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Relevant bibliographies by topics / Bruno, Giordano, 1548-1600 Fiction

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Academic literature on the topic 'Bruno, Giordano, 1548-1600 Fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 March 2023

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Journal articles on the topic "Bruno, Giordano, 1548-1600 Fiction"

1

Earle, William. "Giordano Bruno (1548–1600): Four Sonnets." Philosophical Forum 33, no. 3 (January 2002): 258–63. http://dx.doi.org/10.1111/1467-9191.00098.

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Birx, H. James, Branko Milićević, and Alexander V. Tenodi. "Giordano Bruno: The Cosmic Perspective." Anthropologia integra 9, no. 1 (June 30, 2018): 61–74. http://dx.doi.org/10.5817/ai2018-1-61.

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Giordano Bruno (1548–1600) se v průběhu italské renesance etabloval jako nejvýznamnější filozof své doby. Odvážil se zpochybnit tehdy hluboce zakořeněný aristotelský světonázor. Bylo to díky síle jeho představivosti, která mu umožnila zajít ve svém hloubání až k úvahám o podstatě reality mimo naši Zemi. Jeho kosmická vize představovala náš vesmír jako nekonečný, obsahující nekonečné množství hvězd a planet, a dokonce uvažovala o možnosti existence inteligentních bytostí na jiných světech. V tomto byly Brunovy odvážné představy daleko před objevy Galilea, Koperníka, Keplera či Mikuláše Kusánského a dalších předních renesančních astronomů a filozofů. Právě Brunův úžasný vhled do metafyzické sféry položil základy dnešnímu vědeckému přístupu k pátrání po exoplanetách, neznámých formách života, sebeuvědomělých bytostech nebo i civilizacích, které mohou existovat někde v nedozírných hlubinách kosmického prostoru.

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Dos Santos, Willian Ricardo. "Palavra e conceito: a crítica de Giordano Bruno ao pedantismo." Cognitio-Estudos: revista eletrônica de filosofia 14, no. 1 (June 24, 2017): 105. http://dx.doi.org/10.23925/1809-8428.2017v14i1p105-117.

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Em seus Diálogos Italianos Giordano Bruno (1548-1600) elabora uma forte crítica à tradição acadêmica de seu tempo, a qual estava atrelada a um exagerado uso de recursos linguísticos para tratar de problemas filosóficos. Neste artigo apresento um viés da crítica de Bruno aos humanistas aristotélicos de Oxford, os quais Bruno satiriza compondo a figura do pedante. O pedante é um conhecedor de línguas clássicas, que, contudo, é incapaz de pensar filosoficamente. Nosso objetivo é apresentar como que Bruno, apoiado em sua ontologia, desenvolve sua filosofia opondo-se ao pedante tanto no conteúdo filosófico quanto na forma expositiva.

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Bianchi, Agustín Gabriel. "Demonios e imaginación en Giordano Bruno." Patristica et Mediævalia 41, no. 2 (December 9, 2020): 5–22. http://dx.doi.org/10.34096/petm.v41.n2.8060.

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Con Giordano Bruno (1548-1600) asistimos a la recuperación de doctrinas neoplatónicas y herméticas que conducen a una comprensión animista y dinámica de la naturaleza, así como a una exaltación del hombre en tanto conoce y actúa sobre el mundo. En el contexto de un universo vivo y animado, Bruno necesita mediaciones en el espacio que hay entre, por un lado, la naturaleza finita del hombre y, por el otro, la divinidad infinita explicada en la naturaleza para fundamentar la teoría mágica de sus obras latinas. Precisamente, la existencia de los demonios en los sistemas neoplatónicos viene a cumplir con este propósito. Sostenemos que existe una continuidad entre la doctrina demonológica que Bruno presenta en su obra latina y la metafísica y cosmología de sus diálogos italianos. Esta continuidad se verifica en la presencia de dos categorías filosóficas importantes del pensamiento bruniano presente en la demonología del De magia naturali (1590): imaginación y vínculos. Así pues, en primer lugar, indagaremos la recepción de la doctrina neoplatónica en la demonología de los siglos XV y XVI, a partir de la cual Bruno desarrolla el marco teórico y filosófico de su doctrina demonológica. En segundo lugar, estudiaremos la naturaleza y función de los demonios en el De magia naturali y su relación con la imaginación y los vínculos en la filosofía del Nolano.

