Dissertations / Theses on the topic 'Kabbala'

Auszug: Hundert Jahre nachdem Johannes Reuchlin sein wissenschaftliches Werk vollendet hatte, war der von ihm hinterlassene Eindruck auf die europäische Wissenschaft und das europäische Denken so nachdrücklich, daß er - liebe- oder vorwurfsvoll - einmal >Rabbi Capnion< genannt wurde. Und wirklich - so meint Joseph Blau in seiner Darstellung der christlichen Kabbala - habe Reuchlin der hebräischen Literatur mehr gedient als mancher ordentliche Rabbiner. Ähnlich hat Gershom Scholem, der Begründer der modernen Kabbalaforschung, anläßlich der Entgegennahme des Reuchlin-Preises der Stadt Pforzheim im Jahre 1969 Reuchlin gerühmt, mit dem er die wissenschaftliche Erforschung der jüdischen Kabbala beginnen läßt. Einschränkend läßt Scholem indessen diese Auszeichnung erst für Reuchlins zweites Buch zur Kabbala gelten, für >De arte cabalistica<. Und in der Tat hat Reuchlin vom Erscheinen seines ersten kabbalistischen Werkes >De verbo mirifico< von 1494 bis zum Erscheinen der >Ars cabalistica< im Jahre 1517 beachtliche Fortschritte in seiner Kenntnis der Kabbala gemacht.

Gothicism in general, and the Swedish Gothicism in particular, had a close connection to the esoteric currents that were flourishing all over Europe in the Early Modern Period. Apocalyptic predictions and prophecies useful to Gothic propaganda were derived from contemporary esoteric streams, but alongside these came Hermetic and Neo-Platonic speculations of a more individual character that emphasized man’s gradual ascension toward a higher state. The foremost representative for this union of Gothicism and Esotericism was Johannes Bureus (1568-1652). Although a pioneer of runology and Swedish grammatical studies, Bureus felt he made his greatest contributions in the sphere of mysticism. Influenced by the concept of a Philosophia Perennis, Bureus believed this eternal philosophy was not only expressed by the ancient Greeks, Egyptians, and Hebrews, but also by the ancient Norse. Bureus represents what could be termed an Esoteric Gothicism. In his work, the ideal of Gothicism melds with Esotericism in the form of Alchemy, Kabbalah, Hermeticism, Astrology, and Magic. Bureus himself called his esoteric system a Nordic Kabbalah, a “Notaricon Suethica,” or a “Kabala Upsalica.” Bureus’s Esotericism is explicated primarily in his manuscripts such as the Cabbalistica, Antiquitates Scanziana, and especially Adulruna Rediviva (the latter produced in seven versions over a forty-year period), but also in his major opus, dedicated to his pupil Queen Christina, the printed apocalyptic book Nordlanda Lejonsens Rytande. In examining Esoteric Gothicism we can discern a further tendency within Gothicism beyond the national chauvinism typically seen as exemplifying the movement. In Bureus’s work, Gothic motifs are combined with runes and Old Norse themes in an imaginative manner, but most characteristic of Bureus is how he uses the results to describe a highly individual path of initiation which leads to unity with God. Bureus’s ideas may seem eccentric to a modern reader, but properly situating them in their historical context reveals the role he played in an influential current in European intellectual and spiritual history, a current often referred to by scholars as Western Esotericism.

Die christliche Kabbala des deutschen Humanisten Johannes Reuchlin ist entscheidend von seiner Vorstellung vom Wesen und von der Funktion des Symbols bestimmt. Dieser Beitrag sucht nach dem Ursprung von Reuchlins Symbolbegriff und stellt die These auf, dass Dionysius Pseudo-Areopagitas Bemerkungen über eine symbolica theologia Reuchlins Sicht auf die jüdische Mystik grundlegend beeinflusste. Darüber hinaus wird die Frage diskutiert, ob Reuchlins Idee von einer symbolischen Theologie, die auch in der modernen Forschung fortwirkt, den frühen Kabbalisten tatsächlich gerecht wird, oder ob Reuchlins Rezeption nicht vielmehr einer neuplatonischen Literatur geschuldet ist, die den jüdischen Mystikern überhaupt nicht zugänglich war.
The Christian kabbalah of the German humanist Johannes Reuchlin is largely determined by his conception of the essence and the function of the symbol. This essay attempts to trace Reuchlin’s concept of the symbol back to its sources. It proceeds from the hypothesis that Dionysius Pseudo-Areopagita’s remarks on a symbolica theologia essentially influenced Reuchlin’s approach to Jewish mysticism. Further, the question will be discussed whether Reuchlin’s idea of a symbolic theology does justice to the kabbalists from 13th century Spain. On close inspection it will become apparent that Reuchlin’s reception of a neo-platonic tradition in its Christian manifestation had no bearing on Jewish mysticism.

