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Tag Archives: Aristotle

Book of the Week — Libri de piscibus marinis in quibus ver piscium effigies

11 Monday Dec 2017

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animals, Aristotle, Bonhomme, fish, Guillaume Rondelet, natural historians, science, scientist


“…in which true images of fish are displayed.”

Libri de piscibus marinis in quibus ver piscium effigies
Guillaume Rondelet (1507-1566)
Lugduni: M. Bonhomme, 1554-1555
First edition
QL41 R6

Guillaume Rondelet was one of the first of sixteenth century scientists to break with the eighteen-hundred-year-old tradition among natural historians of quoting or commenting on Aristotle’s knowledge of animals and begin the practice of gathering and reporting information gained firsthand. This book contains accurate illustrations of the egg cases and immature eggs of several fish, based upon Rondelet’s own meticulous studies. The work is an example of the change in attitude about science in the sixteenth century.

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On Jon’s Desk: Roget’s Thesaurus of English Words, without which we wouldn’t be celebrating Thesaurus Day

18 Wednesday Jan 2017

Posted by Jonathan Bingham in On Jon's Desk

≈ 2 Comments

Tags

1854, Aristotle, Barnas Sears, classification schema, First American Edition, Gould and Lincoln, Leibniz, Peter Mark Roget, synonym, thesaurus, Thesaurus Day, Thesaurus of English Words

Title page of Roget's Thesaurus of English Words

 

 

 

 

 

 

 

“Though it is the first work of its kind that has appeared in the history of our language, the completeness of its plan, and its fullness of detail, are such as to leave little to be supplied by others.”

– Barnas Sears (editor), Preface of the American Editor

Title: Thesaurus of English Words, so Classified and Arranged as to Facilitate the Expression of Ideas and Assist in Literary Composition

Author: Peter Mark Roget

Printed: Boston: Gould and Lincoln, 1854

First American Edition

Call Number: PE1591 R7 1854

First page of index in Roget's Thesaurus.

 

 

 

 

 

 

 

 

Did you know January 18th is Thesaurus Day? You may be wondering how one celebrates Thesaurus Day. It’s simple. You just open a thesaurus.

A thesaurus is a reference work that lists the synonyms and sometimes antonyms of words. The first thesaurus was created when British doctor and mathematician Peter Mark Roget developed an index of synonyms to aid him in his writing projects. He began collecting synonyms in about 1805 and by 1840 had decided that his index may be of interest to others. He retired from medicine and devoted the remainder of that decade to preparing his indexed collection of synonyms for publication.

Roget’s Thesaurus was released on 29 April, 1852, containing 15,000 words. The second edition was published in 1853. The first American edition followed in 1854. Over the past century and a half, numerous editions have been released and Roget’s Thesaurus has never been out of print. Over 32 million copies have been sold worldwide. Its impact on writing is immeasurable.

In the introduction to the first American edition, Roget explained:

“The present work is intended to supply, with respect to the English language, a desideratum hitherto unsupplied in any language; namely, a collection of the words it contains and of the idiomatic combinations peculiar to it, arranged, not in alphabetical order as they are in a dictionary, but according to the ideas which they express.”

Roget’s Thesaurus is composed of six primary classes. Each class is composed of multiple divisions and then sections. This may be conceptualized as a tree containing over a thousand branches for individual “meaning clusters” or semantically linked words. Although these words are not strictly synonyms, they can be viewed as colors or connotations of a meaning or as a spectrum of a concept. One of the most general words is chosen to typify the spectrum as its headword, which labels the whole group.

Roget’s schema of classes and their subdivisions is based on the philosophical work of Leibniz (symbolic thought), itself following a long tradition of epistemological work starting with Aristotle. Some of Aristotle’s Categories are included in Roget’s first class “abstract relations.”

The classification system of Roget's Thesaurus.

