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Judah ben Joseph Moscato (c.1533–1590) was one of the most distinguished rabbis, authors, and preachers of the Italian-Jewish Renaissance. This volume is a record of the proceedings of an international conference organized in Mantua and consists of contributions on Moscato and his intellectual world.
While a frequently used term, Jewish Theatre has become a contested concept that defies precise definition. Is it theatre by Jews? For Jews? About Jews? Though there are no easy answers for these questions, "Jewish Theatre: A Global View," contributes greatly to the conversation by offering an impressive collection of original essays written by an international cadre of noted scholars from Europe, the United States, and Israel. The essays discuss historical and current texts and performance practices, covering a wide gamut of genres and traditions.
The constraints of the ghetto and the concomitant interaction of various Jewish traditions produced a remarkable cultural flowering.
Why do smokers claim that the first cigarette of the day is the best? What is the biological basis behind some heavy drinkers' belief that the "hair-of-the-dog" method alleviates the effects of a hangover? Why does marijuana seem to affect ones problem-solving capacity? Intoxicating Minds is, in the author's words, "a grand excavation of drug myth." Neither extolling nor condemning drug use, it is a story of scientific and artistic achievement, war and greed, empires and religions, and lessons for the future. Ciaran Regan looks at each class of drugs, describing the historical evolution of their use, explaining how they work within the brain's neurophysiology, and outlining the basic pharmacology of those substances. From a consideration of the effect of stimulants, such as caffeine and nicotine, and the reasons and consequences of their sudden popularity in the seventeenth century, the book moves to a discussion of more modern stimulants, such as cocaine and ecstasy. In addition, Regan explains how we process memory, the nature of thought disorders, and therapies for treating depression and schizophrenia. Regan then considers psychedelic drugs and their perceived mystical properties and traces the history of placebos to ancient civilizations. Finally, Intoxicating Minds considers the physical consequences of our co-evolution with drugs -- how they have altered our very being -- and offers a glimpse of the brave new world of drug therapies.
The fifteenth through the eighteenth centuries were truly an Age of Secrecy in Europe, when arcane knowledge was widely believed to be positive knowledge which extended into all areas of daily life. So asserts Daniel Jütte in this engrossing, vivid, and award-winning work. He maintains that the widespread acceptance and even reverence for this “economy of secrets” in premodern Europe created a highly complex and sometimes perilous space for mutual contact between Jews and Christians. Surveying the interactions between the two religious groups in a wide array of secret sciences and practices, the author relates true stories of colorful “professors of secrets” and clandestine encounters. In the process Jütte examines how our current notion of secrecy is radically different in this era of WikiLeaks, Snowden, etc., as opposed to centuries earlier when the truest, most important knowledge was generally considered to be secret by definition.
Drawing on published collections and also manuscripts from Mantuan archives, Commedia dell' arte and the Mediterranean locates commedia dell' arte as a performance form reflective of its cultural crucible in the Mediterranean. The study provides a broad perspective on commedia dell’ arte as an expression of the various cultural, gender and language communities in Italy during the early-modern period, and explores the ways in which the art form offers a platform for reflection on power and cultural exchange. While highlighting the prevalence of Mediterranean crossings in the scenarios of commedia dell' arte, this book examines the way in which actors embodied characters from across the wider Mediterranean region. The presence of Mediterranean minority groups such as Arabs, Armenians, Jews and Turks within commedia dell' arte is marked on stage and 'backstage' where they were collaborators in the creative process. In addition, gendered performances by the first female actors participated in 'staging' the Mediterranean by using the female body as a canvas for cartographical imaginings. By focusing attention on the various communities involved in the making of theatre, a central preoccupation of the book is to question the dynamics of 'exchange' as it materialized within a spectrum inclusive of both cultural collaboration but also of taxation and coercion.
Isaac’s Fear is a wide-ranging study of a Hebrew encyclopedia of Judaism by Isaac Lampronti, a rabbi and physician from eighteenth-century Ferrara, in Italy; this is the first encyclopedia of Judaism, with entries on thought and praxis. The book’s eight chapters are previously published studies. Isaac’s Fear represents the attempt to synthesize modern science and religious tradition, a fundamental issue then and in our own day. Encyclopedia entries illuminate the society and culture of early modern Italy, its Jewish community and the intellectual life of the author and his contemporaries.
This book represents a sample of the most penetrating Jewish movements.
Renaissance Drama, an annual interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theater, and performance. This special issue of Renaissance Drama on "Italy in the Drama of Europe" primarily builds on the groundwork laid by Louise George Clubb, who showed that Italian drama was made in such a way as to facilitate its absorption and transformation into other traditions, even when it was not explicitly cited or referenced. "Italy in the Drama of Europe" takes up the reverberations of early modern Italian drama in the theaters of Spain, England, and France and in writings in Italian, English, Spanish, French, Hebrew, Latin, and German. Its scope is an example of the continuing force of and interest in one of the most rewarding, wide-ranging, and productive early modern aesthetic modes, and a tribute to the scholarship of Louise George Clubb, who, among others, recalled our attention to it.