Die christliche Kabbala des deutschen Humanisten Johannes Reuchlin ist entscheidend von seiner Vorstellung vom Wesen und von der Funktion des Symbols bestimmt. Dieser Beitrag sucht nach dem Ursprung von Reuchlins Symbolbegriff und stellt die These auf, dass Dionysius Pseudo-Areopagitas Bemerkungen über eine symbolica theologia Reuchlins Sicht auf die jüdische Mystik grundlegend beeinflusste. Darüber hinaus wird die Frage diskutiert, ob Reuchlins Idee von einer symbolischen Theologie, die auch in der modernen Forschung fortwirkt, den frühen Kabbalisten tatsächlich gerecht wird, oder ob Reuchlins Rezeption nicht vielmehr einer neuplatonischen Literatur geschuldet ist, die den jüdischen Mystikern überhaupt nicht zugänglich war.
The Christian kabbalah of the German humanist Johannes Reuchlin is largely determined by his conception of the essence and the function of the symbol. This essay attempts to trace Reuchlin’s concept of the symbol back to its sources. It proceeds from the hypothesis that Dionysius Pseudo-Areopagita’s remarks on a symbolica theologia essentially influenced Reuchlin’s approach to Jewish mysticism. Further, the question will be discussed whether Reuchlin’s idea of a symbolic theology does justice to the kabbalists from 13th century Spain. On close inspection it will become apparent that Reuchlin’s reception of a neo-platonic tradition in its Christian manifestation had no bearing on Jewish mysticism.

La problématique essentielle qui sous-tend l’existence du poète Karl Wolfskehl (1869-1948) est celle d’un sentiment de double appartenance car il est Juif et Allemand. Sa vocation poétique connaît deux moments décisifs : la rencontre en 1897 avec Stefan George, le chef de file du symbolisme allemand dont il devient l’ami fidèle et le fervent disciple, lui permet de travailler ses poèmes comme un matériau précieux, la langue des poèmes n’étant asservie à d’autre fin qu’elle-même. Puis le triomphe du nazisme en Allemagne en 1933 contraint Wolfskehl à partir d’abord en Italie puis en Nouvelle-Zélande, où il demeure jusqu’à sa mort en 1948. Cet exil suscite chez Wolfskehl une crise existentielle sans précédent et un renouveau dans l’écriture : à la quête de perfection formelle succède une poésie religieuse ancrée dans le judaïsme et que Wolfskehl place sous le signe de Job.L’ensemble de l’œuvre de Karl Wolfskehl se distingue de par sa tonalité mystique. L’objet de notre recherche est de prendre en compte les rapports entre poésie et religion pour tenter de caractériser l’art poétique de l’auteur. Nous nous concentrons sur les évolutions de la notion de prophétie dans l’œuvre de Wolfskehl pour aborder tout autant l’héritage hölderlinien du poeta vates que celui des prophètes bibliques (nebiim). En articulant notre réflexion autour du principe dialogique (Buber) et en interprétant la manière dont l’œuvre littéraire transforme les symboles de la kabbale (Scholem), nous montrons que les poèmes sont le théâtre d’un affrontement dialectique entre l’humain et le divin où se révèle une herméneutique de la souffrance. On peut alors déterminer les enjeux philosophiques et historiques de l’autofiction du poète en Job, la poésie de Wolfskehl se proposant à la fois de penser « l’excès du Mal » (Nemo) et d’interpréter le destin du peuple juif (Susman)
The existence of the poet Karl Wolfskehl is characterised by the feeling of a double identity, for he is both Jewish and German. The two decisive moments of his poetic vocation are his meeting in 1897 with Stefan George, one of the leaders of German symbolism; he became his faithful friend and devoted disciple. This encounter allowed him to consider his poems as precious material, with no other goal than language per se. The second point is that, due to the outcome of Nazism in Germany in 1933, he had to exile himself to Italy then to New-Zealand, where he stayed until his death in 1948. This exile is at the root of an unprecedented existential crisis and of a renewal in his writing: from a quest of formal perfection he reaches a religious poetry anchored in Judaism assimilated to the persona of Job. The whole work is infused with a mystical tone. Our research aims to try to account for the relationship between poetry and religion in order to characterize the poetic art of the author. We focus on the evolutions of the notion of prophecy in the work of Wolfskehl, so as to deal with both the holderlinian heritage of poeta vates and that of the biblical prophets (Nebiim). By concentrating on the dialogical principle (Buber) and by interpreting the way the literary work transforms the symbols of the Kabbala (Scholem), we will show that the poems are the scene of a dialectic confrontation between the human and the divine, which reveals a hermeneutic of suffering. From a philosophical and historical point of view, we question the identification of the poet with Job in so far as Wolfskehl’s poetry reflects the excess of evil (Nemo) while allowing to interpret the destiny of the Jewish people (Susman)

Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errinnern was ist vergessen oder absichtlich in die Vergessenheit gezwungen wurde, selbst wenn das alte Wunde bluten lasst und traumatisch erscheint. Jedes Mal ist das Element der Kritik die ausschlaggebende Komponente der künstlerischen Arbeit, sie charakterisiert nicht nur den Künstler, und die Zeit in der er/sie lebt, sondern auch den Zuschauer, genauer: wie weit ist der Künstler bereit zu gehen und wie weit sind die Zuschauer bereit ihm zu folgen, im Rückblick manchmal mehr ersteres als letzteres. In meiner Arbeit analysiere ich die Aspekte von Mythologie, Geschichte und deren sozio-politische Relevanz in den Arbeiten von Anselm Kiefer, der Künstler der mit seinen Werken unsere Wahrnehmung der Geschichte, vor allem der deutschen Geschichte, beeinflust und in Frage gestellt hat.
It is one of the major tasks of art to revive our cultural memory and to sharpen our senses, to remind whatever has been forgotten or is being purposefully given to oblivion and to predict whatever the future might have in store even if it causes old wounds bleed anew. Each time the element of critique, being one of the crucial components of artistic work, characterises not only the artist, the time he/she lives in, but also the spectator: precisely, how far the artist is prepared to go and how much the spectator is prepared to accept, in retrospect more the latter than the former. My work analyses the problems of mythology, history and their socio-political relevance on the examples of works by Anselm Kiefer, the artist whose work is irrevocably related to history, German history in the first place, the artistic means of remembrance as well as the role of mythology in our collective memory.

This study reviews Lilith in Jewish mythology, specifically how she relates to the other main operators in the myths, which are God, Samael, Adam and Eve. Her connections with the animal who often symbolizes her, the serpent, has also been reviewed. Furthermore, the study examines what her relationship with the other operators says about her function in the myths. Using a hermeneutical method, the study examines extracts from rabbinic literature, the Alphabet of Ben Sira and Kabbalistic writings.The results show that Lilith’s symbolism and characteristics have drawn inspiration from Eve in the earlier writings, and that both women are portrayed in close relation with the serpent. In the Kabbalist tradition Lilith is a driving force in a narrative that strives for messianic victory, and together with her partner Samael she rules over evil. One of Lilith’s main functions is that of an antagonist, and an antipole, to the divinity and the primal couple, and essentially to goodness.

My doctoral thesis focuses on the Christian Kabbalah and its relationship with its Jewish counterpart during the seventeenth century. I work especially on a Christian Kabbalist of the late 17th century, Christian Knorr von Rosenroth and his anthology of Christian Kabbalah called the "Kabbala Denudata." The work reflects the philosophical and religious debates of the 17th century (through Knorr’s collaboration with Henry More and the Belgian alchemist Francis Mercury van Helmont), includes many translations of works of Lurianic Kabbalah and a bilingual edition (Aramaic - Latin) of the Zohar. On one hand, the study of "Kabbala Denudata" sheds light on how the Lurianic Kabbalah was received in Europe in the 17th century. On the other hand, the anthology attests of a practice of "perennial philosophy" which is a continuation of the Renaissance thought. Through the use of symbolism, the author elaborates a new form of relationship with the religious orthodoxy of his time and paved the way to a deeper understanding of religious otherness. My research takes place both in the field of the study of Jewish-Christian relations and of the the study of western esotericism. /

Ma thèse de doctorat porte sur la kabbale chrétienne et sur ses rapports avec son homologue juive au 17e siècle. Je travaille en particulier sur un kabbaliste chrétien de la fin du 17e siècle, Christian Knorr von Rosenroth et son anthologie de kabbale chrétienne intitulée la "Kabbala denudata". L’œuvre reflète les débats philosophiques et religieux du 17e siècle (avec notamment des collaborations d’Henry More et de l’alchimiste belge François Mercure van Helmont), comporte de nombreuses traductions d’ouvrages de kabbale lourianique ainsi qu’une édition bilingue (araméen - latin) du Zohar. D’une part, l’étude de la "Kabbala denudata" permet de mieux comprendre la manière dont la kabbale lourianique a été reçue en Europe au 17e siècle. D’autre part, l’anthologie atteste d’une pratique de la "philosophia perennis" qui s’inscrit dans le prolongement de la Renaissance. À travers la pratique du symbolisme, l’auteur construit une nouvelle forme de rapports avec l’orthodoxie religieuse de son temps et ouvre la voie à une compréhension approfondie de l’altérité religieuse. Mes recherches s’inscrivent tant dans le domaine de l’étude des relations judéo-chrétiennes que de l’étude de l’ésotérisme.
Doctorat en Philosophie
info:eu-repo/semantics/nonPublished

Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

Orientador: Ernesto Giovanni Boccara
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Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: o texto trata da relação entre a escrita e o gesto pictórico através da descrição de um processo concreto de diálogo entre as duas linguagens realizado durante a elaboração desta tese. Embora consubstanciado teoricamente e tomando como base trabalhos anteriores, o objetivo é a construção aleatória de um diário que tenta expressar os momentos de sua produção que podem ser ordenados posteriormente de forma lúdica pelo leitor
Abstract: The text deals with the relationship between writing and pictorial gesture describing a specific process of dialogue between the two languages made during a period of the thesis development. Order theoretically and building on previous works the principal goal is to build a random diary trying to express in a specific moment of its production that it can be ordered later as a game by the player
Doutorado
Doutor em Artes

assise sur le toit, une femme médite sur la mort de son père // De tout là-haut, le monde lui apparaît tout petit, la mort toute large. Ce tyran-communiste de père pétri d’idéalisme pour le monde et pétri de colère pour elle, où est-il maintenant? Et ce ciel où son regard se perd, que lui annonce-t-il? Publié en 1999 chez ECW Press, Kaddish For My Father est le dernier recueil de poésie de Liba (Libby) Scheier, une écrivaine canadienne-anglaise aujourd’hui décédée. La traduction de cette œuvre est le projet qui anime cette étude. Généralement récité à l’enterrement d’une personne, le Kaddish est une prière de la liturgie juive glorifiant le nom de Dieu. Sur la deuxième de couverture du recueil de Scheier, on peut lire que l’auteure s’est inspirée de la Kabbale, une tradition mystique juive dont les concepts, les notions et les symboles peuvent s’avérer complexes à saisir, difficiles à déceler dans un texte donné et, c’est l’hypothèse ici, malaisés à traduire. Cette étude comporte deux volets. Dans un premier temps, un volet théorique vise à offrir une mise en contexte de l’œuvre et de la démarche littéraire de Libby Scheier. Partant de l’expérience de cette traduction, l’étude examine ensuite quelques voix théoriques (dont celles de Merleau-Ponty, Meschonnic, Berman et Folkart) m’ayant permis de déterminer ma position traductive, pour se conclure sur une description des défis de traduction spécifiquement liés à la Kabbale. La traduction que je soumets en annexe constitue le deuxième volet de ce projet.-----sitting on a roof, a woman meditates on the death of her father From above, the world appears small to her, and death large. This bully-Communist father so full of idealism for the world, so full of anger at her, where is he now? And this sky filling her eyes, what does it portend? Published in 1999 by ECW Press, Kaddish For My Father is the last poetry collection written by the late Anglo-Canadian writer Liba (Libby) Scheier. The translation of this work is the project at the heart of this study. Generally recited at the burial of a person, the Kaddish is a prayer from the Jewish liturgy glorifying the name of God. On the inside front cover of Kaddish for my father, one learns that the author was inspired by the Kabbalah, a Jewish mystical tradition presenting a complex array of notions, concepts and symbols that can be hard to grasp, difficult to identify within a text and, as the hypothesis stands here, challenging to translate. There are two components to this study. Firstly, a theoretical component aims at presenting the context in which this work came to be and offers a perspective on Scheier’s literary approach. Springing from the experience of this translation, this study then examines the different theoretical voices (among them Merleau-Ponty, Meschonnic, Berman and Folkart) that helped me determine my position traductive (translation approach). I conclude with a description of the challenges, specific to the Kabbalah, that arose at the translation stage. The translation that I offer in the appendix constitutes the second component of this project.

