This article focuses on the use of one verse from the Biblical Songs of Songs in central passages of Giordano Bruno's first published book on the art of memory. De umbris idearum [On the Shadows of Ideas] not solely aims at improving mnemonic capacities, it also envisages the preconditions and limits of cognition in Bruno's new inifitist cosmology. Taking relevant scholarly literature on the topic as a point of departure, this contribution presents De umbris in the context of Bruno's philosophy (...) in general; it focuses on Bruno's evocation of Origen's commentary on that passage in the Song of Songs. The article analyzes in detail the reasons for Bruno's subversion of the traditional exegetic tradition that was massively influenced by Origen's spiritualized reading of the Song of Songs. Bruno's misappropriation of the Origen's commentary turns out to be a mise en abyme, a mannerist strategy of representation. It not only reflects the very method that underlies Bruno's art of memory, but is also to be understood as a conscious subversion of exegetic traditions in general. (shrink)

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic. The Neo-Platonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for their lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work, but (...) that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians - both those concerned with the history of their own discipline and also those whose research is on the art and culture of the Italian Renaissance itself - with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature. (shrink)

Niccolò Machiavelli (1469–1527) never wrote any subtle disquisition on esteem (stima in Italian). Even so, this essay suggests that esteem played an important and hitherto largely unexplored role in Machiavelli’s political thought. Proceeding from an examination of Machiavelli’s use of the noun stima and the verb stimare in their literal and figurative senses, this article discusses Machiavelli’s ideas from three different perspectives. The first section discusses ways of attracting other people’s esteem through virtuous deeds. The second section, in turning to (...) Machiavelli’s notorious advice to princes, explores the ways in which stima may be generated by merely pretending to be virtuous. I argue that Machiavelli’s new prince exchanges the real esteem he must elicit from his subjects (if he wishes to stay in power) with a surrogate: in other words, a psychological economy of stima. It arrests, through a performative spectacle, the rational faculties of the prince’s subjects. The third section investigates Machiavelli’s ideas on esteem in relation to his own person. Even though Machiavelli never uses the phrase stima di se stesso (which would be a literal translation of self-esteem), some passages from his correspondence are highly pertinent to this topic. (shrink)

"Through a close reading of rarely studied materials, the author examines the contested position of the body in Renaissance philosophy, showing how abstract metaphysical ideas evolved in tandem with the creation of new metaphors that shaped the understanding of early modern political, cultural, and scientific practices. The result is a new approach to the issues that describes the function of new technologies (such as optics and distillation) and their interaction with popular creeds (such as witchcraft and folk medicine), as well (...) as their relationship to the newly discovered ancient Greek and Roman texts that captured the attention of Renaissance intellectuals. The text also investigates, for the first time, how some philosophers forged their original syntheses from newly available and traditional materials. In so doing, these philosophers contributed in unexpected ways to the formation of new cultural practices--practices that entailed largely unexplored conceptualisations of physical bodies but also linked inextricably to the formation of new and striking metaphors for the physical world."--Publisher. (shrink)

Diese Studie beschäftigt sich mit dem Zusammenhang zwischen literarischer Form und philosophischer Aussage in Leone Ebreos Dialoghi d'amore, einem der einflußreichsten Werke platonischer Liebesphilosophie im 16. Jahrhundert. Dabei zeigt sich, inwiefern Leone Ebreo seine Philosophie im Rahmen einer komplexen Beziehung zwischen einem Mann (Filone) und einer sich verweigernden Frau (Sofia) entwickelt. Die literarische Dimension der Dialoghi erweist sich als das unverzichtbare Medium der philosophischen Aussage, eine Konzeption platonisierender Liebesphilosophie aus einem spezifisch jüdischen Blickwinkel, welcher eine positive Bewertung der materiellen Welt (...) miteinschließt. Der Appendix gibt eine erste deutsche Übersetzung des Dialogo primo. (shrink)

Marsilio Ficino was not only the first translator and commentator of Plato's and Plotinus's Opera omnia. He also developed a fascinating and highly complex synthesis of Platonism, Christian doctrine, Renaissance magic, and medicine. Well beyond the sixteenth century, Ficino's texts were very influential. Over the past four decades, authors like Michael Allen, Brian Copenhaver, James Hankins, and Valery Rees have substantially increased our awareness of Ficino's intricate and substantial contributions to the Platonic tradition and...

Kenelm Digby was among the first authors in England to embrace Cartesianism. Yet Digby’s approach to the mind–body problem was irenic: in his massive Two treatises (Paris, 1644), the author advocates a corpuscular philosophy that is applied to physical bodies, whereas the intellectual capacities of human beings remain inexplicable through the powers of matter. The aim of the present article is to highlight the (rather reticent) relationship of Digby’s corpuscularism with doctrines of spirits in connection with the Renaissance Neoplatonic tradition. (...) Not uncommon in seventeenth-century natural philosophies, such “spirits” are notoriously evasive entities: half spirit, half matter acting as mediators between the realms of bodies and souls. This article suggests that Digby sought to preserve the inveterate ideas of a universal spiritus and a world soul and, in particular, that Kenelm Digby translated (rather than “overcame”) Marsilio Ficino’s (1433–1499) spiritus doctrines into the language of seventeenth-century corpuscularism. (shrink)