This study shows how Giovanni Pico della Mirandola used Neoplatonic and kabbalistic ideas to develop an innovative theory of biblical allegory. Based on epistemology and intellectual ascent, his theory relates to scholastic debate over the action of the intellect.
Throughout the Middle Ages dialectical disputation was the prevailing method of scholarly inquiry. In the fifteenth century, however, humanists challenged the scholastic method, proposing instead historical and philological approaches. This volume focuses on the polemic over the right approach to biblical studies. It describes manifestations of the controversy, ranging from its beginnings in quattrocento Italy to Germany, Spain, France, the Netherlands, and scholars associated with the papal court in the sixteenth century. Erasmus, the most prominent biblical humanist of his day, served as a lightning rod for many of the controversies discussed here and has also received much attention from modern scholars. The chapters offered here seek to lend a voice also to Erasmus’ critics and to right the balance in a historical narrative that has traditionally favoured the humanists. Contributors are John Monfasani, Daniel Menager, Carlos del Valle Rodríguez, Alejandro Coroleu, Charles Fantazzi, Guy Bedouelle, James Farge, Cecilia Asso, Marcel Gielis, Paolo Sartori, Paul F. Grendler, Nelson H. Minnich, Ronald K. Delph
The Scandal of Kabbalah is the first book about the origins of a culture war that began in early modern Europe and continues to this day: the debate between kabbalists and their critics on the nature of Judaism and the meaning of religious tradition. From its medieval beginnings as an esoteric form of Jewish mysticism, Kabbalah spread throughout the early modern world and became a central feature of Jewish life. Scholars have long studied the revolutionary impact of Kabbalah, but, as Yaacob Dweck argues, they have misunderstood the character and timing of opposition to it. Drawing on a rang.
'. . . as when iron is drawn to a magnet, camphor is sucked into hot air, crystal lights up in the Sun, sulfur and a volatile liquid are kindled by flame, an empty eggshell filled with dew is raised towards the Sun . . .' An odd feature of the Bible is that it is full of stories featuring forms of magic and possession - from Joseph battling with Pharaoh's wizards to the supernatural actions of Jesus and his disciples. As, over the following centuries, the Christian church attempted to stamp out 'deviant' practices, there was a persistent interest in magic that drew strength from this Biblical validation. A strange blend of mumbo-jumbo, fraud and deeply serious study, magic was central to the European Renaissance, fascinating many of its greatest figures. Brian Copenhaver's wonderful anthology will be welcomed by everyone from those with the most casual interest in the magical tradition to anyone drawn to the Renaissance and the tangled, arcane roots of the scientific tradition.
The Philosophy of Religion is one result of the Early Modern Reformation movements, as competing theologies purported truth claims which were equal in strength and different in contents. Renaissance thought, from Humanism through philosophy of nature, contributed to the origin of the modern concepts of God. This book explores the continuity of philosophy of religion from late medieval thinkers through humanists to late Renaissance philosophers, explaining the growth of the tensions between the philosophical and theological views. Covering the work of Renaissance authors, including Lull, Salutati, Raimundus Sabundus, Plethon, Cusanus, Valla, Ficino, Pico, Bruno, Suárez, and Campanella, this book offers an important understanding of the current philosophy/religion and faith/reason debates and fills the gap between medieval and early modern philosophy and theology.
This collection of essays honours Marsilio Ficino (1433-1499) as a Platonic philosopher. Ficino was not the first translator of Plato in the Renaissance, but he was the first to translate the entire corpus of Platonic works, and to emphasise their relevance for contemporary readers. The present work is divided into two sections: the first explores aspects of Ficino’s own thought and the sources which he used. The second section follows aspects of his influence in the sixteenth and seventeenth centuries. The papers presented here deepen and enrich our understanding of Ficino, and of the philosophical tradition in which he was working, and they offer a new platform for future studies on Ficino and his legacy in Renaissance philosophy. Contributors include: Unn Irene Aasdalen, Constance Blackwell, Paul Richard Blum, Stephen Clucas, Ruth Clydesdale, Brian Copenhaver, John Dillon, Peter J. Forshaw, James Hankins, Hiro Hirai, Sarah Klitenic Wear, David Leech, Letizia Panizza, Valery Rees, and Stéphane Toussaint.
Humanistic studies has been subjected to critiques from the inside of the university disciplines and shrinking support structures on the outside; moreover, recent technological developments have trapped humans in the maws of the information machine, where will, agency, and dialogue are constantly stunted and mediated, disclosing a nihilistic, dilated present. Against this panorama, Peter Carravetta argues that there is a need to recover the “human” in humanistic reflection, here described as a free social, creative, yet elusive being, caught between idealizations (utopias, concepts of society, autonomy of powers), the realities of survival (basic economics and geographies), and the dynamics of power (the languages and the praxis of actually running the society). The Humanist Project: Will, Judgment, and Society from Dante to Vico presents Dante as the first true humanist, with his stressing the preeminence of free will and individual responsibility in the life of the polis; Boccaccio’s later encyclopedic works as a philosophy of existence and history; Pico della Mirandola’s autopoiesis of the thinking and acting human in light of recent theories of interpretation, the self, and society; Machiavelli and the challenge of chance in determining sociohistorical patterns; Campanella as the last true utopic writer and first to conceive of a realist, world-scale political vision; and Vico as the thinker who identifies and describes the dialectic between historical recurrences and the free will of the individual.
In this book the author seeks to find historiographical and textual evidence that Abraham Cohen de Herrera ‘s main kabbalistic work, Puerta del Cielo, influenced Spinoza’s metaphysics as it is expounded in his later work, the Ethica. Many of the most important ontological topics maintained by the philosopher, like the concept of the first cause as substance, the procession of the infinite modes, the subjective or metaphorical reality of the attributes, and the two different understandings of God, were anticipated in Herrera’s mystical treatise. Both shared a particular consideration of panentheism that entails acosmism. This influence is proven through a comparative examination of the writings of both authors, as well as a detailed research on previous Jewish philosophical thought.
This collection of essays focuses on the ubiquity of the allegorical imagination in pre-modern western culture, and participates in a recent wave of resurgence of interest in the complex practices and ideas usually defined by the word "allegory". The contributors study the impact of the allegorical imagination on the production, reception and interpretation of literature, as well as its function as a tool of philosophical and theological enquiry, and its role in shaping the visual arts. Essays focus on subjects as varied as the general theories on allegory, allegory's relation to the human imagination, its usefulness or even inevitability as a human mode of cognition and its potential for the encoding of meanings that may be political, historical, religious and amorous. They discuss canonical figures such as Petrarch, Boccaccio, Boethius, Hans Memling, Pico della Mirandola, King James I and John Donne, but extend to include neglected but equally important figures such as Stephen Hawes or Thomas Usk as well as thematic approaches less concerned with issues of authority and authorship. As such the collection is a testimony to the variety, complexity, and adaptability of "allegory" at the heart of medieval western civilisation.