Introduction

Author(s):  
Charles F. Kennel

In the year 1600, the the man about to become physician to Queen Elizabeth I of England published a long treatise summarizing his two decades of experimentation on magnetism. After disposing of such issues as whether garlic causes magnets to “lose their virtue” William Gilbert recounted his observations upon moving a compass over the surface of a permanent magnet that had been specially fashioned in the form of a sphere (Gilbert, 1893, 1958). The similarity between the compass readings on the surface of his magnet and those recorded in mariners’ charts led Gilbert to conclude that his magnet was a terrella, a little earth, and that our big earth is (among other things) a giant magnet. Gilbert’s little earth organized the pattern of compass readings not only on its surface but also in the space surrounding it. From this, he boldly asserted that the big earth’s magnetic influence continues far into empty space, where no mariner of his day could ever go. The profundity of this remark was not lost on Gilbert’s younger contemporary, Johannes Kepler, who found in it an explanation of the earth’s annual motion around the sun. Kepler reasoned more or less as follows (in modern language): Since the earth and the sun are both celestial bodies, they both should rotate, and they both should have magnetic fields surrounding them in space. Their two rotating fields interact somehow, somewhere, in the space between them, communicating the sun’s rotational motion to the earth and pushing the earth around its orbit. In this curious way, Kepler might have been the first to perceive that the sun acts upon terrestrial magnetism. He was not the last. In 1580, Kepler’s teacher, Michael Maestlin, had recorded an observation of a distinct region of oscillating luminosity in the northern sky, an aurora. The aurora had been a topic of scientific interest since Graeco-Roman antiquity [of particular importance was Aristotle’s (384-322 B.C.) discussion of it in his Meteorology], but it had become an object of superstition in the European Middle Ages, and scientific interest in it only began to re-emerge in the second half of the 16th century (Link, 1957).

Among the celestial bodies the sun is certainly the first which should attract our notice. It is a fountain of light that illuminates the world! it is the cause of that heat which main­tains the productive power of nature, and makes the earth a fit habitation for man! it is the central body of the planetary system; and what renders a knowledge of its nature still more interesting to us is, that the numberless stars which compose the universe, appear, by the strictest analogy, to be similar bodies. Their innate light is so intense, that it reaches the eye of the observer from the remotest regions of space, and forcibly claims his notice. Now, if we are convinced that an inquiry into the nature and properties of the sun is highly worthy of our notice, we may also with great satisfaction reflect on the considerable progress that has already been made in our knowledge of this eminent body. It would require a long detail to enumerate all the various discoveries which have been made on this subject; I shall, therefore, content myself with giving only the most capital of them.


Author(s):  
Xu Fengxian

The chapter studies ancient Chinese astronomy, which focused on computing and predicting the movements of the heavens (天 tian), the sun, moon, stars, and asterisms, which was the duty of the rulers, in order that the people be well-regulated. Heavenly bodies were allocated to terrestrial zones, especially 28 constellations roughly along the equator or the ecliptic, the seven stars of the Big Dipper (regarded as the carriage of heaven), and the five planets. Unusual celestial phenomena were recorded, such as solar eclipses, comets, and meteorites. The 盖天 gai tian theory (celestial dome theory), the 浑天 hun tian Theory (celestial sphere theory) and the 宣夜 xuan ye theory (infinite empty space theory) were the three primary theories of the structure of the heaven and the earth, in the Han dynasty (202 bce—220 ce). The earliest extant Chinese star catalogue of the whole sky was composed in the 1st century bce, and the definitive constellation system of 283 constellations, 1464 or 1465 stars was composed in the 3rd century ce.


2020 ◽  
pp. 40-43
Author(s):  
Lev Borisovich Velgas ◽  
Liya Lvovna Iavolinskaia

In the article, the authors’ concept is presented, according to which all planets rotate about their axis due to their satellites. The planet and its satellite are interconnected by a shared gravity, which moves along the surface of the planet as the result of the satellite moving in an orbit. The discussed movement of gravity applies to all planets and the Sun. The shared gravity is at its maximum on the Earth and Sun surface. Particular celestial bodies have their beginning, evolution and end. On the whole, the Universe has always existed and will always exist, and such major formations as galaxies and stars will never cease to exist.


2019 ◽  
Vol 2 (3) ◽  

To solve fundamental and applied problems, it is useful to detect signs of external influences on the Solar system from the synchronous responses of the Earth’s shells, using a systemic and interdisciplinary analysis of solar-terrestrial relations - taking into account, along with solar activity and GCR fluxes, the endogenous activity of the Earth due to gravitational effects on the Earth with the sides of the Moon, the Sun and other celestial bodies of the Solar system during its barycentric motion in the gravitational field of the Galaxy, as well as the effects of perturbations on the Solar system as a whole. At the same time, the mechanism, energy, cyclicity, synchronism, change in the shape of the Earth and gravity, polar asymmetry and jump-like manifestations of solar-terrestrial relations, instability of the Earth’s daily rotation become explainable. The Solar system is subject to external influences of gravity of the heavy planets of Jupiter and Saturn in the course of its barycentric motion in the gravitational field of the Galaxy, as well as the bringing in solar system of additional energy when exposed to a heterogeneous interstellar environment.


Author(s):  
Jonathan Regier

The brief reflection that follows is a discussion of how and why celestial bodies were seen as alive in the celestial physics of the sixteenth and early seventeenth centuries. From Aristotle to the angelology of the Scholastics and through to the new astronomy of Johannes Kepler, vitalism of some kind played a part in the study of celestial bodies. Celestial vitalism probably reached its height in the late Renaissance, when it was strongly informed by medical ideas. Those living skies seemed to embody animal souls and their forces. William Gilbert, a doctor, described the rotation of the earth as a matter of health. Notably, the freedom attributed to the body’s interal circulations was passed on to celestial spaces. A universe open to the circulation of a generative pneuma, spiritus, or light, anticipated the uniform space of classical physics. The question of celestial embodiment during the Renaissance is thus essential to the wider history of physics and cosmology.


2000 ◽  
Vol 04 (01) ◽  
pp. 10-35
Author(s):  
Edgar Laird

This paper examines the development of the idea of heaven in relation to the sphaera mundi - the sphere of the world - in medieval literature. The sphaera mundi is a model of the cosmos that at its most elementary is very simple indeed. At the centre of it is the earth, so small as to be virtually a dot in comparison to the whole or even to the smallest star. Earth is surrounded by the sea, which in turn is surrounded by air, as also air is surrounded by fire. Surrounding the fire is a sphere that 'bears' the moon, and around that sphere are others, like layers of an onion, bearing the other planets: Mercury, then Venus, the sun, Mars, Jupiter and Saturn. Then come the sphere bearing the fixed stars and, beyond it, one or more others. All these spheres together constitute the sphere of the world.


Vision ◽  
2019 ◽  
Vol 3 (3) ◽  
pp. 39
Author(s):  
Helen E. Ross

The Irish Astronomical Tract is a 14th–15th century Gaelic document, based mainly on a Latin translation of the eighth-century Jewish astronomer Messahala. It contains a passage about the sun illusion—the apparent enlargement of celestial bodies when near the horizon compared to higher in the sky. This passage occurs in a chapter concerned with proving that the Earth is a globe rather than flat. Here the author denies that the change in size is caused by a change in the sun’s distance, and instead ascribes it (incorrectly) to magnification by atmospheric vapours, likening it to the bending of light when looking from air to water or through glass spectacles. This section does not occur in the Latin version of Messahala. The Irish author may have based the vapour account on Aristotle, Ptolemy or Cleomedes, or on later authors that relied on them. He seems to have been unaware of alternative perceptual explanations. The refraction explanation persists today in folk science.


1988 ◽  
Vol 38 (1) ◽  
pp. 49-51 ◽  
Author(s):  
István M. Bodnár

Anaximander is the first philosopher whose theory of the heavens is preserved in broad outlines. According to the sources the celestial bodies are huge rings of compressed air around the earth, each visible only where it is perforated by a tubular vent through which the fire contained in it can shine. Greatest and farthest of them is the sun, next comes the moon and under them there is the ring (or possibly rings) of the stars. It is a common practice to put and answer the following questions:(i) ‘…why he should have placed the stellar circles or rings closer to the earth than are the sun and the moon.’(ii) ‘…why these lower rings of stellar ρ do not obscure the brighter but more distant bodies.’


