Derived Light and Eclipses in the Fifth Century

1968 ◽  
Vol 88 ◽  
pp. 114-127 ◽  
Author(s):  
D. O'Brien
Keyword(s):  
Fifth Century ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
The One ◽  
Principal Elements

In a study earlier in this volume, ‘The Relation of Anaxagoras and Empedocles’, pp. 93–113, I listed the ancient evidence to the effect that Anaxagoras first gave the correct explanation of an eclipse, and that he was followed in this by Empedocles. A more extensive examination of the evidence raises certain difficulties. For what are, or might appear to be, Anaxagoras' theories are attributed elsewhere to earlier thinkers.There are two principal elements in this contradiction, the one direct and the other indirect.1. There is a direct contradiction when Thales, Anaximenes and some Pythagoreans are said to have given the correct explanation of an eclipse, at least if we suppose the Pythagoreans in question to have been earlier than Anaxagoras.2. There has been thought to be an indirect contradiction when several thinkers before Anaxagoras are said to have derived the moon's light from the sun. For a theory of derived light for the moon has been thought, whether rightly or wrongly, to entail the correct explanation of an eclipse.In what follows I shall attempt to solve these, and some other incidental difficulties.

scholarly journals Lunar

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati
Keyword(s):  
Full Moon ◽  
Big Bang ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
Big Bang Theory ◽  
Essential Idea ◽  
Visual Reaction ◽  
Night Sky ◽  
The One

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.

Cosmology

2018 ◽  
pp. 158-183
Author(s):  
Ian Richard Netton
Keyword(s):  
Old Testament ◽  
Virgin Mary ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
The People ◽  
The One

This chapter introduces its subject by examining two early cosmological miracles, the standing of the sun at the command of Joshua in the Old Testament and the stilling of sunset and moonrise in the Islamic account by Joshua during the conquest of Jericho.The chapter then surveys and analyses in some depth two major cosmological miracles in the Christian and Islamic traditions:the Miracle of the Sun at Fatima in 1917 and the Splitting of the Moon in the Qur’an. Both miraculous events may be described as ‘proof-events’ designed to underline the truth of messages brought to three children at Fatima in Portugal by the Virgin Mary on the one hand, and by Muhammad to the people of Mecca on the other.

scholarly journals Lunar

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Dewi Sinta Fajawati
Keyword(s):  
Full Moon ◽  
Big Bang ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
Big Bang Theory ◽  
Essential Idea ◽  
Visual Reaction ◽  
Night Sky ◽  
The One

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.

scholarly journals Figures and Mirrors in Demetrios Triklinios's 'Selenography'

2021 ◽  
pp. 54-73
Author(s):  
Divna Manolova
Keyword(s):  
Fourteenth Century ◽  
Visual Cognition ◽  
The Other ◽  
Lunar Theory ◽  
The Sun ◽  
The Moon ◽  
The Earth ◽  
Mediterranean World ◽  
The One

This article is about the interplay between diagrammatic representation, the mediation of mirrors, and visual cognition. It centres on Demetrios Triklinios (fl. ca. 1308–25/30) and his treatise on lunar theory. The latter includes, first, a discussion of the lunar phases and of the Moon's position in relation to the Sun, and second, a narrative and a pictorial description of the lunar surface. Demetrios Triklinios's Selenography is little-known (though edited in 1967 by Wasserstein) and not available in translation into a modern scholarly language. Therefore, one of the main goals of the present article is to introduce its context and contents and to lay down the foundations for their detailed study at a later stage. When discussing the Selenography, I refer to a bricolage consisting of the two earliest versions of the work preserved in Bayerische Staatsbibliothek, graecus 482, ff. 92r–95v (third quarter of the fourteenth century) and Paris, Bibliothèque nationale de France, graecus 2381, ff. 78r–79v (last quarter of the fourteenth century). I survey the available evidence concerning the role of Demetrios Triklinios (the author), John Astrapas (?) (the grapheus or scribe-painter), and Neophytos Prodromenos and Anonymus (the scribes-editors) in the production of the two manuscript copies. Next, I discuss the diagrams included in the Selenography and their functioning in relation to Triklinios's theory concerning the Moon as a mirror reflecting the geography of the Earth, on the one hand, and to the mirror experiment described by Triklinios, on the other. Finally, I demonstrate how, even though the Selenography is a work on lunar astronomy, it can also be read as a discussion focusing on the Mediterranean world and aiming at elevating its centrality and importance on a cosmic scale.