The Chassidic Chabad movement is one of Judaism’s most successful and influential groups interms of missionary presence around the world and distributed missionary material online.Chabad’s final Rebbe is still regarded by his followers to be the long-awaited final redeemerand Messiah, despite his clinical death in 1994. The aim of this study is to describe how theChabad-followers, through the movement’s publications, maintain the belief in the Rebbe asthe Jewish Messiah, and the theological interpretive tools utilized in order to ‘survive’ as aunited movement. The study indicates that Chabad is still a united and radical messianicmovement, wherein, internal theological mechanisms interpret the Rebbe as corporally alivebut concealed by illusion, and will soon be revealed or imminently resurrected to complete theredemption of the world. The study also discusses the movement’s extreme right-wingedpolitical stance in regards to the ongoing Israel-Palestine conflict, the movement’s Holocausttheology as means to further understand how the group ‘survived’ the cognitive dissonance thedeath of the Rebbe created and the theological similarities between Chabad and earlyChristianity.
Den Chassidiska Chabadrörelsen är en av judendomens mest framgångsrika och inflytesrikanya religiösa rörelser när det gäller missionär närvaro runt om i världen och missionärt materialonline. Chabads sista Rebbe anses av hans anhängare att vara världens sista försonare ochMessias, trots hans uppenbara kliniska död år 1994. Denna studie beskriver hurChabadanhängare, genom rörelsens egna tryckta och online publikationer, upprätthåller tron påRebbe som den judiska messias och de teologiska tolkningsverktyg som rörelsen använder föratt ‘överleva’ som en enad grupp. Studien indikerar att Chabadrörelsen, ändå till våra dagar, ärenad och radikal-messianistisk där man genom interna teologiska mekanismer tolkar Rebbensom levande i materiell kropp, gömd genom illusion men snart uppenbarad eller snartåteruppväckt från de fysiskt döda och i båda fallen för att fullgöra världens försoning där Gudförsonar människan i den materiella världen. Studien diskuterar också rörelsens extremahögerpolitik, i synnerhet när det gäller Israel-Palestina konflikten och förintelseteologi som ettsätt att vidare förstå hur gruppen ‘överlevde’ den kognitiva dissonansen Rebbens död skapadei termer av misslyckad profetia och de teologiska likheterna mellan Chabadrörelsen och tidigkristendom.Nyckelord: NRR,

La problématique essentielle qui sous-tend l’existence du poète Karl Wolfskehl (1869-1948) est celle d’un sentiment de double appartenance car il est Juif et Allemand. Sa vocation poétique connaît deux moments décisifs : la rencontre en 1897 avec Stefan George, le chef de file du symbolisme allemand dont il devient l’ami fidèle et le fervent disciple, lui permet de travailler ses poèmes comme un matériau précieux, la langue des poèmes n’étant asservie à d’autre fin qu’elle-même. Puis le triomphe du nazisme en Allemagne en 1933 contraint Wolfskehl à partir d’abord en Italie puis en Nouvelle-Zélande, où il demeure jusqu’à sa mort en 1948. Cet exil suscite chez Wolfskehl une crise existentielle sans précédent et un renouveau dans l’écriture : à la quête de perfection formelle succède une poésie religieuse ancrée dans le judaïsme et que Wolfskehl place sous le signe de Job.L’ensemble de l’œuvre de Karl Wolfskehl se distingue de par sa tonalité mystique. L’objet de notre recherche est de prendre en compte les rapports entre poésie et religion pour tenter de caractériser l’art poétique de l’auteur. Nous nous concentrons sur les évolutions de la notion de prophétie dans l’œuvre de Wolfskehl pour aborder tout autant l’héritage hölderlinien du poeta vates que celui des prophètes bibliques (nebiim). En articulant notre réflexion autour du principe dialogique (Buber) et en interprétant la manière dont l’œuvre littéraire transforme les symboles de la kabbale (Scholem), nous montrons que les poèmes sont le théâtre d’un affrontement dialectique entre l’humain et le divin où se révèle une herméneutique de la souffrance. On peut alors déterminer les enjeux philosophiques et historiques de l’autofiction du poète en Job, la poésie de Wolfskehl se proposant à la fois de penser « l’excès du Mal » (Nemo) et d’interpréter le destin du peuple juif (Susman)
The existence of the poet Karl Wolfskehl is characterised by the feeling of a double identity, for he is both Jewish and German. The two decisive moments of his poetic vocation are his meeting in 1897 with Stefan George, one of the leaders of German symbolism; he became his faithful friend and devoted disciple. This encounter allowed him to consider his poems as precious material, with no other goal than language per se. The second point is that, due to the outcome of Nazism in Germany in 1933, he had to exile himself to Italy then to New-Zealand, where he stayed until his death in 1948. This exile is at the root of an unprecedented existential crisis and of a renewal in his writing: from a quest of formal perfection he reaches a religious poetry anchored in Judaism assimilated to the persona of Job. The whole work is infused with a mystical tone. Our research aims to try to account for the relationship between poetry and religion in order to characterize the poetic art of the author. We focus on the evolutions of the notion of prophecy in the work of Wolfskehl, so as to deal with both the holderlinian heritage of poeta vates and that of the biblical prophets (Nebiim). By concentrating on the dialogical principle (Buber) and by interpreting the way the literary work transforms the symbols of the Kabbala (Scholem), we will show that the poems are the scene of a dialectic confrontation between the human and the divine, which reveals a hermeneutic of suffering. From a philosophical and historical point of view, we question the identification of the poet with Job in so far as Wolfskehl’s poetry reflects the excess of evil (Nemo) while allowing to interpret the destiny of the Jewish people (Susman)

