This paper presents two proposals to improve the text of an important passage in Manilius’ Astronomica, 1.456–68, in which the poet explains natura's rationale for arranging the stars in such a way as to create only a partial, rather than a full, representation of the constellation figures. The text of line 464 is repunctuated in order to give proper emphasis to natura's parsimonious disposition of the stars. Scholars have noted that the sentence atque ignibus ignes | respondent in 466–7 is not consistent with the poet's account of how the constellation figures were delineated nor with what an observer sees in the heavens. The conjecture insignibus (neuter plural), for the transmitted atque ignibus in line 466, is offered to indicate that it is the distinctive features (insignia) of the figures to which specific stars correspond and by means of which the figures are described. Attention is also drawn to a striking paronomasia in 466–7, designat … insignibus ignes, which creates a meaningful phonetic constellation of celestial fire (ignis), sign (signum) and insigne (distinctive feature) and thus provides evidence, on the linguistic level, of natura's providentia.

My argument in the two-part essay focuses on the dilemma of nahḍah as an unfinished mission; a transition as Țāhā Ḥusayn calls it. I join many scholars who are trying to see through its problematic nature, but I see it also in relation to the immediate past with which it has maintained an uneasy relationship. The recent premodern or medieval past, I argue, could have been read and approached differently to build up a better link with the masses that the nahḍah intellectual bypasses or disparages. The past as a significant period of constellations and knowledge construction could have helped the search for new paths that could also accommodate European knowledge. Other models, alluded to by my insightful respondents and interlocutors, confirm the validity of this proposal, despite the fact that the medieval Islamic republic of letters—as a blanket term for multidimensional efforts—offers more venues in knowledge construction that challenge Casanova’s one single model.

This reading rewrites the nahḍah, as the other appellation for Arab modernity, and interrogates it through a postcolonial critique. The nahḍah is usually addressed in terms of the encounter with Europe, the indebtedness to and engagement with the Enlightenment discourse at the turn of the last century. I dispute more commonplace negativist readings of the past by nahḍah scholars and direct attention instead to other competing trends that enhanced significant identitarian politics. I also unearth the reasons behind the loudly pronounced negativism, its pitfalls and failure to map out a comprehensive field of an enormous knowledge that unfolded in compendiums, commentaries, lexicons, encyclopedias, along with separate monographs. I apply the term republic of letters to this specifically loaded scholarly interaction, one that preceded and heralded other configurational sites in Europe. A community of scholars over centuries and across the Islamic lands emerged between the twelfth and eighteenth centuries that could have furnished “Enlightened” modernists with some different understanding and critical theoretical approach to the encounter with Europe and the colonial and postcolonial state of affairs.

This manuscript relates the great literature, great art and the vast starry vault of heaven. It relates the myths of gods and heroes for whom the planets and the Medicean moons of Jupiter are named. The myths are illustrated by great art works of the Renaissance, Baroque and Rococo periods which reveal poignant moments in the myths. The manuscript identifies constellations spun off of these myths. In addition to the images of great art are associated images of the moons and planets brought to us by spacecraft in our new age of exploration, the New Renaissance, in which we find ourselves deeply immersed.

China, a country with a long history and a specific culture, has also a long and specific astronomy. Ancient Chinese astronomers observed the stars, named and distributed them into constellations in a very specific way, which is quite different from the current one. Around the Zodiac, stars are divided into four big regions corresponding with the four orientations, and each is related to a totem, either the Azure Dragon, the Vermilion Bird, the White Tiger or the Murky Warrior. We present a general pattern of the ancient Chinese constellations, including the four totems, their stars and their names.

The teaching and the popularization of Astronomy, nowadays, suffers from the absence of attractiveness. It's, somehow, consensual that the most efficient approach to attract the general public or even an uninterested student to the Astronomy is the sky observation. With the help of instruments like telescopes or binoculars, the observation of aesthetical impressive objects such as galactic clusters, approaching planets and many others may have a great impact upon those people. We have been executing an efficient and attractive didactic method which has been evaluated permanently for more than two years and has shown great efficiency that consists in the utilization of legends and myths from different cultures (including Brazilian Indians myths, in an etnoastronomical approach) about the constellations and their dispositions in the sky. The objective of this panel is to show the efficiency of the method and some of its teaching routines always beginning with myths or legends involving a great number of constellations (using, preferentially, most of the watchable sky in a certain time of year), using asterisms for identification and then following to a certain constellation from which it is possible to extract the information required for the studied subject.

The research carried out so far on the identification of constellations in the Inka civilisation is far from exhaustive, as there is both a great difficulty in obtaining the data and much heterogeneity in the information gathered. A brief presentation is given here.