scholarly journals XIII. Observations on the nature of the new celestial body discovered by Dr. Olbers, and of the comet which was expected to appear last January in its return from the sun

1807 ◽  
Vol 97 ◽  
pp. 260-266 ◽  
Keyword(s):  
Solar System ◽  
Celestial Body ◽  
Great Distance ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
Heavenly Body ◽  
Valuable Addition ◽  
Late Discovery ◽  
The One

The late discovery of an additional body belonging to the solar system, by Dr. Olbers, having been communicated to me the 20th of April, an event of such consequence engaged my immediate attention. In the evening of the same day I tried to discover its situation by the information I had obtained of its motion; but the brightness of the moon, which was near the full, and at no great distance from the object for which I looked, would not permit a star of even the 5th magnitude to be seen, and it was not till the 24th that a tolerable view could be obtained of that space of the heavens in which our new wanderer was pursuing its hitherto unknown path. As soon as I found that small stars might be perceived, I made several delineations of certain telescopic constellations, the first of which was as represented in figure 1, and I fixed upon the star A, as most likely, from its expected situation and brightness, to be the one I was looking for. The stars in this figure, as well as in all the other delineations I had made, were carefully examined with several magnifying powers, that in case any one of them should hereafter appear to have been the lately discovered object, I might not lose the opportunity of an early acquaintance with its condition. An observation of the star marked A, in particular, was made with a very distinct magnifying power of 460, and says, that it had nothing in its appearance that differed from what we see in other stars of the same size; indeed Dr. Olbers, by mentioning in the communication which I received, that with such magnifying powers as he could use it was not to be distinguished from a fixed star, had already prepared me to expect the newly discovered heavenly body to be a valuable addition to our increasing catalogue of asteroids.

scholarly journals Total Eclipse of the Sun, 1901, May 18. Preliminary account of the observations made at the Royal Alfred observatory, Pamplemousses, Mauritius

1902 ◽  
Vol 69 (451-458) ◽  
pp. 247-261
Keyword(s):  
Solar Eclipse ◽  
General Structure ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
Total Eclipse ◽  
Royal Observatory ◽  
Preliminary Account ◽  
Coronal Streamers ◽  
The One

An expedition from the Royal Observatory to observe the Solar Eclipse of 1901 in the island of Mauritius having been sanctioned by the Admiralty, I was instructed by the Astronomer Royal to proceed to that island, there to act in concert with the Director of the Royal Alfred Observatory, Mr. T. F. Claxton, who had expressed his desire to co-operate in the observation of the eclipse. In accordance with a scheme approved by the Joint Permanent Eclipse Committee of the Royal and Royal Astronomical Societies, I took out with me two instruments belonging to the Royal Observatory, Greenwich, for photographing the corona; the one giving an image of the Moon 2·4 inches in diameter, and intended to secure the general structure of the corona, and the other giving an image 0·3 inch in diameter, and intended to secure the outer coronal streamers.

Solar Motion and Lunar Eclipses in Philolaus’ Cosmological System

Apeiron ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Dirk L. Couprie
Keyword(s):  
The Other ◽  
The Sun ◽  
The Moon ◽  
Internal Logic ◽  
Wrong Side ◽  
The Earth ◽  
Solar Motion ◽  
Length Of The Day

Abstract In this paper, three problems that have hardly been noticed or even gone unnoticed in the available literature in the cosmology of Philolaus are addressed. They have to do with the interrelationships of the orbits of the Earth, the Sun, and the Moon around the Central Fire and all three of them constitute potentially insurmountable obstacles within the context of the Philolaic system. The first difficulty is Werner Ekschmitt’s claim that the Philolaic system cannot account for the length of the day (νυχϑήμερον). It is shown that this problem can be solved with the help of the distinction between the synodic day and the sidereal day. The other two problems discussed in this paper are concerned with two hitherto unnoticed deficiencies in the explanation of lunar eclipses in the Philolaic system. The Philolaic system cannot account for long-lasting lunar eclipses and according to the internal logic of the system, during lunar eclipses the Moon enters the shadow of the Earth from the wrong side. It is almost unbelievable that nobody, from the Pythagoreans themselves up to recent authors, has noticed these two serious deficiencies, and especially the latter, in the cosmology of Philolaus the Pythagorean.

scholarly journals Disks and Toroids Around Young Stars

1987 ◽  
Vol 115 ◽  
pp. 239-253 ◽  
Author(s):  
L.F. Rodríguez
Keyword(s):  
Star Formation ◽  
Main Sequence ◽  
Observational Evidence ◽  
Young Stars ◽  
The Other ◽  
Main Sequence Star ◽  
Circumstellar Disk ◽  
The Sun ◽  
Bipolar Outflows ◽  
The One

