Epoche im Spiegel der zeitgenössischen Debatten, z. B.: Nationalliteratur, Antike, Ästhetik, Religion - Popularisierung von Wissen und literarische Wissensvermittlung - Kulturtransfer und Fremderfahrung - Gattungsinnovationen und Gattungswandel: Drama, Roman, Publizistik und Literaturkritik, Fabel und Prosaerzählung, Dialog und Essay.

The Sculptor of the Overman and the Dithyrambic Artist: Michelangelo and Wagner in Thus Spoke Zarathustra. This paper draws on the work of Mazzino Montinari in order to explore the relations between Nietzsche’s image of Michelangelo and specific elements of Thus Spoke Zarathustra. These elements concern the idea of the overman and the figure which is sleeping in the stone. A biography of Michelangelo by the art historian Herman Grimm, a correspondent of Ralph Waldo Emerson, may be (...) the source of Nietzsche’s reference to a mysterious statue described in the chapter “Of Those who are Sublime”. Moreover, Jacob Burckhardt’s Cicerone may help to explain the relationship between Wagner and the sculptor. One way to understand the context of this image is to return to the fourth Untimely Meditation - Richard Wagner in Bayreuth - in which Nietzsche portrays Wagner as both a sculptor and a dithyrambic artist. Some years later Zarathustra/nietzsche will himself appear as the sculptor of the overman and as the authentic dithyrambic poet, that is the authentic “musician of the future”. (shrink)

Chung Kuo, Cina, a documentary film by Michelangelo Antonioni, aroused fierce criticism both in China and in Europe when it was released in 1973. While these objections contradicted one another, they all share a conceptual core : the notion of realism understood in a Marxian sense as a critical representation of reality. Yet by refusing to grant a coherent and essentialist meaning to its images, Chung Kuo, Cina problematizes the presuppositions of such an understanding of realism. In this way, (...) the film anticipates some of its intrinsic difficulties and inaugurates a new form of criticism. -/- À sa sortie en 1973, le film documentaire Chung Kuo, Cina de Michelangelo Antonioni a provoqué des critiques farouches aussi bien en Chine qu’en Europe. Bien qu’elles se contredisent entre elles, ces objections se rejoignent toutes dans un noyau conceptuel autour de la notion de réalisme, entendu au sens marxiste comme représentation critique de la réalité. Cependant, en refusant d’accorder un sens cohérent et essentialiste à ses images, ce film permet de problématiser les présupposés de cette compréhension même du réalisme. Il préfigure ainsi certaines difficultés qui lui sont inhérentes et permet de concevoir une autre manière d’entendre la critique. (shrink)

Galileo'nun öncülük ettiği bilimsel devrimde kilit rol oynayan bazı düşünceler Rönesans ile ortaya çıkmıştır. Medici ailesinin bilinçli çabaları sonucu yaşanan Antik Yunan'ın yeniden keşfi süreci, Michelangelo'nun çabalarıyla başlamış ve Galileo ile sürmüştür. Bu çalışmada hem Michelangelo'nun hem de Galileo'nun konularına Platonist bir tavırla yaklaştıklarını ve Medicilerin desteğinin tüm bu devrim boyunca yaşamsal olduğunu göstermeye çalıştım.

A poesia, em seu sentido mais amplo, surge como ponto de partida para todos os conhecimentos acerca do homem e do mundo. Assim, o poeta não é apenas um artista que produz versos, mas o que busca uma intermediação entre o humano e o divino. Este artigo tem como proposta estudar a poesia e a arte de Michelangelo Buonarroti a partir do conceito de “Figura”, definido na obra de Auerbach, analisando o poético na obra do artista italiano a partir (...) de suas relações com o profético. Tanto na pintura dos afrescos da Capela Sistina, quanto na escrita de seus poemas, Michelangelo nos revela a luta do artista para atribuir à obra sentidos transcendentais, transformando a Arte em revelação divina, que exige uma interpretação dos seus leitores. Seguindo essa ideia, o gênio italiano passa a unir figuras pagãs e cristãs, como sibilas greco-romanas e profetas judaico-cristãos, para reler o passado, interpretar o presente e prenunciar o futuro.Palavras-chave: Poesia; Profético; Michelangelo; Auerbach.Poetry, in its broadest sense, emerges as a starting point for all knowledge about man and the world. The poet is not only an artist that writes verses, but one who seeks to intercede between the human and the divine. This article aims at studying the poetry and art of Michelangelo Buonarroti taking the concept of "Figure", as defined in the work of Auerbach, and analyzing the poetic work of the Italian artist and how it relates to prophetic themes. Both in the painting of the frescoes of the Sistine Chapel and in his poems, Michelangelo reveals the battle of the artist to assign a sense of transcendence, transforming Art in a divine revelation, which will require an interpretation of their readers. Grounded on this idea, the Italian genius blends Christian and pagan figures, such as Greco-Romans Sybils and Judeo-Christian prophets, to reread the past, interpret the present and foreshadow the future.Keywords: Poetry; Prophetic; Michelangelo; Auerbach.- DOI: 10.5752/P.2175-5841.2012v10n25p75. (shrink)