 

 

 

 

 

 

 

PE-1591-R7-1854-pg 16 17 spread

 

 

 

 

 

     

Although the classification system Roget chose to use in his Thesaurus may seem abstract, without the decision to share his index with the world, writers (and speakers!) across the globe would not have benefited over the past century and a half from this wonderful literary tool. So on this Thesaurus Day let’s open the nearest thesaurus and take a look. Who knows, you may even have a copy of Roget’s Thesaurus on your shelf, long forgotten, but ready to assist you should you need to find just the “right”* word.

*correct, accurate, exact, precise, legitimate

-Contributed by Jon Bingham, Rare Books Curator

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Book of the Week — Lexicon Tetraglotton…

10 Monday Oct 2016

Posted by rarebooks in Book of the Week

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alchemy, alphabet, anatomist, anatomy, architecture, Aristotle, Ben Jonson, Benjamin Franklin, cats, Charles, chemistry, clothing, dictionary, England, English, engraver, engraving, Europe, France, French, frontispiece, history, horsemanship, hunting, Italian, Italy, James Howell, Kenelm Digby, Kings, lexicography, lexicon, library, London, Machiavelli, Oxford, physician, political, Poor Richard's Almanac, proverbs, reference, Restoration, Samuel Thompson, Spain, Spanish, tracts, travel, trees, Wales, William Faithorne, William Harvey, women

lexicon-tetraglotton-frontis

lexicon-tetraglotton-title

“A catt may look on a king”

Lexicon Tetraglotton, an English-French-Italian-Spanish…
James Howell (1594? – 1666)
London: Printed by J.G. for Samuel Thompson, 1660
First and only edition

James Howell, born in Wales and educated at Oxford, began his literary career in 1640 with the political allegory, Dendrologia: Dodona’s Grove, or, The Vocall Forest, an account representing the history of England and Europe through the framework of a typology of trees. He continued to write political tracts throughout the 1640s and 1650s, drawing material from Aristotle, Machiavelli, and others. Howell befriended many literary figures, including Ben Jonson and Kenelm Digby. In 1620, he became ill and was treated by physician and anatomist William Harvey.

Howell wrote Instructions for Forreine Travel in 1642, a book of useful information about safe travel in France, Spain, and Italy. Traveling in his own country proved to be hazardous, however. On a visit to London early in 1643, he was arrested in his chambers and imprisoned for the next eight years. He spent this time writing. He was released from prison at the Restoration of Charles to the throne and in 1661 was made Historiographer Royal.

Howell was a master of modern romance languages. Lexicon is a dictionary but also contains epistles and poems on lexicography; characterizations of most letters of the alphabet; and vocabulary lists organized in 52 sections, such as anatomy, chemistry, alchemy, women’s clothing, horsemanship, hunting, architecture, and a library. Howell collected proverbs in English, Italian, Spanish and French which are added in Proverbs, or, Old Sayed Savves & Adages. Benjamin Franklin used this book as a reference for his own Poor Richard’s Almanac.

In the frontispiece, engraved by William Faithorne (1616-1691), four female figures, emblematic of England, France, Spain and Italy, stand among trees with a helmeted figure to the right standing guard. This copy contains a later state of the engraving with initials identifying the countries represented. Half-title and title-page in red and black. Rare Books copy gift of Anonymous, for whose generosity and friendship we are ever grateful.

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Book of the Week — He Kaine Diatheke

04 Monday Apr 2016

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Antoine Augereau, Aristotle, astrology, Bible, bibliographer, binding, Book of Hours, calendar, Calvin, Chartres, Christmas Eve, Cicero, classics, cosmology, Demarruello, Estienne, Euclid, France, French, Garamond, Geoffroy Tory, Gothic, Greek, Greek New Testament, Henri Estienne, heresy, heretic, Hesiod, hinges, Hippocrates, Horace, Hore beate marie, indices, initials, italic, Latin, Louvain, Lutheran, New Testament, Ovid, Paris, Paris Parlement, pressed paper boards, printing, proof sheets, Protestant, putti, R. Peter, Renaissance, repair, Robert Estienne I, Roman Catholic, signatures, Simon de Colines, Sophocles, subheadings, Terence, The University of Utah, theological, tools, typeface, typefounder, University of Paris, Virgil, woodcut

