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offene Ablage: nothing to hide | compilations & selected entries from my tumblelog diary at soup.io
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O. Dubouclez, Descartes et la voie de l'analyse - via fabula.org | offene Ablage: nothing to hide 2013-02-10

O. Dubouclez, Descartes et la voie de l'analyse - via fabula.org | offene Ablage: nothing to hide 2013-02-10 | oAnth-miscellaneous | Scoop.it

Olivier Dubouclez, Descartes et la voie de l'analyse Paris : PUF, coll. "Épiméthée", 2013. 400 p. EAN 9782130606345. ()

 

Présentation de l'éditeur: 

 

On a pris l’habitude de voir en l’analyse un instrument logique de décomposition et de clarification des concepts, confirmant du même coup l’évaluation critique qu’en a donnée Kant: l’analyse est un procédé stérile qui ne contribue en rien à l’expansion et au renouvellement des connaissances. Soulignant la cohérence de ses emplois historiques, le présent ouvrage cherche au contraire à rétablir l’analyse en sa fonction inventive: de l’Antiquité au XVIIe siècle, la méthode analytique constitue, en effet, une solution aux insuffisances de la déduction logique s’appuyant sur la construction et le déchiffrement des figures, elle offre une voie à la fois détournée et probante pour la résolution des problèmes. Descartes est l’héritier de cette tradition, mais il est aussi, à maints égards, l’artisan de la conception moderne de l’analyse dont il a fait la voie privilégiée de la connaissance de soi dans les Méditations métaphysiques . Accomplissement heuristique de «l’ordre des raisons» mais aussi aventure temporelle inscrite dans la durée féconde de la méditation, l’analyse se révèle alors l’instrument d’une raison radicalement inventive.

 

URL de source: http://www.puf.com/Autres_Collections:Descartes_et_la_voie_de_l%27analyse

 

via: http://www.fabula.org/actualites/olivier-dubouclez-descartes-et-la-voie-de-l-analyse_55348.php

 

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Elizabethan Music - John Dowland: "Fine knacks for ladies" | offene Ablage: nothing to hide

Elizabethan Music - John Dowland:  "Fine knacks for ladies" | offene Ablage: nothing to hide | oAnth-miscellaneous | Scoop.it
HD youtube permalink
http://www.youtube.com/watch?v=KGX1XQaLQ0M&fmt=18
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"Fine knacks for ladies"

Fine knacks for ladies, cheap choice, brave and new,
Good penny worths, but money cannot move;
I keep a fair, but for the fair to view;
A beggar may be liberal of love.

Though all my wares be trash, the heart is true.

Great gifts are guiles, and look for gifts again,
My trifles come as treasures from my mind,
It is a precious jewel to be plain:
Sometimes in shell, the orient pearls we find.

All others take a sheaf, of me a grain!

Within the pack: pins, points, laces and gloves,
And diverse toys, fitting a country fair;
But my heart lives, where duty serves and loves:
Turtles and twins, court's brood, a heav'nly pair.

Happy the heart that thinks of no removes.
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Music - November 2011 - compilation started 2011-11-02 | latest actualization: 2011-11-26 | offene Ablage: nothing to hide

Music - November 2011 - compilation started 2011-11-02 | latest actualization: 2011-11-26 | offene Ablage: nothing to hide | oAnth-miscellaneous | Scoop.it

For the selected pieces of music, please, go by the given link in the entry title, to the postings by oAnth at soup.io ;

 

Compositions of following composers have been posted up to now:

 

William Byrd, Orlando Gibbons, Michael Praetorius, Alessandro Piccinini, Johann Heinrich Schmelzer, Marin Marais, Henry Purcell, Alessandro Scarlatti, Georg Friedrich Händel, Francesco Durante, Joseph Haydn, Wolfgang Amadeus Mozart;

 

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THE PAINTING: "November"

 

Artist: Sandrart, Joachim von (1606-1688)

https://secure.wikimedia.org/wikipedia/en/wiki/Joachim_von_Sandrart

 

Title: Months Series "November"
Location: Staatsgalerie im Neuen Schloss, Bayerische Staatsgemaeldesammlungen
City: Schleissheim
Country: Germany
Period/Style: Seventeenth Century
Note: Canvas, 149 x 123.5 cm. Inv.: 366

 

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Dürer and Montaigne - on emulatio vs imitatio | twitter and kunstlust.blogspot.com - Renaissance | offene Ablage: nothing to hide

Dürer and Montaigne - on emulatio vs imitatio | twitter and kunstlust.blogspot.com - Renaissance | offene Ablage: nothing to hide | oAnth-miscellaneous | Scoop.it
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Montaigne, on borrowing ideas from others: "The bees plunder the flowers here and there, but afterward they make of them honey...all theirs"

jenipillar
Jennifer Park
https://twitter.com/jenipillar/status/90445120482185216


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cf.
http://kunstlust.blogspot.com/2009/01/imitatio-vs-emulatio.html

Emulation or Imitation: The Case of Dürer vs. Raimondi Exhibition Review

Smith College Museum of Art has a knack for salvaging early modern works from the usual curatorial platitudes to recast objects in entirely unexpected ways. Emulation or Imitation: The Case of Dürer vs. Raimondi plays to interests in contemporary cultural issues of copyright infringement and the unauthorized reproduction of creative material by contextualizing the two artists’ prints within the framework of such debates. The show presents several original prints by Albrecht Dürer and corresponding copies by Marcantonio Raimondi, mostly from the former’s Life of the Virgin series. Though Dürer and Raimondi act as the major players of the show, approximately twenty-five prints from a variety of Renaissance artists are arranged to develop distinct categories of visual citation, including emulation, imitation, and outright copying.

Ironically, the exhibition’s endeavor to demonstrate Dürer’s relevance depends upon decidedly unfashionable art historical methodologies--I’m talking about that body of Morellian arts we call connoisseurship--and it works. Dürer presented a legal case against Raimondi not because the Italian artist was copying his prints, but rather, because he disseminated works bearing Dürer’s distinctive AD signature. Several of Raimondi’s copies are therefore almost identical to their Dürer models, and were intended to pass as such. Connoisseurship is crucial to the premise of the show, allowing the curators to distinguish “original” from “copy”, and to arrange the objects as such for public viewing. Implicitly, Emulation or Imitation advocates the reassessment of a methodology too often dismissed by contemporary academe, while also prompting questions about the problematic dichotomy between “real” and “fake”.

[...]
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