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MALAGUTI, Francesco. "GIORDANO BRUNO AND JEWISH THOUGHT: RECEPTION AND REINTERPRETATION." International Journal of Theology, Philosophy and Science 5, no. 8 (May 27, 2021): 64–84. http://dx.doi.org/10.26520/ijtps.201.5.8.64-84.

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This article is focused on the philosopher Giordano Bruno (1548-1600) and the references to Jewish culture in his oeuvre. We discuss about Bruno’s reception of Jewish thought and describe this subject in a comprehensive way. We highlight Bruno’s view on the Jews and their religion, also explaining the reasons behind his polemic against the Jewish people. Furthermore, we underline the influence of the Kabbalistic tradition and Jewish philosophy on various aspects of Brunian thought. Specifically, we discuss about the use of the letters of the Hebrew alphabet in Bruno’s works on the art of memory, the relation between Brunian infinitist cosmology and Kabbalistic concepts such as ensoph and the ten sephirot, the relation between Brunian thought and the philosophical theories of Avicebron, Moses Maimonides, Hasdai Crescas and Leo the Hebrew.

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6

Harari, David. "Some Lost Writings of Judah Abravanel (1465?-1535?) Found in the Works of Giordano Bruno (1548-1600)." Shofar: An Interdisciplinary Journal of Jewish Studies 10, no. 3 (1992): 62–89. http://dx.doi.org/10.1353/sho.1992.0035.

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7

Sirbu, Anca Luiza. "El Mago (de) Matthew Barney: Influencias Renacentistas en el Ciclo Cremaster." Barcelona Investigación Arte Creación 9, no. 1 (February 3, 2021): 59. http://dx.doi.org/10.17583/brac.2021.4192.

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In this article we will try to offer a new interpretation of the video art work of the artist Matthew Barney (California, 1967) the Cremaster Cycle, approaching a more humanistic and less biological vision, the last one being the principal study aspect for the experts on Matthew Barney. We will focus on the character of the Magician, a key figure in the Cremaster Cycle. The Magician lighting the pass to a possible interpretation of the Cycle in Renaissance key, the magician character while being a personification of aesthetic- artistic interests of Matthew Barney is also an approximation to the ideal of the Renaissance man: philosopher, magician, healer. Alter-ego of Matthew Barney, the escape artist Harry Houdini represents (and through him all other magical branches) a possible link with the powerful magician Renaissance described by the philosopher Giordano Bruno (1548-1600), able to metamorphose, influence in the sensitivities of his objects, through self-knowledge and knowledge of the Divine.

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Garcia, Carol. "Janelas: Estação Chueca do metrô." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 3, no. 5 (February 10, 2009): 33. http://dx.doi.org/10.26563/dobras.v3i5.304.

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Em 1591, num tratado intitulado Sobre os vínculos em geral, o filósofo italiano Giordano Bruno (1548-1600) já apontava que o ambiente é parcialmente responsável pela natureza da ligação entre dois ou mais elementos. A cidade de Madri, na Espanha, parece ter entendido isso muito bem, criando processos de interação social a partir dos distintos sistemas de vínculos estabelecidos entre seus moradores. Mas como são elaborados esses vínculos comunicativos? Design gráfico, visual merchandising, gastronomia e moda, juntos, formam a razão de ser fraternal de um bairro colorido com os tons do arco-íris, a Chueca. Cercada pelas ruas Barquillo, Hortaleza, Gran Vía e Alfonso VI, a região é famosa mundo afora. Afinal, foi lá que surgiu, nos anos 1980, o fenômeno conhecido como La Movida, agito pós-franquista que transformou a então sisuda e cinzenta Madri com as cores de Agatha Ruiz de La Prada, a musicalidade deMiguel Bosé e a ironia de Pedro Almodóvar. (....)

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Gatti, Hilary. "Giordano Bruno. Opere magiche. Eds. Michele Ciliberto, Simonetta Bassi, Elisabetta Scapparone, and Nicoletta Tirinnanzi. (Classici, 67.) Milan: Adelphi, 2000. cxlii + 1590 pp. €103.29. ISBN: 88-459-1509-3. - Giordano Bruno. Corpus iconographicum: Le incisioni nelle opere a stampa. Ed. Mino Gabriele. (Classici, 69.) Milan: Adelphi, 2001. ciii + 618 pp. €77.47. ISBN: 88-459-1667-7. - Eugenio Canone, ed. Giordano Bruno 1548-1600: Mostrastorico documentaria, Roma, Biblioteca Casanatense, 7 giugno—30 settembre 2000. (Biblioteca di Bibliografica Italiana, 144.) Florence: Leo S. Olschki, 2000. xlix + 233 pp. append, illus. bibl. n.p. ISBN: 88-222-4901-1." Renaissance Quarterly 56, no. 1 (2003): 185–87. http://dx.doi.org/10.2307/1262278.