A presente pesquisa visou a explorar brevemente as relações entre as obras do jovem Michelangelo e a influência teórica do platonismo e neoplatonismo que se disseminaram em Florença durante a época de Lorenzo, o Magnífico. Para empreender o projeto com clareza, dividiu-se a abordagem em quatro momentos, sendo eles: i) uma introdução geral; ii) o cenário Florentino e a filosofia platônica; iii) a filosofia platônica, seus principais pontos e a recuperação de seus conceitos pelos humanistas renascentistas; e iv) a (...) influência platônica sobre o jovem Michelangelo. Assim, buscou-se, sem pretensões de esgotar o tema, demonstrar em que medida as formas artísticas de Michelangelo e suas concepções filosóficas estão profundamente interligadas.Palavras-chave: Platão. Neoplatonismo. Arte. Michelangelo. Humanismo. (shrink)

Let us agree, to begin with, that we are not shown [in Last Judgment], as Life Magazine long ago phrased it, a Saint Bartholomew who "holds his own mortal skin, in which Michelangelo whimsically painted a distorted portrait of himself.”1 The face was sloughed with the rest of the skin and goes with it. What we see is a Saint Bartholomew with another's integument in his hand. We next consider an aspect of the self-portrait which even La Cava left (...) out of account - its relative siting. This has to matter since the portrait lies in the path of Christ's imminent action. More than that, it lies on a diagonal that traverses the fresco like a heraldic bend chief to base - from left top to right bottom. The twofold competence thus assumed by the self-portrait - in its concrete location and in the range of its influence - is something to marvel at. A hangdog face flops to one side, helpless and limp. But the tilt of its axis projected upward across the field strikes the apex of the left-hand lunette, the uppermost point of the fresco. And if, departing once again from the skin's facial axis, we project its course netherward, we discover the line produced to aim straight at the fresco's lower right corner. Such results do not come by chance. To put it literally, letting metaphor fall where it may: it is the extension of the self's axis that strings the continuum of heaven and hell. · 1. Life Magazine, 6 December 1949, p. 45. So also Redig de Campos speaks of the lifeless Apostle's own skin, "dove il Buonarroti ha nascoto un singolare autoritratto..in caricatura tragica della sua 'infinita miseria'" . Tolnay sees the matter correctly: "It is the artist's empty skin which the saint holds in his hand" Leo Steinberg is Benjamin Franklin Professor and University Professor of the History of Art at the University of Pennsylvania. His publications include Other Criteria: Confrontations with Twentieth-Century Art, Michelangelo's Last Paintings, Borromini's San Carlo alle Quattro Fontane, as well as studies of Leonardo, Pontormo, Velazquez, and Picasso. (shrink)

Based upon the proceedings of the First International Conference on the History of General Relativity, held at Boston University's Osgood Hill Conference Center, North Andover, Massachusetts, 8-11 May 1986, this volume brings together essays by twelve prominent historians and philosophers of science and physicists. The topics range from the development of general relativity (John Norton, John Stachel) and its early reception (Carlo Cattani, Michelangelo De Maria, Anne Kox), through attempts to understand the physical implications of the theory (Jean Eisenstaedt, (...) Peter Havas) and to quantize it (Peter G. Bergmann), to elaborations of the theory into a unified theory of electromagnetism and gravitation (Vladimir P. Vizgin, Michel Biezunski), and considerations of its cosmological extensions (Pierre Kerszberg, George F.R. Ellis). This is the first volume to survey many of the most important questions in the history of general relativity, with many of the contributions drawing upon such original resources as the Einstein Archive. It is hoped that it will stimulate much-needed further research in this hitherto neglected area. (shrink)

