Article ID: CBB841320372

Giordano Bruno ‘delineatore del campo della natura’ (2020)

unapi

The theme of ‘theater of nature’ provides an occasion for reconsidering the relationship between Giordano Bruno and nature. Not so much to theoretical investigation on first principles as to observation of natural phenomena, therefore celestial and terrestrial fenomie. In his works, Bruno never linked nature and theater, nor used the locution ‘theater of nature.’ When dealing with celestial physics, he preferred the notion of campo, one that fitted the infinite universe and infinite worlds better than the closed theater architecture. As for terrestrial physics, all the animanti are contained in the grembo, or dorso of animated earth. Bruno did not give to natural bodies, made up by constant matter and mutable forms, the same attention he gave to the skies, maybe because they were ephemeral in their eternal vicissitude. Moreover, even if the principles of magia naturalis were strongly connected with Nolana philosophy, Bruno seems to have never devoted himself to magical praxis.

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Authors & Contributors
Granada, Miguel A.
Seidengart, Jean
Bönker-Vallon, Angelika
Tessicini, Dario
Canone, Eugenio
Rius, Rosa
Journals
Physis: Rivista Internazionale di Storia della Scienza
Journal for the History of Astronomy
American Catholic Philosophical Quarterly
European Legacy
Common Knowledge
Science in Context
Publishers
Universitat de Barcelona
Herder
Fabrizio Serra
Felix Meiner Verlag
Vuibert
University of North Carolina at Chapel Hill
Concepts
Cosmology
Infinity
Philosophy
Astronomy
Science and religion
Science and literature
People
Bruno, Giordano
Kepler, Johannes
Shakespeare, William
Bodin, Jean
Maimonides
Palingenio Stellato, Marcello
Time Periods
16th century
Renaissance
17th century
18th century
Enlightenment
Places
Italy
Great Britain
Europe
Institutions
Oxford University
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