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10

Lopes, Ideusa Celestino. "ELEMENTOS FUNDAMENTAIS DA COSMOLOGIA DE GIORDANO BRUNO." Revista Dialectus - Revista de Filosofia, no. 12 (July 30, 2018). http://dx.doi.org/10.30611/2018n12id33214.

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Giordano Bruno (1548-1600), filósofo italiano que tratou de temas que ainda não eram considerados relevantes na segunda metade do século, em particular a temática cosmológica, que ainda não estava em crise. O geocentrismo aristotélico-ptolomaico era aceito de modo incondicional no ambiente acadêmico, não havia um debate explícito em torno da descrição do mundo. Ao tratar do tema cosmológico Bruno introduz a tese do heliocentrismo copernicano, como referência, para se contrapor ao modelo geocêntrico aristotélico-ptolomaico. A temática cosmológica perpassa de certo modo o conjunto da sua obra, desde os primeiros escritos como o texto A ceia de cinzas, publicada em 1582 escrito em italiano, considerado como sendo a obra que introduz a questão; até um dos últimos textos, L'immenso e gli innumerevoli publicado em 1591, em latim e desse modo dirigido ao ambiente acadêmico. O modelo cosmológico bruniano apesar de fazer referência a Copérnico, ao incorporar a tese de que a Terra não está no centro do universo, mas o Sol, não pode ser considerado um copernicano pois defende o universo como sendo infinito e povoado de inumeráveis mundos, desconsiderando também a ideia de centro. Descrições que não são tratadas por Copérnico. Para justificar a sua concepção de mundo e de universo, Bruno elabora uma discussão sobre os princípios aristotélicos, matéria e forma, com o intuito de apresentar uma nova base a partir da qual a natureza seja compreendida e que possa sustentar a tese de que o universo é infinito e povoado de inumeráveis mundos.

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Dissertations / Theses on the topic "Bruno, Giordano, 1548-1600 Fiction"

1

Dagron, Tristan. "Métaphysique et philosophie naturelle chez Giordano Bruno." Tours, 1997. http://www.theses.fr/1997TOUR2022.

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Consacré à la question du statut de la métaphysique et de la philosophie naturelle chez Giordano Bruno, ce travail est centré sur le dialogue italien de la Causa, principio et uno qui constitue le noyau théorique de la pensée de Bruno. Il cherche à situer la pensée de Bruno dans le cadre de la crise humaniste qui depuis la dialectique de Lorenzo Valla ne cesse de dénoncer l'usage de la raison et du langage de la scolastique médiévale (les Modi significandi) et, en particulier, sa prétention métaphysique de rapporter l'ordre humain des significations à une réalité surnaturelle. L’enquête tente de rapporter la pensée de Bruno à l'aristotélisme de Pomponazzi et au platonisme de Ficin et de Pic
Dedicated to "metaphysics" and " natural philosophy" in Bruno's works, this thesis is based on the italian dialogue De la causa, principio et uno, which represents the theoretical center of Bruno's thought. The thesis proposes to situate Bruno's thought within the framework of the "humanist crisis", which has not ceased to denounce the use of reason and language in medieval scholastics (The Modi significandi), and more specifically its "metaphysical" pretentions to connect the human order of signification to a "supernatural" reality, since Lorenzo Valla's dialectic. The study therefore tries to link Bruno's thought to Pomponazzi's aristotelism and to Ficin and Pic's platonism

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2

Lécu, Régis. "L'idée de perfection chez Giordano Bruno." Paris 4, 2001. http://www.theses.fr/2000PA040070.

