Download Logic And the Art of Memory: The Quest for a Universal by Translated by Stephen Clucas By (author) Paolo Rossi PDF

By Translated by Stephen Clucas By (author) Paolo Rossi

A translation of this vintage account of the artwork of reminiscence and the good judgment of linkage and mixture, the 2 traditions deriving from the Classical global and the overdue medieval interval, and turning into intertwined within the sixteenth Century. From this intertwining emerged a practice, a grandiose venture for an 'alphabet of the area' or 'Clavis Universalis'.

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Additional resources for Logic And the Art of Memory: The Quest for a Universal Language (Athlone Contemporary European Thinkers)

Sample text

It is also necessary when fashioning the image of something that the actions depicted should be peculiar and appropriate to the thing represented, as it 14 Logic and the Art of Memory is fitting to give a lion an image which is courageous . . 26 These directions concerning the relationship between memoryplaces and images which are derived from the Rhetorica ad Herennium remained fundamental axioms of the 'art' for the next three hundred years, and appear in many other fourteenth-century texts.

After having refused an invitation from the King of Denmark, he went to Cologne, and from there, after accusations of 22 Logic and the Art of Memory incorrect behaviour (scholares itali non poterant vivere sine meretricibus), was constrained to return to Italy. Pietro's notoriety had important consequences: his Phoenix sen artificiosa memoria exercised a significant influence on all subsequent mnemotechnic works. Most of the Italian and German theorists of the sixteenth and seventeenth centuries owed a considerable debt to the work of Ravenna.

Selecting appropriate likenesses; 7. not overloading the memory with too many things; 8. 23 Another fourteenth-century vernacular treatise on artificial memory which has been mistakenly attributed to Bartolomeo derives its ideas (despite the fact that the author twice declares that he is 'departing from Cicero') almost exclusively from the Rhetorica ad Herennium. In addition to the definitions of the memory-place ('a thing capable of containing in itself any other thing') and the memory-image ('the representation of those things which we wish to retain in the mind') we also find in this short work the PseudoCiceronian distinction between natural and artificial memoryplaces (the one made 'by the hand of nature' and the other 'by the hand of man') and the rules concerning the construction of memory-places, and the symbolic character of images: It is also necessary to indicate the image "with a sign which is appropriate to the purpose for which it has been made, for example a crown is appropriate for the image of a king and a shield for the image of a knight .

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