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This provocative volume, one of the most important interpretive works on the philosophical thought of the Renaissance, has long been regarded as a classic in its field. Ernst Cassirer here examines the changes brewing in the early stages of the Renaissance, tracing the interdependence of philosophy, language, art, and science; the newfound recognition of individual consciousness; and the great thinkers of the period—from da Vinci and Galileo to Pico della Mirandola and Giordano Bruno. The Individual and the Cosmos in Renaissance Philosophy discusses the importance of fifteenth-century philosopher Nicholas Cusanus, the concepts of freedom and necessity, and the subject-object problem in Renaissance thought. “This fluent translation of a scholarly and penetrating original leaves little impression of an attempt to show that a ‘spirit of the age’ or ‘spiritual essence of the time’ unifies and expresses itself in all aspects of society or culture.”—Philosophy
The Cambridge Companion to Renaissance Philosophy, published in 2007, provides an introduction to a complex period of change in the subject matter and practice of philosophy. The philosophy of the fourteenth through sixteenth centuries is often seen as transitional between the scholastic philosophy of the Middle Ages and modern philosophy, but the essays collected here, by a distinguished international team of contributors, call these assumptions into question, emphasizing both the continuity with scholastic philosophy and the role of Renaissance philosophy in the emergence of modernity. They explore the ways in which the science, religion and politics of the period reflect and are reflected in its philosophical life, and they emphasize the dynamism and pluralism of a period which saw both new perspectives and enduring contributions to the history of philosophy. This will be an invaluable guide for students of philosophy, intellectual historians, and all who are interested in Renaissance thought.
Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.
Girolamo Cardano was an Italian doctor, natural philosopher, and mathematician who became a best-selling author in Renaissance Europe. He was also a leading astrologer of his day, whose predictions won him access to some of the most powerful people in sixteenth-century Europe. In Cardano's Cosmos, Anthony Grafton invites readers to follow this astrologer's extraordinary career and explore the art and discipline of astrology in the hands of a brilliant practitioner.Renaissance astrologers predicted everything from the course of the future of humankind to the risks of a single investment, or even the weather. They analyzed the bodies and characters of countless clients, from rulers to criminals, and enjoyed widespread respect and patronage. This book traces Cardano's contentious career from his first astrological pamphlet through his rise to high-level consulting and his remarkable autobiographical works. Delving into astrological principles and practices, Grafton shows how Cardano and his contemporaries adapted the ancient art for publication and marketing in a new era of print media and changing science. He maps the context of market and human forces that shaped Cardano's practicesâe"and the maneuvering that kept him at the top of a world rife with patronage, politics, and vengeful rivals.Cardano's astrology, argues Grafton, was a profoundly empirical and highly influential art, one that was integral to the attempts of sixteenth-century scholars to understand their universe and themselves.
While the transmission of Greek philosophy and science via the Muslim world to western Europe in the Middle Ages has been closely scrutinized, the fate of the Arabic philosophical and scientific legacy in later centuries has received less attention, a fault this volume aims to correct. The authors in this collection discuss in particular the radical ideas associated with Averroism that are attributed to the Aristotle commentator Ibn Rushd (1126-1198) and challenge key doctrines of the Abrahamic religions. This volume examines what happened to Averroes’s philosophy during the sixteenth, seventeenth and eighteenth centuries. Did early modern thinkers really no longer pay any attention to the Commentator? Were there undercurrents of Averroism after the sixteenth century? How did Western authors in this period contextualise Averroes and Arabic philosophy within their own cultural heritage? How different was the Averroes they created as a philosopher in a European tradition from Ibn Rushd, the theologian, jurist and philosopher of the Islamic tradition?
Humanity’s creative capacity has never been more unsettling than it is at our current moment, when it has ushered us into new technological worlds that challenge the very definition of “the human.” Those anxious to safeguard the human against techno-scientific threats often appeal to religious traditions to protect the place and dignity of the human. But how well do we understand both theological tradition and today’s technological culture? In The Indiscrete Image, Thomas A. Carlson challenges our common ideas about both, arguing instead that it may be humanity’s final lack of definition that first enables, and calls for, human creativity and its correlates—including technology, tradition, and their inextricable interplay within religious existence. Framed in response to Martin Heidegger’s influential account of the relation between technological modernity and theological tradition, The Indiscrete Image builds an understanding of creativity as conditioned by insurmountable unknowing and incalculable possibility through alternative readings of Christian theological tradition and technological culture—and the surprising resonance between these two. Carlson concludes that the always ongoing work of world creation, tied essentially to human self-creation, implies neither an idol’s closure nor an icon’s transcendence, but the “indiscrete image” whose love makes possible—by keeping open—both the human and its world.