Title page

“For I will be merciful to their unrighteousness, and their sins and their lawless deeds I will remember no more.” — Hebrews 8:11, New King James Version

HE KAINE DIATHEKE
Paris: [Antoine Augereau for] Simon de Colines, [29 November or 22 December] 1534
BS1965 1534

This is the first Greek New Testament printed in France. Simon de Colines edited the text, using printed and manuscript sources. To save his own neck, Colines hid the involvement of the book’s printer, Protestant typefounder Antoine Augereau. Augereau was condemned as a heretic, hung, and then burned at the stake on Christmas Eve 1534, only a few days after finishing the printing of Ha Kaine Kiatheke.

In 1520, Colines married the widow of Henri Estienne, the founder of the distinguished Estienne press, and took charge of that press until Estienne’s son, Robert I, took over in 1526. Colines then set up his own shop nearby. He focused his publishing efforts on Greek and Latin classics – works by Aristotle, Cicero, Sophocles, Hesiod, Horace, Ovid, Virgil, Terence, Euclid, Hippocrates and others – works then considered the literary backbone of the civilized world. He added to the classics publications of anti-Lutheran theological writings and works by the faculty of the University of Paris. In all, Colines’ press produced at least seven hundred and fifty publications. Although not a scholar himself, he used his considerable familiarity with the Estienne publications and extended his own press to include writings on the natural sciences, cosmology, and astrology.

Colines was an important part of the development of book and reading structure in Renaissance printing. It was during this time that chapter headings, subheadings, running heads, page numbers, tables of content, indices and source notes became elemental fixtures in the publication of texts.

Pg210

Colines designed his own italic and Greek fonts and a roman typeface from which Garamond type was derived. He was one of the earliest printers to mix italic fonts with roman typefaces. During at least one of his printing projects, he worked with type designer Geoffroy Tory.

Ha Kaine Kiatheke is the first book printed in Simon de Colines’ second Greek font, including initial guide letters. The University of Utah copy has three lines (possibly an oath) written in an early hand in French and signed by “Demarruello.”

Inscription

It also contains the book plate of Calvin bibliographer R. Peter.

Pastedown

The University of Utah copy bound in contemporary tan calf blind decorated with an outer roll of foxes, winged putti, acanthus leaves and lilies, central rectangle with brazier and foliage tools.

FrontBoard

An earlier repair to the hinges of the binding revealed the following, making up the pressed paper boards: 28 leaves from Les choses co[n]tenues en ce present liure…Le contenu en ceste second partie du nouveau testament, Paris, S. de Colines 10 January 1524; and leaves from Hore beate marie [virgi]nis Secundu[m] vsum insignis ecclesia[?e] Cathedraiis Carnoten[sis]…, Paris, s.n., ca. 1511-1512.

The printed signatures found hidden in the binding appear to be proof sheets for the first Protestant French translation of the New Testament, second edition.

Leaf3

The printing of this edition was completed only months before the Paris Parlement condemned the work as heresy. Yet, the 1524 edition, due to its literary quality and scriptural analysis, served as the basis for nearly all future French versions throughout the century. Ironically, it also served as the 1550 Roman Catholic Louvain Bible.

The leaves from Hore beate…, which also formed part of the binding’s pressed boards, are from an unrecorded Latin-French Book of Hours for the use of Chartres, with a calendar for 1512-1520. The type is Gothic, printed in red and black and includes two-line woodcut initials.

