Covering a broad range of topics, this text provides a comprehensive survey of the modelling of chaotic dynamics and complexity in the natural and social sciences. Its attention to models in both the physical and social sciences and the detailed philosophical approach make this an unique text in the midst of many current books on chaos and complexity. Including an extensive index and bibliography along with numerous examples and simplified models, this is an ideal course text.

Duranti gli anni della _Querelle des femmes_ si è assistito ad un’importante crescita di testi in difesa o in detrazione della causa femminile. Una delle caratteristiche principali di questa tendenza letteraria risiede nelle reciproche relazioni che le opere stabiliscono tra loro, attraverso una fitta rete di richiami intertestuali. Il Dialogo _Della Dignità e della nobiltà delle donne_ (1624) dello scrittore marchigiano Cristoforo Bronzini aderisce appieno alla pratica intertestuale che mette a servizio della memoria storico-culturale. Nel presente articolo si analizzano (...) i rapporti intertestuali del trattato seicentesco con opere di scrittrici come Lucrezia Marinella, Moderata Fonte ed Isabella Cervoni, mettendo in rilievo le diverse funzioni che l’intertestualità adempie nei testi della _Querelle des femmes_. (shrink)

All’interno del dialogo _Della Dignità e Nobiltà delle Donne _(1622), Cristoforo Bronzini afferma con decisione che numerose donne nel corso della storia si sono distinte nell’ambito della scrittura, a dispetto di obsoleti pregiudizi: l’articolo si propone di indagare le modalità con le quali Bronzini declina il paradigma della differenza di genere, offrendo nello specifico una breve panoramica sulle scrittrici umanistico-rinascimentali che l’autore propone come massimi _exempla_ _virtutis_.

ABSTRACT This article analyzes a polemic of Italian Humanism around Dante Alighieri (1265-1321). In that period, intellectuals such as Cristoforo Landino (1424-1498) and Marsilio Ficino (1433-1499) interpreted Dante’s writing through the platonic prism of the Phaedrus, that is, as someone who was granted the grace to contemplate the divine and the power to describe it. Decades earlier, however, Coluccio Salutati (1331-1406) and Leonardo Bruni (1370-1444) had already attributed to Dante the merit of focusing on formal studies and, with that, (...) being able to develop expressive artifices to his poetry on its own. For the analysis of the different readings, excerpts in which Dante gives evidence of his path and intellectual maturity will be observed, as well as those in which it is possible to observe the poet’s role in the dissemination of formal knowledge in line with his ethical values. (shrink)

Working from transcriptions generated through the T-PEN program at St. Louis University, the collaborators of the project "Petrarch’s Early Manuscripts and Incunabula in the Oregon Petrarch Open Book" are presently digitizing and encoding in TEI P5 2 key interpretative copies of Petrarch’s Rvf: the late 14th-century manuscript copy from the Queriniana Library in Brescia, D II 21, the Queriniana Library’s copy of the first printed edition of the Rvf edited by Cristoforo [Berardi?] and published by Vindelin de Speier in (...) Venice in 1470. The first part of the article traces a brief history of the Oregon Petrarch Open Book, the last section introduces a future project, “Texts, Images and Interpretation in the OPOB”. (shrink)

Anthony Grafton, like Jacob Burckhardt before him, begins his appreciation of Leon Battista Alberti by reviewing how the fifteenth‐century Italian author created a many‐faceted identity through willful self‐fashioning. Grafton, however, offers the reader a much richer Bildungsroman than the older portrait and exposes many forces undercutting the monolithic character of Burckhardt's Renaissance, the same forces that may provide a key to the contrary and doubt‐ridden persona frequenting Alberti's writings. Alberti's ambitions and the leitmotifs of his life from his youthful aspirations (...) to their later glorious fulfillment are laid out in stunning detail.Moving well beyond the unrelenting brightness of Burckhardt's presentation, Grafton also attempts to fuse what have become for scholars the dramatic polarities of Alberti's enigmatic personality. An ambitious scholar and writer on academic subjects, on the visual and practical arts, Alberti was a lover of nature and a sensitive commentator on aesthetic, familial, and cultural ideals. He was also given to irony, despair, and bitter isolation. Grafton makes a strong case for Alberti's dependence on an unwavering determination that compelled him to assume many guises and foster numerous strategies to achieve his literary, social, and economic goals. As his friend Cristoforo Landino once noted, Alberti was like a chameleon. In Grafton's hands, however, Alberti remains dazzlingly inventive and radically humanist, and he endures as appropriately leonine and the hero of his own tale.With a predictable outpouring of references, Grafton evokes Alberti's social, political, and intellectual world and, reprising his earlier writings, develops several themes. These include Alberti's literary erudition and the high price he paid to achieve it; how Alberti applied the lessons of ancient sources to the problems of his own world, and in so doing subverted those lessons to create something new; how the humanist author developed special vocabularies for writing about such novel subjects as the visual arts, instruments of measure, and other current technologies; and, perhaps most surprisingly for a man given to bitterly mocking his contemporaries, how Alberti became involved in the creative energy of early modern life with apparent enthusiasm and accomplished the astonishing feat for a humanist of becoming a practicing architect.Grafton finds Alberti's confidence in a material culture driven by technology, theoretical knowledge, and careful observation expressed forcefully in the dedicatory letter of his essay On Painting addressed to the builder Filippo Brunelleschi. Brunelleschi deserved to be praised not for slavishly drinking from the fountain of the ancients, but for the brilliance of his intelligence and the successful application of his knowledge. Further, by requesting that the architect emend his essay, Alberti, the scholar, is shown to have treated Brunelleschi, the builder, as an equal and thereby to have elevated all technical knowledge. Alberti cleverly places himself within the circle of the ingenious engineers who were masters of practical knowledge based on underlying principles and therefore at the forefront of an intellectual parade led by its most renowned practitioner. One wonders, perhaps, what Brunelleschi at the height of his fame might have desired to learn from the audacious savant.As Alberti masters how to make his way in Florence and among the elegant courts of his day, he is seen to revisit the themes of his youthful writings with ever‐deepening insight. Grafton's reflections on Alberti and Florence, though generally convincing, have been greatly enriched by Luca Boschetto's recent book devoted to that subject . In addition, some of Grafton's notions about the influence of On Painting as centered in courtly art seem to reach beyond the evidence and the explicit directives found in Alberti's writings.The reader interested in Alberti's involvement in science and technology will still want to consult Joan Gadol's Leon Battista Alberti: Universal Man of the Early Renaissance , and the lack of a general bibliography will be an irritation to those who like to follow an author's research trail, the trekker in this case having to stumble through a thicket of footnotes. Nonetheless, Grafton has created a richly drawn portrait of Alberti. Scholar and student alike will garner much that is important about this immensely gifted and mercurial man whose writings continue to influence our understanding of the beginnings of early modernity. (shrink)