Mishkan ha-‘Edut, la Résidence du Témoignage, est le dernier ouvrage important écrit par le kabbaliste castillan R. Moshe de Leon (1240-1305). On peut considérer cet ouvrage comme une œuvre de couronnement et de maturation de la pensée de l’auteur. Connu à travers plusieurs ouvrages écrits en hébreu, R. Moshe de Leon est, d’après les jugements des historiens, l’un des auteurs principaux du prestigieux Sefer ha-Zohar, rédigé en araméen, et que la tradition rabbinique et populaire attribue à R. Shim’one bar Yohaï, rabbin galiléen ayant vécu entre le premier et le deuxième siècle de l’ère chrétienne. Le Mishkan ha-‘Edut traite de plusieurs questions fondamentales : la raison de l’existence du monde et son fondement dans la divinité ; la place de l’homme dans ce monde, la signification théologique profonde et la raison de son parcours terrestre; la nature de la transgression du commandement divin et la possibilité de repentir pour l’homme en tant qu’être psycho-physique doté d’une âme d’origine divine ; l’eschatologie de l’âme : le sort de chacune de ses composantes après la mort, sa purification dans la géhenne et la nature de son séjour dans le jardin de l’Eden. R. Moshe de Leon reprend, de manière plus structurée, plusieurs sujets abordés dans ses précédents écrits, en particulier, une théorie de l’âme et de ses « revêtements » (malbushim) après la mort. L’auteur insiste sur le caractère ésotérique des sujets développés en se considérant détenteur d’un savoir reçu. A plusieurs reprises, l’auteur insiste sur son hésitation à dévoiler « les secrets de la sagesse redoutable et intérieure ». Il ne cessera de préciser qu’il s’adresse à une élite, à ceux qui sont à la recherche de cette intériorité indispensable pour entendre le message de la transmission fondée sur l’enseignement ésotérique. Nous retrouvons dans cet ouvrage quelques-unes des idées les plus fascinantes de la Kabbale : que l’existence de Dieu n’est une que dans l’union des différents monde, le divin, le céleste et le terrestre ; que la relation entre Dieu et le monde est assimilable à la respiration. Ceci renvoie à la tâche de l’homme pendant son court parcours terrestre, qui n’est pas le caprice d’un créateur cruel mais correspond au projet d’unification des mondes. Naturellement, R. Moshe de Leon s’inspire du texte biblique pour confirmer ses idées, et bien d’autres. Le Mishkan ha-‘Edut est émaillé de citations bibliques, ses arguments sont construits comme un commentaire de la Bible, dont on exclut comme superficiel et fourvoyant le sens obvie. Les affirmations des rabbins du Talmud sont également très présentes, ainsi que celles des « anciens » (qadmonim), qui sont en réalité les kabbalistes de son époque ou des générations précédentes
Mishkan ha-‘Edut, is the last important work written by Castilian cabalist R.Moshe de Leon (1240-1305). One can consider this work as an oeuvre of maturation of the author’s thought. Known by several works written in Hebrew, R.Moshe de Leon is, according to historians, one of the main authors of the prestigious Sefer ha-Zohar, written in Aramean, that the popular and rabbinic tradition attributes to R. Shim’one bar Yohaï, Galilean rabbi living in the first and second century of the Christian era. The Mishkan ha-‘Edut addresses several fundamental questions: the reason of the existence of the world and its foundation in divinity; the place of man in this world, the profound theological signification and the reason of its path on earth; the nature of transgression of divine commandment and the possibility of repentance for men as psychological beings carrying a divine derived soul; eschatology of the soul, the fate of each of its components after death, its purification in the géhenne and the nature of its stay in the garden of Eden. R.Moshe de Leon goes over, in a more structured way, several topics addressed in his previous writings. In particular, a theory of the soul and its “protections” (malbushim) after death. He insists on the esoteric aspect of the developed topics considering himself as owning a given knowledge. On several occasions, he also insists on his hesitation to disclose “the secrets of formidable and interior wisdom”. He stresses he addresses an elite, those who are seeking this necessary interiority to listen to the message of transmission based on esoteric teaching. One can find in this work some of the Kabbalah’s most fascinating ideas: that god existence is only one in the context of the merging of different worlds, the divine, the celestial and terrestrial; that the relationship between god and the world mimics breathing. This reflects to the task of man during his path on earth, not being directed by a cruel creator but that corresponds to the project of unification of these worlds. Naturally, R. Moshe de Leon takes inspiration in the bible text to confirm his ideas and many others. Mishkan ha-‘Edut is dotted with biblical citations, its arguments are built as a biblical commentary, from which is excluded, as if superficial, the spontaneous interpretation. Talmudic rabbi’s affirmations are equally present, as well as the “old”( qadmonim), who are in reality the kabbalists of his time or previous generations

Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 224-233). Also available for download via the World Wide Web; free to University of Oregon users.

Nous nous sommes livres dans cette approche a un travail de pionnier sur un terrain qui reste en grande partie inexplore. Les points de rapprochements entre la kabbale et le soufisme sont restes jusqu'a lors des allusions et des paragraphes eparpilles dans des travaux plus larges quant a leur sujet. Nous avons tenu d'abord a souligner, les problemes terminologiques et methodologiques, a faire le tour des conditions socio-historiques de la communaute juive en espagne musulmane ainsi que son apport dans la culture judeo-arabe, avant de passer a l'examen de certains traits communs. Pour cela, nous avons commence par l'analyse et la presentation des trois livres de reference de la kabbale : le zohar, le bahir et le sefer yestira. Deux phenomenes marquants dans la kabbale comme dans le soufisme vont attirer notre attention : la dimension numerico-linguistique et le melange entre la mystique et l'ascese. A ce sujet, nous avons fait appel aux noms d'abraham aboulafia, d'al ghazali, de saadia gaon et celui d'inb 'arabi. Nous avons souligne aussi l'apport particulier des freres de la saintete. Dans un voyage permanent entre les deux cultures nous avons degage un nombre de points communs sur lesquels nous attirons l'attention scientifique
We are in this approach leading a pionneer work upon a field which remains in its great part inexplorable. The common points between the kabbale and the sofism are till now scaltered in many vague works. We are atarted by underlying the terminological and methodological problems, by commenting the socio-historic conditions of the jeuish community in islamic spain. In this context, we are delt with the link of jewish-arabic culture and its common features. We have started by giving a preleminary study on three famous references on the kabbale as : the zohar, the bahir and the sefer yetsira. We have focused our attention on two main phenomenze in the kabbale and in the sofism : the mathematical-linguistic dimension ; secondly : the interference between the mystic and the ascetic. Concerning the first phenomenze we have consulted famous names as abraham aboulafia and ibn arabi, for the second phenomenze we have consulted al ghazali and saadia gaon. We have also underlined the particular innfluence of the "safa brothers". Consequently in this work we have arrived in discovering the shared points which rise a scientific curiosity

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This study aims to present the new look of Kabbalah, expression of Jewish mysticism, in the context of post-modernity. The research goal is to show that Kabbalah is Jewish mysticism, the result of an ancient tradition that has been passed on for generations, restricted to male members and most experienced of the community, if not the most religious, but now, in the postmodern context , liquidity and diy, this ancient tradition is presented through an accessible, conversational language, being shared with everyone, men and women, Jews and non-Jews, on the initiative of an American Jewish family in the late 1960s, it opened a kabbalistic study center, the Kabbalah Centre, aiming to share this tradition with everyone. Thus, the Kabbalah Centre is heir of Jewish mysticism, but diffuses its cabalistic design without any restrictions, opening urban core study centers spread all over the world. The object here is to show the changes within the Kabbalistic movement in order to let it relevant to post-modern society.
O presente trabalho visa apresentar a nova roupagem da cabala, expressão do misticismo judaico, no contexto da pós-modernidade. O Objetivo da pesquisa é mostrar que a cabala é o misticismo judaico, fruto de uma antiga tradição que foi repassada por gerações, restrita aos membros masculinos e mais experientes da comunidade, para não dizer os mais religiosos, mas agora, no contexto pós-moderno, de liquidez e bricolagem, essa antiga tradição é apresentada através de uma linguagem acessível, coloquial, sendo compartilhada com todos, homens e mulheres, judeus e não judeus, por iniciativa de uma família judaica americana que, no final da década de 1960, abriu um centro de estudo cabalístico, o Kabbalah Centre, objetivando compartilhar essa tradição com todos. Desta forma, o Kabbalah Centre é herdeiro do misticismo judaico, mas difunde sua concepção cabalística sem nenhuma restrição, abrindo centros de estudos em núcleo urbanos espalhados por todo o mundo. O objeto aqui é mostrar as transformações dentro do movimento cabalístico com o intuito de deixa-lo relevante para a sociedade pós-moderna.

