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An illustrated reference book on a seminal figure of occult philosophy and Renaissance thought • Explains Fludd’s thoughts on cosmic harmonies, divination, the kabbalah, astrology, geomancy, alchemy, the Rosicrucians, and multiple levels of existence • Includes more than 200 of Fludd’s illustrations, representing the whole corpus of Fludd’s iconography, each one accompanied by Godwin’s expert commentary • Explores Fludd’s medical work as an esoteric Paracelsian physician and his theories on the macrocosm of elements, planets, stars, and subtle and divine beings and the microcosm of the human being and its creative activities, including material never before translated One of the last Renaissance men, Robert Fludd (1574-1637) was one of the great minds of the early modern period. A physician by profession, he was also a Christian Hermetist, a Rosicrucian, an alchemist, astrologer, musician, and inventor. His drive to encompass the whole of human knowledge--from music to alchemy, from palmistry to fortification--resulted in a series of books remarkable for their hundreds of engravings, a body of work recognized as the first example of a fully-illustrated encyclopedia. In this in-depth, highly illustrated reference, scholar and linguist Joscelyn Godwin explains Fludd’s theories on the correspondence between the macrocosm of elements, planets, stars, and subtle and divine beings and the microcosm of the human being and its creative activities. He shows how Fludd’s two worlds--the macrocosm and the microcosm--along with Paracelsus’s medical principles and the works of Hermes Trismegistus provided the foundation for his search for the cause and cure of all diseases. The more than 200 illustrations in the book represent the whole corpus of Fludd’s iconography, each one accompanied by Godwin’s expert commentary and explanation. Sharing many passages translated for the first time from Fludd’s Latin, allowing him to speak for himself, Godwin explores Fludd’s thoughts on cosmic harmonies, divination, the kabbalah, astrology, geomancy, and the rapport between the multiple levels of existence. He also analyzes Fludd’s writings in defense of alchemy and the Rosicrucians. An essential reference for scholars of Renaissance thinkers, traditional cosmology, metaphysics, and the Western esoteric tradition, this book offers intimate access to Fludd’s worlds and gives one a feel for an epoch in which magic, science, philosophy, spirituality, and imagination could still cohabit and harmonize within a single mind.
Renaissance man, Elizabethan philsopher, and scholar Robert Fludd sought to integrate the whole of human knowledge within a divine and hierarchically ordered cosmology. After completing his education at Oxford University, he journeyed throughout Europe seeking the knowledge of mystics, scientists, musicians, physicians, and alchemists, leading to the publication of many historically influential works on science, medicine, and philosophy.
Robert Fludd was one of the last true 'Renaissance men' who took all learning as their preserve and tried to encompass the whole of human knowledge. His voluminous writings were devoted to defending the philosophy of the alchemists and Rosicrucians, and applying their doctrines to a vast description of man and the universe. Expounding the ideas of cosmic harmony, the multiple levels of existence and the correlations between them, Fludd summarizes esoteric teachings common to all ages and peoples. Fludd had a genius for expressing his philosophy and cosmology in graphic form, and his works were copiously illustrated by some of the best engravers of his day. All of Fludd's important plates are collected here for the first time, annotated and explained, together with an introduction to his life and thought.
Robert Fludd (1574-1637) is well known among historians of science and philosophy for his intriguing work. 'The Temple of Music' (1617-18) is one section of his work, and deals with music theory, practice and organology. Many musicologists today have dismissed his musical ideas as conservative and outmoded or mainly based on fantasy; only the chapt
One dark and stormy night in 1956, a stranger named Fludd mysteriously turns up in the dismal village of Fetherhoughton. He is the curate sent by the bishop to assist Father Angwin-or is he? In the most unlikely of places, a superstitious town that understands little of romance or sentimentality, where bad blood between neighbors is ancient and impenetrable, miracles begin to bloom. No matter how copiously Father Angwin drinks while he confesses his broken faith, the level of the bottle does not drop. Although Fludd does not appear to be eating, the food on his plate disappears. Fludd becomes lover, gravedigger, and savior, transforming his dull office into a golden regency of decision, unashamed sensation, and unprecedented action. Knitting together the miraculous and the mundane, the dreadful and the ludicrous, Fludd is a tale of alchemy and transformation told with astonishing art, insight, humor, and wit.
How can we understand the infinite variety of cities? Darran Anderson seems to exhaust all possibilities in this work of creative nonfiction. Drawing inspiration from Marco Polo and Italo Calvino, Anderson shows that we have much to learn about ourselves by looking not only at the cities we have built, but also at the cities we have imagined. Anderson draws on literature (Gustav Meyrink, Franz Kafka, Jaroslav Hasek, and James Joyce), but he also looks at architectural writings and works by the likes of Bruno Taut and Walter Gropius, Medieval travel memoirs from the Middle East, mid-twentieth-century comic books, Star Trek, mythical lands such as Cockaigne, and the works of Claude Debussy. Anderson sees the visionary architecture dreamed up by architects, artists, philosophers, writers, and citizens as wedded to the egalitarian sense that cities are for everyone. He proves that we must not be locked into the structures that exclude ordinary citizens--that cities evolve and that we can have input. As he says: "If a city can be imagined into being, it can be re-imagined as well.”
"Starting with the grim Britain of the Civil War era, with its punishing sense of the body as a corrupt vessel for the soul, Roy Porter charts how, through figures as diverse as Locke, Swift, Johnson, and Gibbon, ideas about medicine, politics, and religion fundamentally changed notions of self. He shows how the Enlightenment (with its explosion or rational thinking and scientific invention of the eighteenth and nineteenth centuries) provided a lens through which we can best see the profound shift from the theocentric, otherwordly, Dark Ages to the modern, earthly, body-centered world we live in today. As man made in God's image gave way to the Enlightenment's notion of the Self-made man, the body moved center stage. Porter writes brilliantly on the ways in which men and women flaunted, decorated, tanned, and dieted themselves: activities that we find familiar but that a Puritan divine would have considered satanic. And he explores how, at the end of the century, the human soul took on a new significance in the works of Godwin, Blake, and Byron."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved