Two italian authors of the 16th century interpret the symbolism of the tarot deck. These texts are translated here for the first time. Deux auteurs italiens du 16e siècle interprètent le symbolisme du jeu de tarot. Ces textes sont ici traduits en anglais pour la première fois.

This book deals primarily with the problem of the one and the many. The problems of creation, of evil, of revelation, and of ethics are all treated as special cases of the general problem of relating the finite to the infinite, the many to the one. The authors focus on the unifying theme of mediation, the means by which the Absolute relates to the here and now. The principal figures studied include Philo, Plotinus, Iamblichus, Isaac Israeli, Avicenna, Ibn Gabirol, Al-Ghazâlî, Abraham Ibn Daud, Maimonides, Averroes, Albertus Magnus, Aquinas, Gersonides, Nahmanides, Ibn Falaquera, Narboni, Albalag, Leone Ebreo (Judah Abarbanel), and Spinoza, as well as such Kabbalistic thinkers as Bahir, Cordovero, Luria, Moses de Leon, Ya'akov ben Sheshet, Isaac the Blind, Menahem Renanti, Shem Tov ben Shem Tov, Azriel of Gerona, Alemanno, Luzzato, Cordovero, and Abraham Herrera. The authors include David Winston, John Dillon, Carl Mathis, Bernard McGinn, Arthur Hyman, Alfred Ivry, Lenn E. Goodman, Menachem Kellner, David Burrell, Idit Dobbs-Weinstein, David Bleich, Seymour Feldman, Steven Katz, Moshe Idel, David Novak, Hubert Dethier, Richard Popkin, and Robert McLaren. Taken together, these essays offer an impressive historical survey of the ideas, achievements, and philosophic struggles of a group of men who worked to form a unique and durable tradition that bridged the gap between rival confessions and sects—mystics, rationalists, and empiricists; Jews, Christians, and Muslims. This is a philosophic source whose vitality is not yet exhausted.

This vibrant bilingual edition, annotated by celebrated Bruno scholar Ingrid D. Rowland, features the text in its original Italian alongside an elegant, accurate English translation.

The sculptors of the Roman Baroque, including masters such as Gian Lorenzo Bernini, Alessandro Algardi, and Giuliano Finelli, managed to achieve an unprecedented vivaciousness in their works. And yet, the apparent life of these sculptures is persistently obscured by their materiality. Soft, undulating flesh, dramatic movements, and fluttering draperies are captured in hard and lifeless marble. Thus, sculpture challenges the beholder, is cause for confusion or frustration. Taking the manner in which the beholder’s engagement with sculpture is played out in contemporary poetry and other sources as a point of departure and also introducing ideas from modern-day psychology, this study explores the various ways contemporary viewers dealt with sculpture’s double character. As a result, a new light is shed on some of the unquestionable masterpieces of European art. Die Bildhauer des römischen Barock, darunter Meister wie Gian Lorenzo Bernini, Alessandro Algardi und Giuliano Finelli, erreichten eine beispiellose Lebendigkeit ihrer Werke. Dem augenscheinlichen Leben widerspricht jedoch beharrlich die harte Materialität dieser Skulpturen. Weiches, bewegtes Fleisch, dramatische Bewegungen und flatternde Stoffe sind in hartem, leblosem Marmor gefangen. So fordert die Skulptur den Betrachter heraus und sorgt für Verwirrung oder auch Enttäuschung. Anhand zeitgenössischer Poesie und anderer Quellen,welche die Interaktion zwischen Betrachter und Skulptur reflektieren, untersucht diese Studie, wie Zeitgenossen mit diesem Doppelcharakter der Skulptur umgingen. Dabei werden auch Ansätze der modernen Psychologie miteinbezogen. Das Ergebnis ist ein neuer Zugang zu einigen der höchstgeschätzten Meisterwerke europäischer Kunst.

Published in London in 1584, The Expulsion of the Triumphant Beast is Giordano Bruno’s first work of moral philosophy. It is dedicated with a long Explicatory Letter to Elizabeth I’s most cultured courtier, Sir Philip Sidney. It is a book about moral reform, expelling the beasts of evil, and putting virtues in their place. Its theme is presented as an allegorical drama in which ancient myths assume modern meanings questioning the ways in which moral and religious reform have been conceived in both the ancient world and the cultures of Renaissance Europe. This new Italian text, based on the original printed text of 1584 held in the British Library, presents a less modernized version than those presently available, while maintaining a modern page format. The aim is to provide a text closer to the sound of Bruno’s original mix of classical Tuscan Italian and Neapolitan dialectical forms. This edition also presents a new translation designed to render Bruno’s complex and baroque Italian into easily readable modern English. Hilary Gatti introduces The Expulsion of the Triumphant Beast, underlining Bruno’s meta-literary reflection on the nature of allegory and myth as well as the dramatic structure of his text. Drama, philosophy, and religion combine in this work to give an epic dimension to the perennial cosmic battle between evil and good.

Drawing upon a complex web of early modern sources and ancient texts, this engaging study is a comprehensive treatment of women, gender, and sexuality in 17th-century opera.