We review the observational evidence for interstellar and circumstellar size gaseous structures that appear to be collimating the bipolar outflows observed in regions of star formation. In particular, there is growing evidence for circumstellar disk-like objects that may be related to a protoplanetary cloud like the one that once surrounded the Sun. There are similarities between these disks around young stars and that found around the main sequence star β Pictoris. Both flattened structures around L1551 IRS5 and β Pictoris appear to have an inner “hole” with radius of a few tens of AU. On the other hand, there is observational support for focusing and collimation processes acting on the same source from tens of AU (circumstellar dimensions) to tenths of pc (interstellar dimensions).

Psychophysical study of the moon illusion in paintings and landscape photos

2021 ◽  
Vol 477 (2245) ◽  
pp. 20200737
Author(s):  
Zoltán Kovács ◽  
Zoltán Udvarnoki ◽  
Eszter Papp ◽  
Gábor Horváth
Keyword(s):  
Angular Diameter ◽  
Solar Disc ◽  
The Sun ◽  
The Moon ◽  
Moon Illusion ◽  
The Real ◽  
The One ◽  
Psychophysical Study

The moon illusion is a visual deception when people perceive the angular diameter of the Moon/Sun near the horizon larger than that of the one higher in the sky. Some theories have been proposed to explain this illusion, but not any is generally accepted. Although several psychophysical experiments have been performed to study different aspects of the moon illusion, their results have sometimes contradicted each other. Artists frequently display(ed) the Moon/Sun in their paintings. If the Moon/Sun appears near the horizon, its painted disc is often exaggeratedly large. How great is the magnitude of moon illusion of painters? How different are the size enlargements of depicted lunar/solar discs? To answer these questions, we measured these magnitudes on 100 paintings collected from the period of 1534–2017. In psychophysical experiments, we also investigated the moon illusion of 10 test persons who had to estimate the size of the lunar/solar disc on 100 paintings and 100 landscape photographs from which the Moon/Sun was retouched. Compared to the lunar/solar disc calculated from reference distances estimated by test persons in paintings, painters overestimated the Moon's size on average Q  = 2.1 ± 1.6 times, while the Sun was painted Q  = 1.8 ± 1.2 times larger than the real one, where Q  =  r painted / r real is the ratio of the radii of painted ( r painted ) and real ( r real ) Moons/Suns. In landscape photos, test persons overestimated the Moon's size Q  = 1.6 ± 0.4 times and the Sun was assumed Q  = 1.7 ± 0.5 times larger than in reality, where Q  =  r test / r real is the ratio of the radius r test estimated by the test persons and the real radius r real of Moons/Suns. The majority of the magnitude of moon illusion Q  = 1.6, 1.7, 1.8, 2.1, 2.8, 2.9 measured by us are larger than the Q -values 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.8 obtained in previous psychophysical experiments due to methodological differences.

Ritual Elements in the New Comedy

1943 ◽  
Vol 37 (1-2) ◽  
pp. 46-54 ◽  
Author(s):  
Gilbert Murray
Keyword(s):  
Middle Class ◽  
Fifth Century ◽  
The Other ◽  
Religious Ritual ◽  
Old Comedy ◽  
Colloquial Language ◽  
Art Form ◽  
The One ◽  
New Comedy

The New Comedy as an art form is descended both from the Old Comedy and from fifth-century Tragedy. It is a middle style of the sort that Diderot called le genre sérieux. On the one side it made an expurgation of the Old Comedy by dropping the gross elements of the primitive ritual ⋯ϕέσεωςκ⋯μος which still survived in Aristophanes, the phallic dress, the ϒεϕυρɩομός in language, and the reckless personal satire, while it kept and emphasized the final Gamos, or union of lovers, and developed a more elaborate plot. On the other side it reformed Tragedy by getting rid of the supernatural stories and the stiff conventions. To quote some words of my own written in 1912, it ‘introduced all the simplifications and improvements which seem to a modern’—I meant a modern philistine—‘so obviously desirable. It developed an easy colloquial language, a flexible and unexacting metre. It left the Chorus quite outside the play, a kind of entr'acte, not worth writing down. It frankly abandoned religious ritual’—please observe that statement, which I now wish to correct—‘and heroic saga. It drew its material from the adventures and emotions of contemporary middle class life, and boldly invented its own plots.’ Menander in particular was considered in antiquity to have held a mirror up to life; a verse by Aristophanes of Byzantium asks.

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