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L'idée de perfection donne un fil directeur à l'oeuvre de Bruno. La métaphysique brunienne conçoit cette idée en réponse au mouvement essentiel de la pensée qui ne se satisfait d'aucun d'objet fini : pour que ce désir de perfection ne soit pas vain, il faut que l'univers "immense" et les mondes infinis répondent à la capacité des sens et de l'imagination à saisir sans cesse de nouvelles formes ; l'intellect divin qui conçoit l'infinité des possibles en un acte unique et simple,doit faire droit au pouvoir de l'intellect humain à s'élever indéfiniment vers des formes plus simples et plus belles, en "compliquant" toute multiplicité. En rejetant la "séparation" aristotélicienne entre le cosmos et Dieu, et la "chute infinie" qui sépare la créature de Dieu chez Nicolas de Cues, la raison brunienne défend l'accord entre l'univers et Dieu, qui répond absolument à son désir de perfection : immanent à toute chose, Dieu les comprend toutes "complicativement" sans se réduire à aucune ; "vicissitude infinie". L'idée métaphysique de perfection conduit à un principe de raison que la cosmologie brunienne doit concilier avec l'épreuve des faits : incapable de saisir le particulier sans l'aide des sens, la raison peut cependant connaître a priori les caractéristiques générales de l'univers, en imitant par sa neutralité l'équanimité divine ; tous les mondes abritent la vie car il n'existe aucune raison pour que le principe invisible limite son expression, en refusant injustement l'être à certains possibles
The idea of perfection gives a guiding thread to Bruno's works. Bruno's metaphysics conceives this idea to answer the essential motion of mind which is never satisfied with any finite object. .

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3

Munoz, Brian. "Sagesse et héroïsme chez Giordano Bruno." Paris 10, 2007. http://www.theses.fr/2007PA100046.

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La thèse considère la philosophie de Giordano Bruno (1548-1600) depuis un point de vue essentiellement éthique. A ce titre, la sagesse et l'héroïsme sont perçus comme les deux pratiques liéQbau double cadre théorique du monisme ontologique et de l'unité des liens. De la sorte, la morale brunienne répond à des enjeux liés à la raison et ceux, bien distincts, dirigés par l'intuition "poétique" dans un univers infini en acte
The thesis considers the philosophy of Giordano Bruno ( 1548-1600 ) since an essentiellemet ethical point of view. As such, the wisdom and the heroism are perceived as both practices bound to the double theoretical frame of the ontological monism and the unity of the links. So, the brunienne morality answers stakes connected to the reason and those, vert' différent, steered by the "poetic" intuition, in an infinite universe in act

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4

Storch, Michael. "Applied imagination : Giordano Bruno and the creation of magical images." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102846.

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The creation and manipulation of infinite images is central to Bruno's thought, but to the best of my knowledge, this has never been properly treated before. This project is a departure from much of the current scholarship on Bruno which has focused on his contribution to scientific thought, and downplayed or ignored the Hermetic and magical elements which pervade his work. Each chapter deals with different works of Bruno, and different aspects of his philosophy, and each is rooted in the larger project of uncovering the role, meaning, and application of images in Bruno's thought.
The general arc of the thesis is from the interior and personal to the cosmological and metaphysical. Chapter 1 begins with a study of the faculty of phantasy and the role of images on human cognition. This is Bruno's epistemology and anthropology as expressed in Imaginum. Chapter 2 covers the ethical and social applications of images, and how the control of images manipulates reality. This concept is represented in the reconstruction of the universe in The Expulsion of the Triumphant Beast. Chapter 3 deals with the physics---or mechanics---of his philosophy, with its roots in Hermetic magic as described in Vinculis and Magia, wherein images are used to create bonds. Chapter 4 addresses Bruno's cosmology, which adopts the Copernican model and reinterprets that model as a hieroglyph. It is the heuristic key in Ash Wednesday Supper, the image of which exists in the faculty of phantasy and becomes embedded on to the universe. The two become indistinguishable and work in union. Through the coincidence of opposites, matter becomes form and God becomes man. The image of the infinite cosmos becomes re-embedded in the single instance of an image in the faculty of Phantasy.
The conclusion will bring together these epistemological, ethical, mechanical, cosmological, and metaphysical strains of Bruno's philosophy into a statement on the Brunian reformation as he saw it, and on the contemporary relevance of his theory and application of images.

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Santos, Patricia Lessa. "No caldeirão dos bruxos : a filosofia heretica de Giordano Bruno." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253365.

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Orientador: Hermas Gonçalves Arana
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-07-22T15:35:44Z (GMT). No. of bitstreams: 1 Santos_PatriciaLessa_M.pdf: 8228721 bytes, checksum: 8895eab7202a0e0ead55fa68a2a6a792 (MD5) Previous issue date: 1997
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6

Salza, Luca. "Infini et "civil conversazione" dans la pensée de Giordano Bruno." Tours, 2003. http://www.theses.fr/2003TOUR2017.

