68 research outputs found
Johannes de Rupescissa. Winandus de Rufo Clipeo. Ps.-Raimundus Lullus. Arnoldus de Villa Nova. Zadith Senior. Ps.-Rogerus Bacon. Ps.-Geber. Ferrarius. Ps.-Michael Scotus. chemische Experimente
No full textJOHANNES DE RUPESCISSA. WINANDUS DE RUFO CLIPEO. PS.-RAIMUNDUS LULLUS. ARNOLDUS DE VILLA NOVA. ZADITH SENIOR. PS.-ROGERUS BACON. PS.-GEBER. FERRARIUS. PS.-MICHAEL SCOTUS. CHEMISCHE EXPERIMENTE
Johannes de Rupescissa. Winandus de Rufo Clipeo. Ps.-Raimundus Lullus. Arnoldus de Villa Nova. Zadith Senior. Ps.-Rogerus Bacon. Ps.-Geber. Ferrarius. Ps.-Michael Scotus. chemische Experimente ( - )
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Notiz (16. Jh.): [Ps.-]Augustinus ad Alchimistas ... (1r)
Blank page (1v)
[Register] (3v)
Johannes de Rupescissa: De consideratione quintae essentiae (4r)
Johannes de Rupescissa: [Liber lucis] (16r)
[Winandus de Rufo Clipeo]: Gloria mundi (19v)
[Constantinus Pisanus: Liber secretorum Alchimiae], Auszug: [De lapidibus] (25v)
De lapide vegetabili (26r)
>Elixir ad vitam hominis< (29v)
>Alia dicta de lapide philosophorum< (30v)
[Dicta alchemica] (32r)
[Ps.-Raimundus Lullus:] Liber intelligentiae (32v)
[Experimenta] (33v)
Arnoldus de Villa Nova: Rosarium philosophorum (36r)
[Zadith Senior: Epistola Solis / Lunam crescentem] (52r)
[Ps.-Rogerus Bacon]: Speculum alchemiae (76r)
Testamentum Gebri (81r)
[Lumen juvenis experti novum] (84r)
[Alchemia] (86r)
[Frater Ferrarius: Tractatus chemicus excellentissimus], Auszüge (88v)
[Ps.-Michael Scotus: De natura solis et lunae], Fragment (91r)
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“Quodam frater hungarus ordinis minorum de observantia”. Osualdus de Lasko’s Identity as a Preacher and Author of Sermons
No full textOsualdus de Lasko (OFM Obs, ca. 1450–1511) composed two sermon collections, which were published in print at the end of the fifteenth and the beginning of the sixteenth centuries. However, the readers of his books did not know the name of the author, who was only introduced as “quodam frater hungarus ordinis minorum de observantia”. This paper considers this option for anonymity as a premise for further investigating Osualdus’ identity as an author of sermons and as a preacher, intending to answer questions such as: How is Osualdus presenting or representing himself as an author/preacher? For what reasons and purpose did he compile these sermon collections? How were his homiletic works related to real preaching? Which was his ideal of a preacher? How relevant are the Franciscan affiliation and Hungarian origins for his identity? Grounded on the idea that the author is embedded in his text, this essay explores the prologues of Osualdus’ works and three of his sermons that discuss precisely about preaching’s agents, role, and beneficiaries. The analysis emphasizes that Osvalus’ vision of the ideal preacher and self-representation as author of sermons is shaped by Franciscan concepts of humility, renunciation and imitatio Christi.