Leaf2

Leaf1

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DOC/UNDOC — Part 1/6, “Peruse, Inspect, Handle, Consider”

18 Friday Dec 2015

Posted by rarebooks in Uncategorized

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1552, 1770, 1859, 1885, 1934, 1998, Aristotle, Ars Shamánica Performática, artists' books, Baroque, Bartolomé de las Casas, book artists, books, codex, Codex Espangliensis, Codex Ixtilxochitl, communication, Doc/Undoc, documentation, Emily McVarish, Enlightenment, ethnography, Felicia Rice, fine press, format, Gobierno General, Granary Books, Greco-Roman, Grolier Club, Guillermo Gomez Peña, Hernan Cortés, history, ideas, image, Isabel Dulfano, Jae Jennifer Rossman, Jed Birmingham, Jennifer González, Johanna Drucker, journal, Kathy Walkup, Kyle Schlesinger, language, Latin, Latin America, literary analysis, literary criticism, literature, Luise Poulton, Managing Curator, manuscript, Mimeo Mimeo, Moving Parts Press, multimedia, Nombres Geografico de Mexico, Open Book, parchment, political, printing press, rare books, Rare Books Department, readers, rhetoric, scroll, sequence, Spanish, stone, story, suitcase, text, The Bonefolder, type, University of Utah, Webster's Dictionary, Women's Studio Workshop, writing

During Fall Semester, 2015, University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content visited Rare Books. During the third and final session with Rare Books, the students were introduced to late 20th century/early 21st century fine press and artists’ books. The session ended with the premiere viewing of our copy of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, purchased in September. Student response was so strong that managing curator Luise Poulton, in her typical, over-enthusiastic way, exclaimed, “You should post your thoughts on Open Book!” Prof. Isabel Dulfano, in her own enthusiastic way, immediately took up the suggestion and made this a new assignment, right then and there. Bless the beleaguered grad students! Rare Books is pleased to present these responses, one post at a time, beginning with comments from Dr. Dulfano.

Introduction
Isabel Dulfano, Ph.D
Associate Professor of Spanish, The University of Utah

This commentary tells the story of how our class came to view the artist book, DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática (2014, Moving Parts Press) by Guillermo Gomez Peña, Jennifer González and Felicia Rice at the Rare Books Department in the University of Utah’s J. Willard Marriott Library. Our reading of this extraordinary, groundbreaking book object came as the culmination of our interrogation of form and content of literary works during a class called “Analyzing Texts: Form and Content.”

Doc/Undoc photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

During three library sessions, Luise Poulton, Managing Curator of Rare Books, provided an eclectic sampling of Latin American-themed pieces for the students to peruse, inspect, handle, and consider. Touching and examining a wide variety of books from over a 600-year period turned literary analysis into a visceral as well as intellectual practice. Luise challenged us to think about the history of books, from technological milestones and inventions, to the conceptual remapping and physical reshaping of the concept of book over time.

Webster’s Dictionary defines books as “a handwritten or printed work of fiction or nonfiction, usually on sheets of paper fastened or bound together within covers” as well as a “division of a literary work.” However the artist book transforms a known form of the book, “which once toyed with, interrogated, or in any way manipulated, reveals itself as a complex composition, a work produced, upon reading, by the orchestration of its parts” (Rossman 10). Artists’ books rely on the reader’s operation of the component parts in a continuously generative process, which pushes the limits of what literary analysis may have to take into account in the contemporary world.

The first of three meetings in the Rare Books Classroom began with the hands-on display of original and facsimile copies of classic canonical texts, masterfully printed at the time of inscription and in the distinctive style of the individual printing press. Titles by Bartolomé de las Casas and Hernan Cortés or the Codex Ixtlilxochitl revealed historical and ethnographic information that maintained conventional print production formats and content appropriate to known genres. Acknowledging books as one of the principle forms of documentation used to convey and disseminate ideas, we queried the relationship between the use of a medium (stone, parchment, scroll, codex, manuscript, printed bound book) and its’ content (genre, message, symbols, themes, subject/stylistics) in these celebrated texts.