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Notre recherche sur Giordano Bruno tourne essentiellement autour de deux axes théoriques fondamentaux, que l'on peut résumer grâce au commun dénominateur qui est sa conception révolutionnaire de l'infini. En effet, d'une part, nous nous sommes appliqués à souligner le lien qui existe dans la pensée brunienne entre la réforme de l'entendement, opérée par le biais de la mnémotechnique, et l'affirmation de l'infini. D'autre part, nous avons voulu faire remarquer que la réflexion de Bruno ne tourne pas exclusivement autour de thèmes métaphysiques et épistémologiques. Il s'agit aussi d'une véritable philosophie de l'affirmation. L'infini, même s'il diminue objectivement l'homme, n'implique pas que l'on abandonne une pensée " civile ". Bruno cherche toujours à unir son naturalisme à la praxis, l'infini au " lien " politique.

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Biotti, Silva Ariadna. "La cosmovisión de un mago: Giordano Bruno, un hombre del Siglo XVI." Tesis, Universidad de Chile, 2005. http://repositorio.uchile.cl/handle/2250/132668.

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8

Lieutaud-Tardivel, Marylène. "Fureur et constitution de soi chez Giordano Bruno : une étude archéologique." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040035.

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Centrée sur la thématique de la « fureur héroïque » développée dans le dernier ouvrage écrit en langue italienne par Giordano Bruno, De gli eroici furori (1585), cette recherche explore une double problématique suivant deux perspectives. D’une part, du point de vue historique, quels sont les schèmes philosophiques qui peuvent être considérés comme des conditions de possibilité de l’émergence de la figure du Furioso, le philosophe-poète dont les poèmes et leur commentaire philosophique nous font suivre l’itinéraire affectif et cognitif dans sa poursuite d’une union naturelle et rationnelle avec le principe infini du réel ? Suivant une méthode archéologique, il s’agit de retrouver dans les strates de la culture philosophique des traces précises et exemplaires de la mise en place, de la transmission et de la transformation de ces schèmes fondamentaux chez des auteurs de l’Antiquité, du Moyen Âge ou de la Renaissance. D’autre part, du point de vue conceptuel, comment une expérience psychologique telle que cette rencontre noético-amoureuse, qui n’est jamais totalement aboutie en raison de la disproportion entre « le sujet » et « l’objet », et qui se présente, néanmoins, comme une dissolution de soi dans la disparition de la distinction entre sujet et objet, met-elle en oeuvre, paradoxalement, une constitution de soi ?
Focused on the theme of the “heroic frenzy” developed in Giordano Bruno’s last opus written in Italian language, De gli eroici furori (1585), this work explores a double issue from two perspectives. On the one hand, from an historical point of view, what are the philosophical schemes that may be considered as conditions of possibility for the emergence of the Furioso’s figure, the philosopher-poet whose poems and their commentary lead through a path of affects and knowledge in his own intellectual pursuit of a natural and rational bonding with the infinite principle of reality? Following an archeological method, specific and exemplary traces of these fundamental schemes are found within layers of philosophical culture, throughout works of authors of Antiquity, Middle Ages or Renaissance who set, relayed and modified them. On the other hand, from a conceptual point of view, the process of the Furioso’s psychological experience is studied. His both noetic and loving encounter with the Principle is never completely fulfilled because of the disproportion between “the subject” and “the object”. Nevertheless, it is presented as a dissolution of self by ending the distinction between the subject and the object. How does this experience paradoxically implements a constitution of self?

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9

Galland, Sébastien. "La fureur et ses éléments : étude du génie mélancolique chez Giordano Bruno." Paris 4, 2006. http://www.theses.fr/2006PA040231.

