Centro Interdipartimentale FiTMU

Resumé:
L'article propose d’attribuer à Almanne de Hautvillers (IXe s.) la lettre d'un auteur A. à un certain magister E., transmise par le seul manuscrit Leiden, Voss. lat. oct. 88. L’attribution, soutenue par des concordances textuelles avec les écrits d’Almanne, permettrait de préciser les nombreuses références historiques présentes dans l’épître ainsi que d’illustrer ses aspects doctrinaux, marqués par l’influence érigénienne, et de spécifier en même temps plusieurs détails de la vie et de la formation intellectuelle du moine et prêtre de Hautvillers.

Abstract:
This paper intends to attribute to Almannus of Hautvillers (IXe c.) a letter of an author A. to a certain magister E., which is only known in the manuscript Leiden, Voss. lat. oct. 88. The attribution, argued through textual concordances with works of Almannus, would allow to detail numerous historical informations referred to in the epistle as well as its doctrinal aspects, marked by the eriugenian influence, and at the same time to specify several facts concerning life and intellectual formation of the monk and priest of Hautvillers.

Sintesi:
Si propone l’attribuzione ad Almanno di Hautvillers della lettera inviata da un anonimo autore che si firma come A. a un certo magister E., trasmessa dal manoscritto unico Leiden, Voss. lat. oct. 88. L’attribuzione, argomentata attraverso concordanze testuali con altri scritti di Almanno, permette di contestualizzare i numerosi riferimenti storici nonché i contorni dottrinali dell’epistola, segnati dall’influenza eriugeniana, e allo stesso tempo di specificare vari dettagli della biografia e della formazione intellettuale del monaco e presbitero altivillarense.

Résumé: Cette étude tente de définir la conception du mal dans la pensée patristique orientale et dans la théologie ascétique byzantine en rapport avec la nouvelle vision ontologique élaborée par les auteurs byzantins. Les auteurs considérés aboutissent à une synthèse entre les positions de la philosophie ancienne à l'égard du mal, qui s'efforça de lui trouver une place dans l'ordre cosmique, et la position biblique, qui situait la cause du mal seulement dans le libre choix des créatures rationnelles (hommes et anges). L'élaboration de cette synthèse amènera les Pères orientaux à une systématisation capable de surpasser les limites de l'ontologie cosmologique ancienne et de bâtir une nouvelle vision de la réalité dans laquelle la volonté joue un rôle central. Dans cette nouvelle perspective, issue
de l'anthropologie biblique et des disputes christologiques, les dynamiques du mal trouvent explication dans le contexte de l'économie de la création et en vue du but de la déification trans-naturelle de l'homme, but dans le quel on peut reconnaître
le fondement doctrinal soit de la théologie soit de la vie ascétique byzantine.

Aim of this paper is an approach to the problems surrounding the interpretation of musical symbolism in relation with medieval musical theory and the sources of thought that influenced its evolution. Harking back to a level of musical speculation focussed exclusively on the sonic event, as a factor of a not mere emotional influence on the psyche and independent of all numerological and cosmological readings that patristic and medieval music theorists recovered from Antiquity in order to illustrate the concept of harmonia, a reconstruction is attempted, through textual sources, of a conception marked by an understanding of musical symbol as an ontological nexus bringing to bear on the dimension of listening, rather than on hermeneutical superstructures, either numerical or semiotical, that have been superimposed during the Middle Ages on the purely sonorous and musical fact.

Questo saggio intende soffermarsi sui problemi di interpretazione del simbolo musicale in relazione alla teoria musicale medievale e alle fonti di pensiero che ne hanno determinato l’evoluzione. Rintracciando un livello della speculazione sulla musica incentrato esclusivamente sul fatto sonoro, quale evento capace di avere un’influenza non semplicemente affettiva sulla psiche, indipendente dalle letture aritmologiche e cosmologiche che i teorici musicali in età patristica e medievale ripresero dall’antichità per spiegare la valenza dell’harmonia, si tenta la ricostruzione, attraverso gli accenni offerti dalle fonti, dei tratti di una concezione connotata da una interpretazione del simbolo musicale quale nesso ontologico afferente alla dimensione dell’ascolto piuttosto che alle sovrastrutture interpretative, numeriche o semiotiche, che si sono fatte strada nella comprensione medievale della musica, sovrapponendosi al fatto puramente sonoro e musicale..

Aim of this paper is to follow the paths of eriugenian thought in one of his most topical argument: the creation of everything in the Verb. Moving from the fourfold division of nature, set at the beginning of Periphyseon, two main problems are identified: the non-creativeness of God, and the creativeness of the primordial causes. An attempt to reconstruct the play of ontology and meontology under these themes is made, in search of what the Irish master means speaking of God’s self-creation in everything and God’s identity with the Creation. The Wisdom argument is identified by Eriugena to overpass the aporias that rational though, which follows the rules of dialectics, meets as its limits. Moving from scientia to sapientia, the intellect passes from a divisive knowledge to a unitive one, and by this step an harmonisation of the four divisions of nature with the division between things-that-are and thing-that-are-not is understood in a unitary frame.