The authors of this article examine how Giordano Bruno rewrites the classical myth of Diane and Actaeon in the Eroici furori . The starting point for this study is the Argomento del Nolano where the philosopher explains his ideas regarding the importance of love poetry and allegory for the illustration of philosophical concepts. In the next section the authors concentrate on the sonnet «Alle selve i mastini e i veltri slaccia» . This is the first passage in the (...) Furori where Bruno connects Actaeon’s hunt and his encounter with the goddess Diana to the philosophical hunt of knowledge. The authors explain the meaning of the mythological imagery evoked in this sonnet by relating the poem to other parts of the Furori . An analysis of the notion of furor , which is the subject of dialogue three , allows the authors to identify Actaeon as a model for the eroico furioso . The prose comment following the sonnet «Alle selve i mastini e i veltri slaccia» offers essential information on the reinterpretation of the literary motifs which have been linked to the myth of Actaeon since Antiquity. Bruno presents these motifs as components of the philosophical hunt, which the frenzied hero needs to undertake in order to contemplate the truth . In the last section the authors take a closer look at the second and the third allusion to the hunting myth , which illustrate the further stages of Actaeon’s epistemological journey. (shrink)

This vibrant bilingual edition, annotated by celebrated Bruno scholar Ingrid D. Rowland, features the text in its original Italian alongside an elegant, accurate English translation.

Studies the context of Giordano Bruni's Eroici furori in the light of two traditional literary forms; prose commentaries on verses, and Platonic love treatises.

Giordano Bruno (1548-1600), who died at the stake, is one of the best-known symbols of anti-establishment thought. The theme of this volume, which is offered as a collection of essays to honor the distinguished Bruno scholar Hilary Gatti, reflects her constant concern for the principles of cultural freedom and independent thinking. Several essays deal with Bruno himself, including an analysis of the Eroici furori, a study of his reception in relation to the group known as the Novatores, and (...) discussions of several important aspects of his stay in England. The authors and texts discussed here are linked by a relentless interest in the question of authority and originality, and they range from literary figures such as Alberti (1404-72), Vasari (1511-74) and the proponents of quantitative verse in sixteenth-century England to controversial philosophers who, like Bruno, were condemned by the Church, such as Tommaso Campanella (1568-1639) and Giulio Cesare Vanini (1585-1619). Taken together, these chapters show how much that was new and revolutionary in early modern culture came from its confrontation with the past. Martin McLaughlin is Agnelli-Serena Professor of Italian at Oxford. Elisabetta Tarantino is a Teaching Fellow in the Department of Italian at the University of Warwick. (shrink)

As Baudelaire’s poetics are founded in an understanding of inspiration as an expression of reflexion, they coin the fundamentals of modern aesthetics. In another perspective, these poetics are linked to an epistemological tradition, in which ›enthousiasmos‹ as the subjective capacity of mind does not only intend to assimilate itself to the idea, but claims to give form to the idea by its own creativity. The preforms of this thought might be found in Neo-Platonism, respectively in its early modern remodelling in (...) Bruno’s ›Eroici Furori‹ that award metaphysical qualities to the intellect as an ›infinite movement‹, taking in account that this movement does no longer target the cognition of intelligibility, but produces intelligibility by itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Giordano Bruno and the Kabbalah: Prophets, Magicians, and Rabbis by Karen Silvia de León-JonesMatt GoldishKaren Silvia de León-Jones. Giordano Bruno and the Kabbalah: Prophets, Magicians, and Rabbis (Yale Studies in Hermeneutics). New Haven: Yale University Press, 1997. Pp. ix + 272. Cloth, $40.00.Frances Yates’ Giordano Bruno and the Hermetic Tradition has become a standard work for the study of Renaissance thought, and it is through her interpretation of (...) Bruno in the tradition of Hermeticism and Lullism that he is generally understood by non-specialists. Karen Silvia de León-Jones proclaims her goal in the present volume to be a new reading of Bruno as a thinker far more affected by Kabbalah than Yates believed, and she expresses herself very sharply against many of Yates’ positions (e.g., 18–23).The book has appropriately been placed in a series on hermeneutics. It is essentially a detailed interpretation of Bruno’s dialogue La cabala del cavallopegaseo, along with two other related dialogues, Lo spaccio della bestia trionjante and De gli eroici furori. The non-specialist reader is not offered a clear introduction to the structure and content of these dialogues or an explanation of how they fit into Bruno’s thought and the larger Renaissance context. This is not to say that de León-Jones does not introduce her material at all, but the choppy prose and lack of overview, particularly in the early chapters of the book, lend it a certain amount of Bruno’s own famous obscurity for those not already conversant with Bruno’s oeuvre.I am not in a position to say whether de León-Jones interprets Bruno’s thought correctly, but I will comment on her approach to Kabbalah and its significance in Bruno’s thought. She makes clear that the Kabbalah “practiced” by Bruno is not identical with Jewish Kabbalah; it is rather what I would call “Cabala,” a group of hermeneutical and mystical techniques based loosely on Jewish Kabbalah, which was used by Renaissance and Baroque Christians. The author nicely defines the theurgic Kabbalah as absorbed by Christian savants: the study of the secret names of God, manipulation of [End Page 675] the Hebrew alphabet and numbers by gematria, temurah and notankon, and meditation on the sephiroth (10).In Bruno’s idiosyncratic theology, or “Cabala-teologia-filosofia” as it is described, Kabbalah has more specific significances. Kabbalah teaches the goal of prophecy and unio mystica; transmigration of souls; the image of God’s relationship to the world through the tree of the sephiroth (he especially emphasizes Hokhmah); the Mors osculi; and manipulation of the divine efflux. Bruno thinks of all Jewish sages who are not pedantic Talmudists as kabbalists, beginning with Moses and Solomon. Biblical wisdom too is Kabbalah. De León-Jones is therefore correct in saying that “Bruno is not a Kabbalist in the strictest sense of [the] word, but instead the example of Renaissance syncretism at its most extreme: in reality Bruno is Bruno; he proselytizes his own philosophy” (181). Going though the book one finds that Kabbalah, or Cabala, which the Nolan clearly learned mainly from Agrippa (as Yates stated), was simply another literature of the prisca sapientia to be manipulated, along with Hermetic writings, Plato, the Bible and many others, as “support” for his own system of thought. Syncretism is indeed the key here, and while de León-Jones is undoubtedly correct that Bruno used kabbalistic hermeneutics and symbols along with everything else in his satchel, I question whether it is meaningful to speak of Bruno and the Kabbalah in the normal sense of the term.After the author so roundly reproves Dame Yates for various errors, including her alleged narrowness in understanding Kabbalah, it is surprising to find that de León-Jones herself makes numerous mistakes when she talks about the Jewish Kabbalah. Over the course of four pages (12–15) for example, she errs with all the following. She says Yohanan Alemanno “was not a practitioner of Kabbalah but knew it well” (he was one of the great Renaissance Jewish kabbalists); that Pico learned Hebrew from Flavius Mithridates then translated and widely circulated Abulafian... (shrink)