Which is the best icon of philosophical activity? The Spanish philosopher Garcia Morente analyses three sculptures: Le penseur by Rodin, Il pensieroso by Michelangelo and a sculpture known as El Doncel de Siguenza, in the cathedral of this Castilian town. Morente asserts that the latest reflects better than anyone else the nature of philosophy. In this paper the Morente’s view is rejected and another two ways of representing the philosophical activity are suggested: two ancient paintings that represent more properly (...) the philosophical labour, understood as an unending Socratic dialogue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Contra Spinoza? Wim Klever In Book 1 ofthe TreatiseofHumanNature1 Spinoza enjoys thehonour ofbeing the only figure from the history of philosophy and science to be explicitly and extensively discussed by Hume. This honour is, however, a dubious one as the treatment he gets is not so friendly. The passage (T 232-51) is full of insults and denunciations: Spinoza is referred to as "that famous atheist" (T 241), and (...) characterized as "universally infamous" (T 240). His doctrine contains "a true atheism" (T 240). His theory about the thinking substance is an "hideous hypothesis" (T 241); Hume does not want to enter "farther into these gloomy and obscure regions" (T 241), although he spends ten pages on the subject. Richard Popkin2 suggests on account ofthis not too well studied section: "In introducing Spinoza into the discussion of the immateriality ofthe soul, Hume follows what was common practice in his day." This statement, if true, raises the question whether Hume was sincere in writing these 'satanicverses'. Does he, after all, hide the backside of his tongue? This would bring him pretty well in line with two of his English forerunners; with Hobbes about whom Aubrey recorded: "He toldme he [Spinoza]had outthrown him [Hobbes] a bar's length, for he [Hobbes] durst not write so boldly," and with Locke, who possessedinhis privatelibraryall Spinoza's worksbutnonetheless, for one reason or another, refused to assess the theories of "those decried names," saying "I am not so well read in Hobbes or Spinoza as to be able to say what were their opinions in this matter" (namely the pre-existence ofthe soul).4 One commentator, named Gilbert Boss, wrote a two volume dissertation in order to argue for the fundamental opposition between the philosophical systems of both thinkers. In this paper I wish to propose another view and to defend their overall agreement. I will not do so with regard to their thought on religion (as this is already done byPopkin), but I shall more specificallyfocuson the theoretical (mainly epistemological) part oftheir work. Coming to Hume's text the reader of Spinoza's work who is, moreover, convinced by his geometrical demonstration of the propositions, does feel himself quite well at home chez Hume. Hume's is not another world for him. Apart from the question who is the real first modern thinker, Descartes, Hobbes, Spinoza or Hume, there is much common in their treatises on man and world, not only methodologically. Hume's rejection of "the antient philosophy," in Volume XVI Number 2 89 WIM KLEVER which he criticizes the "fictions... concerning substances, and substantial forms, and accidents, and occult qualities" (T 219), "sympathies, antipathies, and horrors ofa vacuum" (T 224) could have been written by the three other candidates as well. In fact every one of thoseitems maybe tracedoutin Spinoza's work; compare, for instance, JSp 136 ("doctrinam illam puerilem et nugatoriam de formis substantialibus, qualitatibus etc.") or 2 PPC 8s ("Quare omnia ilia figmenta de sympathie et antipathie ut falsa sunt reicienda... Nunquam dicendum erit, quod corpus aliquod movetur, ne detur vacuum; sed tantum ex alterius impulsu"). But let us go to the main theme in Book 1 ofthe Treatise, already present in Part 1, Section 1, "Ofthe Origin ofour Ideas." All our ideas result from impressions, themselves also being ideas or perceptions, though withmoreforce andliveliness. The original perceptions aresaid to be "the causes of our ideas" (T 5). We find the impressions in our mind and their effects, our ideas. Hume does not explain the cognitive status ofthe impressions by reducing them to non-cognitive processes. The "universe of the imagination" (T 68) is a world apart, irreducible to matter; we can't step out ofit, "since nothing is ever present to the mind but perceptions, and since all ideas are deriv'd from something antecedently present to the mind" (T 67). Ideas, whatever their character (about external existences or not), can only be explained by other ideas. Hume carefully avoids the category mistake of transcending the border from mental to material things and keeps consequently, at least methodologically, to the absolute caesura between mind and body. The Spinozistic reader must necessarily feel sympathy for this position. The attributes of... (shrink)

Entre Michelangelo Antonioni et David Lynch, Gaspar Noé, Arnaud Desplechin et quelques autres réalisateurs, il existe un lien qui n'est pas celui d'une filiation artistique. Chacun éprouvant à sa manière une curiosité pour ce qui reste des grandes traditions dans le monde d'aujourd'hui. Vue par Angelina Jolie, la Seconde Guerre mondiale est une synthèse de tous les fratricides, où succombe l'idée du sacré. Un renouveau de la métaphysique s'annonce pourtant dans les films de certains de ces réalisateurs, à travers (...) leur vision critique de la violence humaine. Et jusqu'au terrorisme contemporain, qui hante l'imagination de cinéastes moins connus. (shrink)

