Enrico Pasini

Johann Heinrich Lambert (1728–1777) galt schon den Zeitgenossen als Universalgenie von europäischem Rang. Tatsächlich forschte und publizierte Lambert als Mathematiker und Philosoph, und zwar vor allem zur Logik und Metaphysik, zur Erkenntnis- und Sprachtheorie, als Astronom und Physiker. Seinem Aufklärungsverständnis gemäß wirkte er nicht nur mit einer Vielzahl von Publikationen in die Wissenschaften, sondern als Popularphilosoph darüber hinaus auch in die sich ent- wickelnde Gesellschaft und den Staat der Aufklärung hinein. Dass Lambert vor dem Hintergrund dieses Selbstverständnisses als Aufklärer auch Gedichte verfasste, überrascht dabei nicht. Der Band versammelt erstmals Studien zu allen Werkteilen des Berliner Gelehrten.

The scattered and pervasive variability of material objects, being a conspicuous part of the very experience of early-modern and modern science, challenges its purely theoretic character in many ways. Problems of this kind turn out in such different scientific contexts as Galilean physics, chemistry, and physiology. Practical answers are offered on the basis of different approaches, among which, in particular, two can be singled out. One is made out by what is often called an ‘art’ of experiments. From the Renaissance until J. H. Lambert’s writings of the 1750–1760s, we can follow a train of reflections on the art of making experiments that deal precisely with the persistence of contingency in the material objects of pure science. The other is the analysis of contingency in probabilistic terms. They develop subsequently and eventually meet, as it can be seen precisely in Lambert’s work: among the first to pursue this path are Jakob Bernoulli and Leibniz.

La Monadologie est au même temps une oeuvre du philosophe allemand G.W. Leibniz entitulée ainsi par un éditeur qui inventa le mot, et une théorie. Les essais réunis ici en concernent l'origine, l'histoire et l'enjeu philosophique. F. Piro analyse le développements de la conception de l'individuation chez le jeune Leibniz. M. Fichant étudie en détail la constitution du concept de monade. La nature limitée des monades créées est ramenée par G. Mormino à la doctrine leibnizienne de la contingence et de la création. E. Pasini reconstitue la genèse de la Monadologie, prototype du traité monadologique, pour montrer que sa nature n'est pas dans son origine. La monadologie va même inviter les détournements matérialistes du jeune Feuerbach - l'essai de V. Morfino porte sur les insuffisances de sa reformulation purement transcendantale chez Husserl, face à la théorie du transindividuel.

Popkin set Erasmus as the beginner of modern skepticism, and made of him an apologetic sort of sceptic, that uses doubt to make acceptable the tradition and authority of the church. The pivotal moment is the debate concerning free will. Luther is particularly upset by Erasmus’ professions of skepticism in his De libero arbitrio, although it was meant by him as an appeal to moderation: the key to Erasmus’ skepticism isn’t religious incredulity, but putting doubt to good use, in suspending judgements that are not necessary and might be dangerous to peace and concord among christians. Doubt isn’t endorsed by the christian tradition, nor by the literary one, and technical treatments (in logic or rhetorics) are not favored by Erasmus. Moreover skepticism receives the same ambiguous consideration that Erasmus has for philosophy in general. But he practices doubt nevertheless, in both forms of dubitare and ambigere. The latter is particularly important, since this practice of skepticism is particularly useful in avoiding the common error of doing what one had better omit. These ideas of Erasmus play a role in his cultural, theolocial, and ecclesiastical program, developed by him along many years, and specifically in the years of the crudest confrontation among emerging religious factions. In the works of the greats catholic skeptics, such as Huet, skepticism and fideism will be tightly connected, Erasmus supports skepticism as a means to gain for all contending parties a right to doubt and ask for suspension of judgement in matter of warlike controversy, aiming instead to concile intellectual freedom and irenic perspectives

The paper (an ample reworking of a 2005 Italian paper) tries to evaluate Leibniz’s enduring fascination with Spinoza and presents an overview in five stages of the development of his complex relationship to his thought, beginning with the time of Mainz, when Leibniz shows a strange urgency to get in epistolary contact with the author of the Theologico-Political Treatise, despite his public rejection of both the work and the author; then Leibniz’s stay in Paris, especially in the year 1675, when he seeks information through Tschirnhaus on Spinoza’s clandestine doctrines; their personal meeting in the Hague, towards the end of the year 1676, and the subsequent distancing of Leibniz from Spinozism; the reading by Leibniz of Spinoza’s Opera Posthuma and the extension of his arguments against Spinozism to discredit Cartesian philosophy in general, and, finally, Leibniz’s retrospective evaluation of Spinoza’s thought in the Theodicy

The paper discusses problems related to historical change in the field of technology applied to the preservation and communication of knowledge. Debates of the years 1990s about the possible decadence of (printed) books in favour of other technologies, are evaluated with the help of a historical analogy. The art of memory was a widespread non-material technique for managing information in a world of prevalent oral communication, which was set aside by the new technologies of printed communication. In the first part, the Author discusses the final phase in the history of the art of memory, sketching Lambert Schenckel’s biography as a good example of utmost individual success in the teaching of the art. Schenckel’s time sees the maximum demand for teaching in the art of memory; nevertheless those are the years when the printed book has already completely won its battle. The second part regards the possibility of a survival of the book as a technological model (i.e. as a model to build applications in new technologies for knowledge communication), notwithstanding the technologies involved in its production, just as the art of memory has been recently used as a model for constructing hypermedia, and just as the book itself survived technological revolutions in past ages. The issue is discussed carefully avoiding to engage in prophecy