La cena de le ceneri. Scelta dal dialogo De gli eroici furori. Autobiografia (dagli atti processuali), di G. Bruno.--Poesie. La città del sole. Discorsi universali del governo ecclesiastico, di T. Campanella.

Giordano Bruno.--La cena de le ceneri.--De la causa, principio e uno.--De l'infinito, universi e mondi.--Spaccio de la bestia trionfante.--De gli eroici furori.--Accusa e condanna di Bruno.--Nota bibliografica (p. 313-315).

Bd. 1. Das Aschermittwochsmahl. 1904.--Bd. 2. Die Vertreibung der triumphierenden Bestie. 2. Aufl. 1904.--Bd. 3. Zwiegespräche vom unendlichen all und den Welten. 2. Aufl. 1904.--Bd. 4. Von Anfangsgrund, und dem Einem. 1906.--Bd. 5. Eroici furori (Zwiegespräche vom Helden und Schwärmer) 2. Aufl. 1907.--Bd. 6. Kabbala. Kyllenischer Esel. Reden. Inquisitionsakten. 1909.

"Echi danteschi nelle opere del Nolano" Articolo pubblicato in occasione del 750° anniversario della nascita di Dante Alighieri.

In occasione del bimillenario della morte del poeta latino Ovidio, l’articolo analizza l’influenza del poema delle Metamorfosi come fonte primaria di Giordano Bruno. L’esposizione della dottrina pitagorica, esposta nel libro XV del poema, si adatta perfettamente all’ontologia del Nolano e alla sua fede nella metempsicosi. In particolare il mito di Diana e Atteone viene adottato dal filosofo, nel De gl’Heroici furori, come ideale rappresentazione della propria esperienza conoscitiva. La tormentosa vicenda del cacciatore Atteone, tramutato in cervo per aver sorpreso (...) la Diana nuda, simboleggia in Bruno il passaggio dall’amore profano a quello divino. -/- On the occasion of the two thousandth anniversary of the death of the Latin poet Ovid, the article analyzes the influence of the poem of the Metamorphoses as a primary source of Giordano Bruno. The exposition of the Pythagorean doctrine, contained in the XV book of the poem, fits perfectly with the ontology of the Nolan and his faith in metempsychosis. In particular, the myth of Diana and Actaeon is adopted by the philosopher, in De gl'Heroici furori, as an ideal representation of his own cognitive experience. The tormenting story of the hunter Atteone, turned into a deer for having surprised the “naked Diana”, symbolizes in Bruno the passage from the profane love to the divine one. (shrink)

1. Candelaio -- 2. La cena de le Ceneri. De la causa, principio et uno. De l'infinito, universo et mondi -- 3. Spaccio de la bestia trionfante. Cabala del cavallo pegaseo -- 4. De gl'heroici furori.

1. Candelaio -- 2. La cena de le Ceneri. De la causa, principio et uno. De l'infinito, universo et mondi -- 3. Spaccio de la bestia trionfante. Cabala del cavallo pegaseo -- 4. De gl'heroici furori.