Anonymity is also presented as a possible sign of humbleness, in the spirit of Franciscan values. Similarly, his understanding of the goal of spreading the Word of God follows the mission of the Friars Minor in general, and their actions in Hungary in particular: fighting heterodox beliefs, converting heretics and schismatic, defending and strengthening faith at the margins of Christendom. Osualdus’ concern for the catechization of simple people might have also been a consequence of the local experience of Franciscans and their contact with the peasantry in their rural convents. The paper concludes that in Osualdus’ case anonymity is not intended to hide or disguise his identity, which is clearly defined around the two elements used as a signature: the Hungarian origins and the Franciscan affiliation. His authority as a preacher and author of sermons resided in his special commission as a member of the Order of Friars Minor and his messages were mainly intended for the local public and for the safeguard of his homeland. The name of the author/preacher was most probably known to his primary audience. Only for the distant readers of his texts the author became anonymous, but they were made aware of the essential components of its identity, representative for the content as well
The Sequence of Themata in the Collations of Frater Petrus
No full textThe topic of this thesis is an unpublished medieval scholastic manuscript containing a work
of one ‘Frater Petrus.’ It appears that Petrus wrote 150 collationes, or brief lessons to be read
throughout the year, almost all of which are reproduced in this single manuscript. Each
collation in general consists of a thema (a verse-length scriptural quotation) from the day’s
Mass reading, followed by a threefold explanation of each of three parts into which it is
divided, making connections with other parts of scripture for the reader to elaborate. The
first three collations and the very last collation all have themata that are not from the Mass
reading. The purpose of the thesis is to explain the sequence of the themata. Thus it consists
in clarifying the correct sequence of the collations and their themata, establishing the
relationship between the body of the work and the medieval (pre-Tridentine) lectionaries
from which the author would have been working, and in explaining the roles that these four
eccentric collations play in the work
The Writ against Religious Drama: Frater Taciturnus v. Søren Kierkegaard
No full textIn a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as well, and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well
The Writ against Religious Drama: Frater Taciturnus v. Søren Kierkegaard
No full textIn a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as well, and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well
Un anonimo "minimus [frater?]" nell'Abbazia di Fossanova. Artista o committente?
No full textThe new hypothetical reconstruction of the
fragments found in the Abbey of Fossanova
during works in 1990 favors a microarchitecture
for liturgical use. The study argues that the
fragmentary inscription, placed on the octagonal
base, indicates the author’s name or the
patron’s name, called himself minumus, according
to a formula quoted from S. Paul and
repeated by the scribes in the colophon of the
medieval manuscripts. This leads us to suppose
that the author or the patron was a clergyman,
probably a frater (monk)
Un anonimo "minimus [frater?]" nell'Abbazia di Fossanova. Artista o committente?
No full textThe new hypothetical reconstruction of the
fragments found in the Abbey of Fossanova
during works in 1990 favors a microarchitecture
for liturgical use. The study argues that the
fragmentary inscription, placed on the octagonal
base, indicates the author’s name or the
patron’s name, called himself minumus, according
to a formula quoted from S. Paul and
repeated by the scribes in the colophon of the
medieval manuscripts. This leads us to suppose
that the author or the patron was a clergyman,
probably a frater (monk)
A Sixth-century Story in a Nineth-century Tract? Torna, torna, frater Revisited
No full textThis article focuses on the Latin words torna and frater. According to the accounts of Theophylact Simocatta and Theophanes the Confessor, the words were used by soldiers participating in the Byzantine-Avar war campaign in the Haemus mountains in 587. Relying mainly on the passage from the chronicle of Theophanes, Romanian scholars have interpreted the words as an early form of a Balkan Romance idiom spoken by the local population. The two words would not be strong enough evidence to support the view that this is a sample of early Balkan Romance language in the sixth-century Thrace. The analysis of the words, as well as of the context in which they were used, links the phrase “torna, torna, frater” to Vulgar Latin and sermo castrensis. The author also argues that the chroniclers dramatized the accounts of the episode where the words were used. Additionally, the form fratre, which is found in two manuscript copies from the eleventh and twelfth centuries, seems to be an interpolation from a medieval Western Romance language, likely early Italian, and should not be identified with any language used in the Balkans. “Torna torna fratre” should be viewed as indicating a grasp of Italianate Latin within the Middle Byzantine context. This view contradicts the earlier assertions on the subject
The Sequence of Themata in the Collations of Frater Petrus.
No full textThe topic of this thesis is an unpublished medieval scholastic manuscript containing a work of one 'Frater Petrus.' It appears that Petrus wrote 150 collationes, or brief lessons to be read throughout the year, almost all of which are reproduced in this single manuscript. Each collation in general consists of a thema (a verse-length scriptural quotation) from the day's Mass reading, followed by a threefold explanation of each of three parts into which it is divided, making connections with other parts of scripture for the reader to elaborate. The first three collations and the very last collation all have themata that are not from the Mass reading. The purpose of the thesis is to explain the sequence of the themata. Thus it consists in clarifying the correct sequence of the collations and their themata, establishing the relationship between the body of the work and the medieval (pre-Tridentine) lectionaries from which the author would have been working, and in explaining the roles that these four eccentric collations play in the work
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