Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.

Analyzing Shakespeare's ideas on theatre and magic and John Dee's concerns with philosophy and magic in the light of Italian Neoplatonism, this book offers a new perspective on the intellectual history of Renaissance England and Italy.

The fifteen original essays in Staging Philosophy make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater. Each of the contributors—leading scholars in the fields of performance and philosophy—breaks new ground, presents new arguments, and offers new theories that will pave the way for future scholarship. Staging Philosophy raises issues of critical importance by providing case studies of various philosophical movements and schools of thought, including aesthetics, analytic philosophy, phenomenology, deconstruction, critical realism, and cognitive science. The essays, which are organized into three sections—history and method, presence, and reception—take up fundamental issues such as spectatorship, empathy, ethics, theater as literature, and the essence of live performance. While some essays challenge assertions made by critics and historians of theater and performance, others analyze the assumptions of manifestos that prescribe how practitioners should go about creating texts and performances. The first book to bridge the disciplines of theater and philosophy, Staging Philosophy will provoke, stimulate, engage, and ultimately bring theater to the foreground of intellectual inquiry while it inspires further philosophical investigation into theater and performance. David Krasner is Associate Professor of Theater Studies, African American Studies, and English at Yale University. His books include A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1920 and Renaissance, Parody, and Double Consciousness in African American Theatre, 1895-1910. He is co-editor of the series Theater: Theory/Text/Performance. David Z. Saltz is Professor of Theatre Studies and Head of the Department of Theatre and Film Studies at the University of Georgia. He is coeditor of Theater Journal and is the principal investigator of the innovative Virtual Vaudeville project at the University of Georgia.

Reframing Aristotle's natural philosophy, this wide-ranging collection of essays reveals the centrality of magic to his thinking. From late medieval and Renaissance discussions on the attribution of magical works to Aristotle to the philosophical and social justifications of magic, international contributors chart magic as the mother science of natural philosophy. Tracing the nascent presence of Aristotelianism in early modern Europe, this volume shows the adaptability and openness of Aristotelianism to magic. Weaving the paranormal and the scientific together, it pairs the supposed superstition of the pre-modern era with modern scientific sensibilities. Essays focus on the work of early modern scholars and magicians such as Giambattista Della Porta, Wolferd Senguerd, and Johann Nikolaus Martius. The attribution of the Secretum secretorum to Aristotle, the role of illusionism, and the relationship between the technical and magical all provide further insight into the complex picture of magic, Aristotle and early modern Europe. Aristotelianism and Magic in Early Modern Europe proposes an innovative way of approaching the development of pre-modern science whilst also acknowledging the crucial role that concepts like magic and illusion played in Aristotle's time.

A captivating portrait of the crucible of magic, science, and religion at the court of the doomed dreamer Rudolf II in Renaissance Prague. At the end of the sixteenth century, the greatest philosophers, alchemists, astronomers, and mathematicians of the day flocked to Prague to work under the patronage of the Holy Roman Emperor Rudolf II. The Theatre of the World is the enchanting story of Rudolf II, an emperor more interested in the great talents and minds of his times than in the exercise of his power. Rarely leaving Prague Castle, he gathered around him a galaxy of famous figures: the Italian painter Giuseppe Arcimboldo, the Danish astronomer Tycho Brahe, the German mathematician Johannes Kepler, and the English magus John Dee. Entranced, like Hamlet, by the new Renaissance learning, Rudolf found it nearly impossible to make decisions. He faced the threats of religious discord and the Ottoman Empire, along with deepening melancholy and an ambitious younger brother. As a result, he lost his empire and nearly his sanity, but he enabled Prague to enjoy a golden age of peace and creativity before Europe was engulfed in the Thirty Years War. "The Theatre of the World" is a beguiling and dramatic human story filled with angels and devils, high art and low cunning, talismans and stars. It offers a captivating perspective on a pivotal moment in the history of Western Civilization. "From the Hardcover edition."

Introduction -- Clowns, fools, and folly -- Structural doubleness and repetition -- Place, being, and agency -- The manifestation of desire -- The return from the dead -- Ending and wondering.