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Histoira de Nueva-Espana, 1770

Historia de Nueva-Espana, 1770

The next sessions shifted in time to the late Baroque/Enlightenment period through the late XIXth century, eventually reaching the present-day. A gradual disruption of structure (physical and conceptual) followed this chronological timeline. Older documents were logical in their coherence and assemblage, adhering to what Johanna Drucker identifies as the two fundamental structural elements of a book: finitude and sequence (257). Sequence “participates in the distribution of elements into an organized system where location helps provide access” (258 Drucker). A hybrid book includes language and image (text, type, and format) to tell a story, which challenges conventional notions of sequence. The resulting fragmentation in the articulation of narrative sequence provides an “integral part of its meaning” (Drucker 262).

Gobierno General, 1859

Gobierno General, 1859

Nombres geograficos de Mexico, 1885

Nombres geograficos de Mexico, 1885

Contemporary ouevres may appeal partially to traditional literary print formats by utilizing canonical forms as at least one component, however simultaneously they reject the limitations and conventional parameters implicit in a manuscript. Modern works disavow orthodox arrangement, organization or configuration. Some recent examples even repudiate documentation aligned with the standard regimented form of a bounded print book, and instead experiment with democratizing form and defamiliarization techniques (McVarish, 2008). Many deconstruct authorial privilege, since the reader operates and manipulates the text to produce meaning. As Jae Jennifer Rossman points out “in artist’s books the hallmark of the medium is endowing the physical attributes of the book with part of the message” (86), thereby interleaving form and content inextricably together. The artist book uniquely transmits message through myriad surfaces, spaces, materials, concepts, and sequences.

West Indies, Ltd., 1934

West Indies, Ltd., 1934

Codex Espangliensis, 1998

Codex Espangliensis, 1998

As literary critics and scholars of literature we are engaged in the practice of approaching, analyzing and appraising literature, as well as instructing students to do the same. The act of literary criticism is a technical and esthetic evaluation of the oral and written forms of articulation of narrative sequence, discourse, and message of an author’s perspective on the human condition and spirit. It is based on certain known principles, outlined originally by Greco-Roman intellectuals in the Western tradition. The utilization of the tools of this trade, such as identification of, and interpretation of, structural elements or rhetorical and literary devices has taken place since Aristotle. Literary analysis involves a process of extracting meaning from literature, a word derived from the Latin littera, referring to an esthetic represented in written documents of one type or another. The book manuscript, principal medium used for conveying and disseminating ideas, especially in the Leporello and Concertina style, have served as the predominant Western medium for millennia.

In this class, we were able to witness the evolution of book formats as the concept passed through multiple permutations from scroll and parchment to bounded manuscript to the extreme case of DOC/UNDOC housed in a suitcase, with multimedia such as: “A traveling case for apprentice shamans, A reliquary for imaginary saints, A toolbox for self-transformation, A quiet call to heal yourself with fetishes and antidotes, A border kit to face the uncertainty of future crossings.” In fact, in DOC/UNDOC the abundant mixed media, hybridity of language and image, amalgamation of a hand-written contemporary codex, interactive suitcase with mirrors and paraphernalia, CD, and DVD video of (director, writer, performance artist, activist, and docent) Guillermo Gomez Peña’s Daliesque performance, destabilizes our quotidian understanding of the process of documentation. Many features of Doc/Undoc insist on deviation from the typical privileged form of written, sequenced, and finitely orchestrated communication.

Doc/Undoc -- photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

In this manner it participates in what The Bonefolder, a journal dedicated to book artists, describes as the constant “challenge of defining art and craft, looking to the past for tradition and forward for new possibilities” (Fox, Krause, & Simmons 2009). As a consequence, the auto-referential title of Doc/Undoc is explored thematically and structurally to demystify the legal, political, literary, and philosophical ramifications of being documented or not having documentation. The outcome of this creation sui generis raises a host of questions about how to read, what reading is, what literature is, identity, genre, legitimate/illegitimacy, forms of documentation, the role of readers, and the mutability of the authorial/director’s hand that remain unresolved.

