Convegno: Immensità, Fisica, Metafisica E Teologia In Giovanni Da Ripa

29 Dicembre 2022

Ore: 18:00

Teatro "Luigi Mercantini"

Ripatransone

GIOVANNI DA RIPATRANSONE

(lat. Iohannes de Ripa; o de Marchia) Filosofo e teologo (sec. 14°), detto Doctor difficilis e Doctor supersubtilis. Francescano, fu baccelliere sentenziario a Parigi, verosimilmente nell’anno accademico 1352-53. Teologo di primo piano, si confrontò con le posizioni di autori francescani, come Francesco della Marca, e agostiniani, come Gregorio da Rimini, non senza ignorare le dispute oxoniensi tra Bradwardine e Th. Buckingham. Importante fu la sua soluzione al problema della visio beatifica, e in partic. il concetto di immutatio vitalis, volto a salvaguardare, nella presenza compiuta dell’essenza divina a un intelletto creato, sia l’insuperabile distanza tra Dio e la creatura, sia la pienezza della beatitudine. Significative anche le sue riflessioni sul rapporto tra immensità divina e infinità possibile nell’ordine creaturale, e sulla possibilità di confrontare diversi tipi di infinito, che si ripercuotevano sulla dimostrabilità dell’esistenza di Dio, mentre sulla questione dei futuri contingenti rimase nella scia di Duns Scoto. In campo teologico, oltre che in relazione alla sua tesi delle distinzioni formali in Dio, che già aveva suscitato la scandalizzata reazione di Jean de Gerson, G. è stato studiato per le sue dottrine trinitarie e cristologiche. Tra le sue opere vanno ricordate la Lectura sui libri delle Sentenze di Pietro Lombardo, la Quaestio de gradu supremo e infine le Determinationes.

Fonte: Treccani

Comments

The Gleaner of Sapri's Manuscript (Written by the poet Luigi Mercantini)

At the top floor of the museum there is the original manuscript of The Gleaner of Sapri, Written by Luigi Mercantini. "They were three hundred, they were young and strong, and they died." This is the famous refrain of what is probably one of the most famous poems of the Risorgimento, the gleaner of Sapri, composed by Luigi Mercantini in memory of the enterprise attempted by Carlo Pisacane in 1857 to unification Italy. In these sections of the Historical Museum is dedicated to the poet Risorgimento Luigi Mercantini with an Historical Ethnographic Collection. This floor, dedicated to the Italy of nineteenth, allows visitors to immerse themselves during the time of National Unity, capturing the feelings that animated the young patriots who infuocavano the Italian Province. Songs and poems encouraged the barricades and political struggles of an Italy that joining was preparing to enter Europe. Sapri The Gleaner of Sapri Luigi Mercantini (1821–1872) Ano...

Christ on the Sepulchre Madonna and Child Enthroned between Saints Sebastian and Cosmas Saint Lucy

Pietro Alamanno (Choetbei, between 1430 and 1440 – Ascoli Piceno, 1498) was an Italian Renaissance painter and sculptor of Austrian origin. Montefortino, Fortunato Duranti Art Gallery Description At the top is the suffering Christ, partially in the tomb, with the instruments of the Passion hanging on a wooden panel against a red background to highlight it. The Madonna is seated on a throne, praying and looking at her Son, who is resting on her knees. On the left is Saint Sebastian, pierced by numerous arrows and looking at the baby Jesus. On the left there is Saint Cosima, wearing a red turban and holding a house in her hands. Saint Lucy is the only saint who looks at the observer; we see her holding a tray with her eyes and the palm of her martyrdom.

Our Lady of Mercy with Saints Ginesius and Vincent Ferrer Tempera on Panel By: Pietro Alemanno (1430 - 1498) Renaissance Painter San Ginesio (MC) Collegiate Church

Description This painting was painted in 1485, when many people in San Ginesio were falling ill and dying from the plague. In the centre there is the Madonna who wears a large cloak, beneath there are people praying for her protection. Outside the cloak some people are pierced by arrows and dying, guilty of not believing in God. The sky is dark, and on either side are two groups of monstrous-looking demons, spewing hailstones at the people. On the far left there is a devil blowing a hunting horn, a symbol of war and hunting. On the far right are devils with bows and arrows. In the background there is an urban area. Why San Ginesio? He is the protector of San Ginesio and Vincenzo Ferrer, a Dominican friar who is invoked against the plague.

The Ripatransone Digital Library

Search This Blog