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Indissociable d’une réflexion sur les éléments, la mélancolie brunienne repose sur trois niveaux : l’eau, la terre et le feu, qui recoupent les trois facultés de l’âme : imagination, raison, intellect, les trois fureurs : bestiale, passive et active, ainsi que les trois hypostases de la triade : Dionysos, Diane et Apollon. De la mélancolie aquatique à la mélancolie terrestre, de la mélancolie terrestre à la mélancolie solaire, c’est l’itinéraire de l’âme héroïque qui se dessine, en même temps que se constituent les différentes phases d’une hénologie infinie. Philosophie de l’assimilation, de l’éternité, de la liberté et de la béatitude, la nolana filosofia culmine dans une expérience mystique, d’inspiration païenne, qui atteste d’un basculement de l’immanence dans la transcendance, et d’un passage à la limite en direction de la coincidentia oppositorum
Indissociable from the reflection on the elements, the Giordano Bruno’s melancholy is built on three levels : water, earth, fire, tallying with the three faculties of the soul : imagination, reason, intellect, and the three furies : the first one dealing with bestiality, the second one with passivity and the third one with activity, and tallying also with the three hypostases of the triad : Dionysos, Artemis and Apollo. From the aquatic melancholy to the earthly one, from this to the solar one, the heroïc soul’s itinerary is taking shape, and at the same time the different moments of an infinite henology. Philosophy of assimilation, eternity, freedom and beatitude, the nolana filosofia

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10

Ashcroft, Rachel Elizabeth. "Time in the works of Michel de Montaigne (1533-1592) and Giordano Bruno (1548-1600)." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12931/.

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This thesis explores the philosophical concept of time through a detailed comparison of Michel de Montaigne's Essais with Giordano Bruno's six-text series of Italian dialogues. Modern scholarship in the field of time studies has either ignored the true significance of the 16th century, or relied on familiar tropes - including Christian eschatology and apocalyptical end-times - to define time from this period. Instead, this thesis demonstrates that Montaigne and Bruno are excellent examples of two thinkers whose innovative thought led them to consider time in radically different ways to standard 16th-century conceptions of temporality. I use a new conceptual methodology of 'embodied time' in order to explore the dichotomy that arises between mental perceptions of time and the physical effects of time. Initially, both Montaigne and Bruno employ images of corruptible bodies in time to emphasise the linear, uncontrollable nature of human time. Yet both thinkers use the temporal freedom of the mind to experiment with seemingly rigid characteristics of time such as death, ageing and change. Montaigne revisits his own near-death experience and rethinks attitudes towards suicide in order to exercise a degree of control over time while Bruno's radical cosmology dramatically subverts traditional responses to human mortality. Such discussions reveal a willingness to challenge the seemingly rigid nature of time which is simply not reflected in general scholarship on 16th-century time. Furthermore, eternity emphasises the temporal impermanence that characterises human time. This notion of temporal flux leads both Montaigne and Bruno to explore how individuals should utilise the time at hand, which in both cases leads to a call for deep and studied introspection. Finally, their exploration of custom and time reveals a fascinating relationship between the two concepts that holds serious repercussions for the productive use of time they both exhort.

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Books on the topic "Bruno, Giordano, 1548-1600 Fiction"

1

Giordano Bruno: Une philosophie de la métamorphose. Paris: Éditions Classiques Garnier, 2010.

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Rowland, Ingrid D. Giordano Bruno: Philosopher/heretic. Chicago: The University of Chicago Press, 2009.

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Peter, Henneveld, ed. Giordano Bruno: An introduction. Amsterdam: Rodopi, 2012.

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Turning traditions upside down: Rethinking Giordano Bruno's enlightenment. Budapest: Central European University Press, 2012.

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5

Gatti, Hilary. Giordano Bruno and Renaissance science. Ithaca: Cornell University Press, 1999.

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6

Die Philosophie Giordano Brunos: Chaos oder Kosmos? : eine Untersuchung zur strukturalen Logizität und Systematizität des nolanischen Werkes. Frankfurt am Main: P. Lang, 1988.

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7

Giordano Bruno: Philosopher/heretic. New York: Farrar, Straus and Giroux, 2008.

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8

DeLeón-Jones, Karen Silvia. Giordano Bruno and the kabbalah: Prophets, magicians, and rabbis. Lincoln, Neb: University of Nebraska Press, 2004.

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9

DeLeón-Jones, Karen Silvia. Giordano Bruno and the Kabbalah: Prophets, magicians, and rabbis. New Haven: Yale University Press, 1997.

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10

Yates, Frances Amelia. Giordano Bruno and the hermetic tradition. London: Routledge, 1999.

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Book chapters on the topic "Bruno, Giordano, 1548-1600 Fiction"

1

Loomba, Ania, and Jonathan Burton. "Giordano Bruno (1548–1600)." In Race in Early Modern England, 129–30. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607330_46.

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"Bruno, Giordano (1548–1600)." In Encyclopedia of the Scientific Revolution, 223–30. Routledge, 2003. http://dx.doi.org/10.4324/9780203801864-27.

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