The history of literature begins with the history of writing. Analysis emerges as individuals start to engage in the interpretation and valuation of literary works. We have analytical tools that enrich and expand our comprehension of the informative, communicative, linguistic, stylistic, and aesthetic components of a literary work. For instance, we can determine the genre of a given oeuvre; or try to discern the author or oeuvres’ intention with respect to art for art’s sake, didactic/instructive ends, or postulation of an engagé committed message. These are rudimentary points of departure in analysis, yet as literature evolves, and documentation itself is brought into question, the entire repertoire of analytic tools will be needed in order to grapple with the changing format, structure and content.

Our interactions, alias sessions in Rare Books, with “books” from pre-conquest Latin America to more modern examples forced the class to think about literary analysis in a whole new manner rarely addressed in standard textbooks. Bringing home the very concrete, tangible aspect of a book, through our physical engagement, incited a distinct appreciation of the knowledge and wonder incarnate in hard copy, electronic, virtual, artists’ books or otherwise. Our task was to unlock their universe by questioning the implications of the form and meaning – the how and what – of their documentation or lack thereof. Coincidentally, DOC/UNDOC invites the reader to participate in a similar kind of intellectual endeavor; the analysis and reading of a provocative revalorization of the act of documentation in the twenty-first century.

20151201_155114

Drucker, Johanna, Granary Books, and Press Collection. The Century of Artists’ Books. 2nd ed. 2004: 257-285. Print.
Fox, A., Krause, D., and Simmons, S.K. (Fall 2009),The Hybrid Book: Intersection and Intermedia,The Bonefinder: An e- Journal For The Book Binder And The Book Artist,Volume 6, Number 1. Retrieved Dec.4, 2015 from http://digilib.syr.edu/cgi-bin/showfile.exe?CISOROOT=/bonefolder&CISOPTR=76&filename=78.pdf
Gómez-Peña, Guillermo, Rice, Felicia, Vazquez, Gustavo, González, Jennifer A., Watkins, Zachary, and Moving Parts Press, Publisher. DOC/UNDOC : Documentado/Undocumented Ars Shamánica Performática. 2014. Print.
McVarish, Emily. (Autumn 2008). Artist books Mimeo Mimeo No. 2 Jed Birmingham and Kyle Schlesinger
Rossman, Jae Jennifer. 2010. Documentary Evidence: The Aura of Veracity in Artists’ Book. In Walkup, Kathy., and Grolier Club. Hand, Voice & Vision: Artists’ Books from Women’s Studio Workshop 2010. Print.

Coming soon: Response from Sam DeMonja

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Book of the Week – Philosophiae Naturalis Principia Mathematica

30 Monday Nov 2015

Posted by scott beadles in Book of the Week

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Age of Reason, Albert Einstein, alchemy, Alexander Pope, Aristotle, astronomy, calculus, Copernicus, Edmund Halley, Enlightenment, Galielo, gravity, history of science, Isaac Newton, Johannes Kepler, laws of motion, Leibniz, London, mathematics, Principia, telescope, The University of Utah, theory of relativity, William Wordsworth

QA803-A2-1687-titleQA803-A2-1687-pg1QA803-A2-1687-pg283

Philosophiae Naturalis Principia Mathematica
Isaac Newton (1642-1727)
London, J. Streater, 1687
First edition
QA803 A2 1687

Although Copernicus, Galileo, and Kepler had shown the way by describing the phenomena they observed, Isaac Newton explained the underlying universal laws of those phenomena. Newton’s theories overthrew the subjective interpretations of nature that had dominated science and natural philosophy since the time of Aristotle and ushered in the Age of Reason. By age forty-three, Newton had invented calculus, broken white light into its component colors, and built a telescope whose design is still used today. When he was forty-seven he published the book that profoundly changed the way we see the world and established his brilliance as an astronomer and mathematician. It is likely that no more than three hundred copies of the first edition were printed.