Author(s):  
Abdurezak Hashi Abdulahi

Numerous Qur’anic verses elucidate the structural design of the celestial bodies of the physical cosmos such as the Sun, the Moon, the Earth, the Stars, and the natural rules (sunan) governing such planets in the space. Though a large portion of the Qur’an illuminates the rules of the natural sciences, including the architectural design of the physical world, however, it emphasizes on the worth of signals beyond the scientific natural sciences. As such, the enduring attractive architectural design of the natural physics, the diversity of its subject matter and the expediency of its environmental climate, in the Qur’anic view, are not without philosophy and aim. Besides the functional consistency of the natural physics to serve humanity (taskhÊr), according to the Qur’an, the rules of nature are ayÉt, i.e., signboards, which indicate to ultimate destinations or goals. Hence, the architectural design of the natural physics is both purposive and evocative. Therefore, philosophy of natural physics, which is the study of the philosophical questions underlying the cosmological universe, is a field which the Qur’an required man to reflect upon. Similarly, scholars of philosophy of science agree on the necessity of exploring not only the sciences of the natural world but also its metaphysical indications, objectives and implications. This is because of the fact that, scientific findings and statements are no longer merely neutral accounts without meaningful signals and philosophy. Through analytical and textual methods, this paper attempts to examine the philosophy and objectives of the architectural design of natural physics from the Qur’anic perspective.


TOTOBUANG ◽  
2018 ◽  
Vol 6 (1) ◽  
Author(s):  
Kahar Dwi Prihantono

The research analyzes literary stylistics of Seno Gumira Ajidarma’s short story, "Rembulan dalam Capucino ",by taking advantages of Lyotard’s postmodernismperspectives. By applying andescriptive method, the writer found postmodern storytelling stylistics involving at least seven postmodern styles, namely  fragmentation, sublim language play, pastiche, parody, kitsch, camp, and schizophrenia. Fragmentation wasfound in the style of merging separate fragments of rembulan and creating its new meanings.Sublime language play was seen on SGA trials to change something impossible to be possible. Pastiche style was seen in the quotation of Pablo Neruda's poem which expressed it took a glance to love someone and it took a very long time to forget someone. Parodic style was seen inthe exchange of “moon” for “soto Betawi” in Italian restaurant. Camp appeared in the elimination of characters’ names as in common short stories. Schizophrenia arose at SGA's story about a“moon”(rembulan) that could serve as a sign or symbol of shifted meaning between the marker and the mark. When the established meaning of the “moon”(rembulan) referred to the 'celestial bodies which surround the earth, shine at night by the reflection of the sun' and 'night beauty', SGA shifted its meaning as a burden of forgetting someone.Penelitian ini menganalisis stilistika sastra Seno Gumira Ajidarma (SGA) dalam cerita pendek “Rembulan dalam Capucino” dari sudut pandang postmodern Lyotard. Dengan menggunakan metode deskriptif, penulis menemukan kepostmodernan gaya SGA yang melibatkan sekurang-kurangnya tujuh gaya postmodernisme, yakni fragmentasi, permainan bahasa yang sublim, pastiche, parodi, kitsch, camp, dan skizofrenia. Gaya fragmentasi terlihat pada gaya penggabungan sejumlah fragmen terpisah tentang rembulan sehingga menciptakan makna baru. Permainan bahasa yang sublim tampak pada permainan SGA mengubah sesuatu yang tidak mungkin menjadi mungkin. Gaya pastiche terlihat pada pengutipan puisi Pablo Neruda yang menceritakan singkatnya mencintai seseorang dan lamanya waktu yang dibutuhkan untuk melupakan seseorang. Gaya parodi terlihat pada penukaran rembulan dengan soto Betawi di restoran Italia. Gaya kitsch, Gaya camp muncul pada peniadaan nama-nama tokoh selayaknya cerpen kebanyakan. Gaya skizofrenia muncul pada pengisahan SGA mengenai rembulan yang dapat dijadikansebagai tanda atau simbol makna yangbergeser antara penanda danpetandanya. Ketika makna rembulan yang telah mapan mengacu pada ‘benda langit yg mengitari bumi, bersinar pada malam hari karena pantulan sinar matahari’ dan ‘kecantikan malam’, SGA menggeser maknanya sebagai sebuah beban melupakan seseorang.


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