Textual Practice 33 (5):771–85 (2019)

Dimitris Vardoulakis
University of Western Sydney, Hawkesbury
How baroque was Spinoza in his treatment of the prophets? I examine this question by comparing the pictorial treatments of Moses from the Netherlands to Spinoza’s treatment of Moses at the beginning of the Theological Political Treatise. I concentrate on two representations of Moses descending from mount Sinai, one by Ferdinand Bol and the other by Rembrandt. Of particular importance is the idea of hierarchy. I will argue that Spinoza takes an ambiguous position in relation to baroque, on the one hand following the baroque’s drastic spatiotemporal condensation that questions hierarchies, but on the other refusing the baroque’s representation of unmediated or unjustified sovereign violence.
Keywords Moses  prophesy  baroque
Categories (categorize this paper)
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

Upload a copy of this paper     Check publisher's policy     Papers currently archived: 65,581
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

The Miracle of Moses.C. M. Lorkowski - 2009 - Heythrop Journal 50 (2):181-188.
Moses in the Visual Arts.Elisabeth L. Flynn - 1990 - Interpretation: A Journal of Bible and Theology 44 (3):265-276.
L'esprit Baroque.Anne-Laure Angoulvent - 1994 - Presses Universitaires de France - PUF.
Spinoza, Judaïsme Et Baroque.Carl Gebhardt - 2000 - Presses Paris Sorbonne.


Added to PP index

Total views
9 ( #932,633 of 2,461,463 )

Recent downloads (6 months)
1 ( #448,382 of 2,461,463 )

How can I increase my downloads?


My notes