Principia gave us the three laws of motion, defined gravity, and provided the precise mathematical equations by which it could be measured. Edmund Halley was instrumental in getting Principia into print. Halley wheedled, flattered and bullied Newton, a recluse, into preparing his manuscript. Halley paid the cost of printing it out of his own pocket. Leibniz admired Newton’s math but was appalled by his fascination with alchemy. Of the birth of the Age of Reason, Alexander Pope wrote, “Nature and nature’s laws lay hid in night;/God said ‘Let Newton be!’ and all was light.” William Wordsworth wrote of Newton, “for ever Voyaging thro’ strange seas of Thought, alone.” Albert Einstein said that Newton “determined the course of western thought, research, and practice like no one else before or since.”

In the twenty-first century, Principia is still considered one of the greatest single contributions in the history of science.

University of Utah copy: Second and third books printed by different printers, evidenced by different type in the headings and a break in paging between the two books. Diagram on p. 22

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Book of the Week – Organum

13 Monday Jan 2014

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Aristotle, Coimbra, Greek, Nicolas de Gouchy, Organum, Portugal

Aristotle, Organum, 1577
Organum, Sive Logicae Tractationes Omnes
Aristotle
Francofurti, Excudebat A. Wechelus, sibi & T. Guarino, 1577
PA389 O7 1577

Of all the classical Greek scholars, the most influential was Aristotle. He defined for the first time basic fields of inquiry: logic, physics, political science, economics, psychology, rhetoric, and ethics. In the process, Aristotle also established a method of study, based upon deductive reasoning, which profoundly influenced scholarship for nearly two thousand years.

The Organum is a collection of four Aristotelian treatises on inductive and especially deductive reasoning. This edition is a new and corrected version of the famous edition done by the learned French humanist Nicolas de Gouchy (ca. 1520-1572) in Portugal, where he was teaching Greek at Coimbra.

Greek text. Title also in Greek. Widely scattered underscoring or brief neat annotations in an early hand.

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Book of the Week – Novum Organum

04 Tuesday Dec 2012

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Aristotle, Billium, Copernicus, deductive logic, empirical methodology, Francis Bacon, Galileo Galilei, Johannes Kepler, London, Middle Ages, Pillars of Hercules, science, Straits of Gibraltar, Tycho Brahe, Western Europe, William Gilbert

Novum Organum, 1620

Novum Organum, 1620

Francisci de Verulamio, Summi Angliae Cancellarii. Instauratio Magna. Multi Pertransibunt et Augebitur Scientia
Francis Bacon (1561 – 1626)
London: Billium, 1620
First edition
B1165 1620

The foundations of modern science were set out by Francis Bacon in this book. Bacon advanced a new method of reasoning. Bacon argued convincingly that deductive logic, taught by Aristotle and practiced in Western Europe throughout the Middle Ages, would not work for science. Bacon wrote that experimentation was necessary to determine truth. He criticized existing methods of scientific interpretation as inadequate and provided a system based upon empirical methodology, accurate observations, and the accumulation of reliable data. The engraved image on the title page was prophetic. In 1620, the course of philosophy, with Bacon as pilot, was substantially altered. Sailing through the Pillars of Hercules (the Straits of Gibraltar), the limits of the Old World, Bacon’s ship sets out into new and uncharted seas, leaving behind a legacy of superstition and credulity. This voyage, as daring and influential as any undertaken by Renaissance explorers, ushered in a new era.  Although the discoveries of Copernicus, Johannes Kepler, Tycho Brahe, Galileo Galilei, and William Gilbert had done much to destroy the pervasive influence of Aristotle, it was this work that established a new philosophical structure in Western Europe.

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Recent Posts

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