De humanist Marsilio Ficino (1433-1499) was een van de meest invloedrijke filosofen van de Italiaanse renaissance. Zijn wijsbegeerte is van groot belang geweest voor kunstenaars als Botticelli en Michelangelo. Dit boek besteedt uitvoerige aandacht aan Ficino's invloed op artistiek gebied. Fundamentele studies van Chastel, Panofsky en Gombrich passeren daarbij de revue. Ook de rol van de familie De' Medici in Ficino's professionele en persoonlijke leven wordt uiteengezet. Zo ontstaat een veelzijdig en samenhangend beeld van het milieu van de Platonisten (...) in Florence. De filosofie van Plato en zijn navolgers maakte een ware wedergeboorte mee in het Italië van de vijftiende eeuw. De intellectuele omwenteling die Ficino in gang zette, zou zich niet alleen over het Italië van de Renaissance maar over heel Europa verspreiden. Dit boek is opgebouwd uit een algemeen deel, gevolgd door twee traktaten van Ficino: 'De extase van Paulus' en 'Wat is licht?'. Deze verhandelingen zijn als het ware de kroongetuigen bij het algemene deel. Dit boek is voor allen die zich interesseren voor het Italië van de Renaissance."--Page 4 of cover. (shrink)

Sigmund Freud sempre expressou uma profunda admiração por figuras emblemáticas do Renascimento italiano. Seu interesse por Roma e pela antiguidade romana – referências importantes em sua obra – pode ser constatado, inclusive, pela grande quantidade de viagens que Freud realizou rumo a cidades italianas entre os anos de 1876 e 1923. É nesse período, então, que o fundador da Psicanálise publica Eine Kindheitserinnerung des Leonardo da Vinci (1910) e Der Moses des Michelangelo (1914). Este fato chamou a atenção de (...) autores como Eric Fromm e Jacques Lacan, os quais, na década de 60 do século XX, teceram considerações completamente divergentes acerca da complexa relação de Freud com o humanismo renascentista. Este artigo objetiva, portanto, examinar a oposição radical que se pode estabelecer entre essas duas interpretações. (shrink)

Nicholas of Cusa.--The academic scholar.--Leonardo da Vinci.--Sir Thomas More.--Machiavelli.--Erasmus, Luther, and Dürer.--Michelangelo.--Copernicus.--Montaigne.--Paracelsus, Kepler, and Boehme.--Galileo.--Hakluyt.--Giordano Bruno.--Recommended further reading (p. 277-281).

In 1972, one of Michelangelo's earliest and best-known Pietàs was attacked by an evident lunatic. Fifteen times it was struck with a ninepound hammer; the Madonna's arm was broken in several places, her nose was knocked off, and her eye and veil were badly chipped. Immediately after the assault, and before knowing precisely what was needed to be replaced, the Director of the Vatican Museum, Redig de Campos, decided that integral restoration was called for.

Este ensaio propõe uma análise de Blow-Up – Depois daquele beijo (1966), dirigido por Michelangelo Antonioni, a partir da identificação de referências feitas ao longo do filme às ex-colônias europeias. Partimos do pressuposto de que tais elementos tecem uma rede de significados nada fortuita e estabelecem uma relação entre a produção cultural dos jovens rebeldes dos anos 1960 (o tema ostensivo do filme) e a crise do Império britânico. A partir dessa perspectiva, propomos uma leitura da trama, particularmente a (...) busca das personagens por autenticidade, como uma estratégia de compensação pela elisão do Outro colonial. (shrink)

The perfect compass, used by al-Qūhī, al-Sijzī and his successors for the continuous drawing of conic sections, reappeared after a long eclipse in the works of Renaissance mathematicians like Francesco Barozzi in Venice. The resurgence of this instrument seems to have depended on its interest to solve new optico-perspective problems. Having reviewed the various instruments designed for the drawing of conic sections, the article is focused on the sole conic compass. Theoretical and empirical applications are detailed. Contrarily to the common (...) thesis of an independant discovery, various elements suggest a direct descent between the birkār al-tāmm of the Arabic mathematical tradition and the Italian conic compass. Then we present the most probable transmission hypothesis involving: 1° Ibn Yūnus and his disciples of Mosul, 2° Sultan Malik al-Kāmil in Damas, 3° Master Theodore and Frederick II at the court of Sicily, 4° Andalò di Negro and Robert of Anjou in Naples, 5° Lorenzo della Volpaia, Vinci, Sangallo and Michelangelo in Florence, 6° Ausonio, Contarini, Thiene and Francesco Barozzi in Venice. (shrink)