The book is a critical edition of the text with an English translation and commentary of Proclus’ On the Hieratic Art according to the Greeks. The Hieratic Art is the Theurgic Art, theurgy, the theurgic union with the divine. Proclus describes the theurgic union, putting an emphasis on a conceptual blending of ritual actions (teletai, e.g. the role of statues, incenses, synthêmata, symbols, purifications, invocations and epiphanies) and philosophical concepts (e.g. union of many powers, ‘one and many’, symphathy, natural sympathies, attraction, mixing and division).

The book is a critical edition of the text with an English translation and commentary of Proclus' On the Hieratic Art according to the Greeks. The Hieratic Art is the Theurgic Art, theurgy, the theurgic union with the divine. Proclus describes the theurgic union, putting an emphasis on a conceptual blending of ritual actions (teletai, e.g. the role of statues, incenses, synthêmata, symbols, purifications, invocations and epiphanies) and philosophical concepts (e.g. union of many powers, 'one and many', symphathy, natural sympathies, attraction, mixing and division).

The spiritual malaise regnant in today’s disenchanted world presents a picture of “a polar night of icy darkness,” as Max Weber wrote already a century ago. This collective dark night of the soul is driven by climate change-related disasters, rapid technological innovations, and opaque geostra­tegic realign­ments. In the wake of what policy analysts refer to as “Westlessness,” the post­modern age is characterized by incessant distractions, urgent calls to responsibility, and in-humanly short deadlines, which result in a general state of exhaustion and burnout. The hovering sense of living in a time frame that is post-histoire induces states of confusion on a personal level as well as in the realm of politics. Totally missing is a grand nar­rative to guide humanity’s vision in the midst of a world crisis. Thinkers, scholars, and Jungian analysts are increasingly looking to C.G. Jung’s monu­mental oeuvre, The Red Book, as a source for guidance to re-enchant the world and to find a new and deeper under­standing of the homo religiosus. The essays in this series on Jung’s Red Book for Our Time: Searching for Soul under Postmodern Conditions circle around this objective and offer countless points of entry into this inspiring work.

Paramount in the shaping of early Byzantine identity was the construction of the church of Hagia Sophia in Constantinople (532-537 CE). This book examines the edifice from the perspective of aesthetics to define the concept of beauty and the meaning of art in early Byzantium. Byzantine aesthetic thought is re-evaluated against late antique Neoplatonism and the writings of Pseudo-Dionysius that offer fundamental paradigms for the late antique attitude towards art and beauty. These metaphysical concepts of aesthetics are ultimately grounded in experiences of sensation and perception, and reflect the ways in which the world and reality were perceived and grasped, signifying the cultural identity of early Byzantium. There are different types of aesthetic data, those present in the aesthetic object and those found in aesthetic responses to the object. This study looks at the aesthetic data embodied in the sixth-century architectural structure and interior decoration of Hagia Sophia as well as in literary responses (ekphrasis) to the building. The purpose of the Byzantine ekphrasis was to convey by verbal means the same effects that the artefact itself would have caused. A literary analysis of these rhetorical descriptions recaptures the Byzantine perception and expectations, and at the same time reveals the cognitive processes triggered by the Great Church. The central aesthetic feature that emerges from sixth-century ekphraseis of Hagia Sophia is that of light. Light is described as the decisive element in the experience of the sacred space and light is simultaneously associated with the notion of wisdom. It is argued that the concepts of light and wisdom are interwoven programmatic elements that underlie the unique architecture and non-figurative decoration of Hagia Sophia. A similar concern for the phenomenon of light and its epistemological dimension is reflected in other contemporary monuments, testifying to the pervasiveness of these aesthetic values in early Byzantium.

An introduction to the philosophical and religious thought of Proclus the Neoplatonist, one of the most complex thinkers of antiquity.

The Hermetica are a body of theological-philosophical texts written in late antiquity, but long believed to be much older. Their supposed author, Hermes Trismegistus, was thought to be a contemporary of Moses, and the Hermetic philosophy was regarded as an ancient theology, parallel to the received wisdom of the Bible. This first English translation based on reliable texts, together with Brian P. Copenhaver's comprehensive introduction, provide an indispensable resource to scholars in ancient philosophy and religion, early Christianity, Renaissance literature, and history, the history of science, and the occultist tradition in which the Hermetica have become canonical texts.

This is the first English translation of Proclus' commentary on Plato's Parmenides. Glenn Morrow's death occurred while he was less than halfway through the translation, which was completed by John Dillon. A major work of the great Neoplatonist philosopher, the commentary is an intellectual tour de force that greatly influenced later medieval and Renaissance thought. As the notes and introductory summaries explain, it comprises a full account of Proclus' own metaphysical system, disguised, as is so much Neoplatonic philosophy, in the form of a commentary.