Tragedy as Philosophy in the Reformation World examines how sixteenth- and seventeenth-century poets, theologians, and humanist critics turned to tragedy to understand providence and agencies human and divine in the crucible of the Reformation. Rejecting familiar assumptions about tragedy, vital figures like Philipp Melanchthon, David Pareus, Lodovico Castelvetro, John Rainolds, and Daniel Heinsius developed distinctly philosophical ideas of tragedy, irreducible to drama or performance, inextricable from rhetoric, dialectic, and metaphysics. In its proximity to philosophy, tragedy afforded careful readers crucial insight into causality, probability, necessity, and the terms of human affect and action. With these resources at hand, poets and critics produced a series of daring and influential theses on tragedy between the 1550s and the 1630s, all directly related to pressing Reformation debates concerning providence, predestination, faith, and devotional practice. Under the influence of Aristotle's Poetics, they presented tragedy as an exacting forensic tool, enabling attentive readers to apprehend totality. And while some poets employed tragedy to render sacred history palpable with new energy and urgency, others marshalled a precise philosophical notion of tragedy directly against spectacle and stage-playing, endorsing anti-theatrical theses on tragedy inflected by the antique Poetics. In other words, this work illustrates the degree to which some of the influential poets and critics in the period, emphasized philosophical precision at the expense of—even to the exclusion of—dramatic presentation. In turn, the work also explores the impact of scholarly debates on more familiar works of vernacular tragedy, illustrating how William Shakespeare's Hamlet and John Milton's 1671 poems take shape in conversation with philosophical and philological investigations of tragedy. Tragedy as Philosophy in the Reformation World demonstrates how Reformation took shape in poetic as well as theological and political terms while simultaneously exposing the importance of tragedy to the history of philosophy.

Tragedy as Philosophy in the Reformation World examines how sixteenth- and seventeenth-century poets, theologians, and humanist critics turned to tragedy to understand providence and agencies human and divine in the crucible of the Reformation. Rejecting familiar assumptions about tragedy, vital figures like Philipp Melanchthon, David Pareus, Lodovico Castelvetro, John Rainolds, and Daniel Heinsius developed distinctly philosophical ideas of tragedy, irreducible to drama or performance, inextricable from rhetoric, dialectic, and metaphysics. In its proximity to philosophy, tragedy afforded careful readers crucial insight into causality, probability, necessity, and the terms of human affect and action. With these resources at hand, poets and critics produced a series of daring and influential theses on tragedy between the 1550s and the 1630s, all directly related to pressing Reformation debates concerning providence, predestination, faith, and devotional practice. Under the influence of Aristotle's Poetics, they presented tragedy as an exacting forensic tool, enabling attentive readers to apprehend totality. And while some poets employed tragedy to render sacred history palpable with new energy and urgency, others marshalled a precise philosophical notion of tragedy directly against spectacle and stage-playing, endorsing anti-theatrical theses on tragedy inflected by the antique Poetics. In other words, this work illustrates the degree to which some of the influential poets and critics in the period, emphasized philosophical precision at the expense of—even to the exclusion of—dramatic presentation. In turn, the work also explores the impact of scholarly debates on more familiar works of vernacular tragedy, illustrating how William Shakespeare's Hamlet and John Milton's 1671 poems take shape in conversation with philosophical and philological investigations of tragedy. Tragedy as Philosophy in the Reformation World demonstrates how Reformation took shape in poetic as well as theological and political terms while simultaneously exposing the importance of tragedy to the history of philosophy.

The place of religion in society has changed profoundly in the last few centuries, particularly in the West. In what will be a defining book for our time, Taylor takes up the question of what these changes mean, and what, precisely, happens when a society becomes one in which faith is only one human possibility among others.

One day Sophie comes home from school to find two questions in her mail: "Who are you?" and "Where does the world come from?" Before she knows it she is enrolled in a correspondence course with a mysterious philosopher. Thus begins Jostein Gaarder's unique novel, which is not only a mystery, but also a complete and entertaining history of philosophy.

Analyzes the structure of the modern social order and examines the Christian's proper goals of working for peace and justice.

As an authority on the religion of medieval and early modern England, Eamon Duffy is preeminent. In his revisionist masterpiece The Stripping of the Altars, Duffy opened up new areas of research and entirely fresh perspectives on the origin and progress of the English Reformation. Duffy's focus has always been on the practices and institutions through which ordinary people lived and experienced their religion, but which the Protestant reformers abolished as idolatry and superstition. The first part of A People's Tragedy examines the two most important of these institutions: the rise and fall of pilgrimage to the cathedral shrines of England, and the destruction of the monasteries under Henry VIII, as exemplified by the dissolution of the ancient Anglo-Saxon monastery of Ely. In the title essay of the volume, Duffy tells the harrowing story of the Elizabethan regime's savage suppression of the last Catholic rebellion against the Reformation, the Rising of the Northern Earls in 1569. In the second half of the book Duffy considers the changing ways in which the Reformation has been thought and written about: the evolution of Catholic portrayals of Martin Luther, from hostile caricature to partial approval; the role of historians of the Reformation in the emergence of English national identity; and the improbable story of the twentieth century revival of Anglican and Catholic pilgrimage to the medieval Marian shrine of Walsingham. Finally, he considers the changing ways in which attitudes to the Reformation have been reflected in fiction, culminating with Hilary Mantel's gripping trilogy on the rise and fall of Henry VIII's political and religious fixer, Thomas Cromwell, and her controversial portrayal of Cromwell's Catholic opponent and victim, Sir Thomas More.

TWENTY-THREE. The Age of Devils -- TWENTY-FOUR. The Age of Reasonable Doubt -- TWENTY-FIVE. The Age of Outcomes -- TWENTY-SIX. The Spirit of the Age -- EPILOGUE. Assessing the Reformations -- Notes -- Bibliography -- Illustration Credits -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Z