Neopythagoreanism in the work of Johannes Kepler

Autores

  • Carlos Alberto Cardona Universidad Del Rosario

Palavras-chave:

Harmony. Analogy. Control instrument. Limit. Pythagoras

Resumo

In this article I argue that the methodology in the Johannes Kepler´s work is guided by two principles of Pythagorean nature, they are: (i) sameness is made known by sameness, and (ii) harmony arises from establishing a limit to what is unlimited. By way of hypothesis, I present a general outline, which includes those principles, and I indicate how they are present in Kepler’s investigations. I examine two particular cases in the light of that schema.

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Biografia do Autor

Carlos Alberto Cardona, Universidad Del Rosario

Doctorado en Filosofía pela Universidade Nacional de Colômbia entre 1999 e 2003. Mestrado em Ensino de Física Universidade Pedagógica Nacional entre 1989 e 1993. Estudos em Educação Científica com especialização em física. Universidade Pedagógica Nacional entre 1977 e 1981. Colegio Mayor de Nossa Senhora do Rosário, entre 1990 e 1995. Prática de Ensino de Ciências, Universidade de Hiroshima, de 1998. Professor visitante, Departamento de Filosofia da Universidade de Boston.

Referências

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LA RUE, J. (editor). “Aspects of Medieval and Renaissance Music”. London: Oxford University Press, 1967.

PEIRCE, C. S. “Johann Kepler”. In E, Carolyn (editor) (1985), Part. I, pp. 290-295.

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VOELKEL, J. R. “The Composition of Kepler´s Astronomia Nova”. Pinceton: Princeton University Press, 2001

WERNER, E. (1967). “The last Pythagorean musician: Johannes Kepler”, in J. La Rue, (editor), pp. 867-888, 1967.

ZAISER, H. “Kepler als Philosoph”. Stuttgart: E. Suhrkamp, 1932.

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Publicado

2017-03-07

Como Citar

CARDONA, C. A. Neopythagoreanism in the work of Johannes Kepler. Manuscrito: Revista Internacional de Filosofia, Campinas, SP, v. 39, n. 3, p. 91–120, 2017. Disponível em: https://periodicos.sbu.unicamp.br/ojs/index.php/manuscrito/article/view/8647847. Acesso em: 2 fev. 2023.

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