Min undersökning visar att det i den ursprungliga judiska traditionen finns en närhet till den kosmiska strukturen. Den har därmed också bevarat en närhet till naturen och till de mänskliga instinkterna. Dessa är i sig varken primitiva eller onda, inte heller tillhör de en förfluten tid och kultur; de utgör istället en bro till helighet, även i vår tid. En ny tidsålder tvingar fram en ny syn på människans instinkter, som då de i likhet med emotionerna medvetandegjorts och bearbetats i en kontemplativ process, erbjuder en livsnödvändig källa till hälsa, energi och helighet.

I min analys av den schamaniska ritualen i Metzora har jag lämnat den gängse tolkningen, och jag har dessutom relaterat ritualens symboler till ett kabbalistiskt synsätt. Jag har därmed lyft fram begreppet balans, som är grundläggande i alla ursprungliga religioner. Jag har också relaterat begreppen ”balans” och ”obalans” till de bibliska begreppen ”renhet” och ”orenhet”, som enligt min analys av Metzora betecknar mental balans respektive mental obalans. Jungs många kommentarer om coniunctio oppositorum har hjälpt mig att sprida ljus över denna process.

Med hjälp av amplifikation har jag strävat efter att fördjupa förståelsen av den schamaniska ritualen i Metzora och dess funktion. Genom att relatera de tre symbolerna i ritualen till en kabbalistisk text har jag visat att ezov – isop - inte är den mest troliga symbolen för ödmjukhet, vilket är den vanligaste tolkningen. I min tolkning symboliseras istället ödmjukhet av sheni toláat - den rödfärgade ylleremsan. Tillsammans utgör de tre föremålen i ritualen – etz erez, ezov och sheni toláat - en symbol för balans. Till skillnad från den traditionella tolkningen har jag också försökt ge en psykologisk förklaring till den uppenbarligen psykosomatiska och stressrelaterade hudåkomma som i de flesta översättningar felaktigt kallas för ”spetälska”. Jag har därmed delvis frångått den traditionella synen på denna sjukdom som ett straff för baktal och skvaller.

Denna uppsats är en explorativ studie ur relationistiskt perspektiv av vad som bidrar till välbefinnande och hälsa i vårdsammanhang. För att ange och beskriva relationella förhållanden har Martin Bubers dialogfilosofi använts som teoretisk modell. Grundrelationer som uppstår mellan Jag-Du eller Jag-Det och återfinns i dimensionerna, människa-det andliga, människa-människa, människa-natur. Denna filosofi har tillsammans med Katie Erikssons vårdteori i ”Vårdandets idé” använts i en hermeneutisk analys av praktiska vårdmöten. Utifrån dessa teorier har en jämförelse och därefter syntes varit utgångspunkt i analysarbetet. Vårdmötena skildrar vård ur olika perspektiv, patient, anhörigvårdare samt vårdpersonal, inom olika vårdsammanhang. Studien är subjektiv och inte generell i sin kvalitativa ansats men resultatet visar ändå på viktiga relationella samband som bidrar till upplevelser av hälsa och helhet i läkeprocessen. Det är viktigt att dessa relationsaspekter som resurs för läkedom får plats i vårdplaneringen utifrån Hälso- och sjukvårdslagens intentioner. Denna helhetssyn har dock inte funnits i tillräcklig utsträckning inom befintlig offentlig sjukvård på grund av ett endimensionellt biomedicinskt synsätt på människan som haft tolkningsföreträde inom denna under en längre period. Denna studie visar på det subjektiva värdet av den mångdimensionella synen på och bemötandet av människan, patienten inom vården. Detta medför möjlighet till upplevelse av helhet och delaktighet i läkeprocessen.

The intention of this thesis is to investigate correspondences which exist between the Kabbalah and the recondite world of William Blake's imagery. Particular attention will be paid to the symbiotic relationship or word and image and the dialectical approach to salvation which is common to both Blake and the Kabbalah. The attempt will be made to locate correlations between depictions or several or Blake's characters and components or the kabbalistic Tree of Life. In doing so, this writer hopes to show that Blake's familiarity with the Kabbalah was instrumental in enabling him to give form to the visionary experience upon which his mythological system was based. Certainly, a full understanding of Blake's symbolism must acknowledge not only his indebtedness to the Kabbalah, but also the significant role that esoteric tradition as a whole played in the development or eighteenth-century English thought.

Cette thèse est née d’un vide documentaire autour de tout un pan de l’œuvre de Duras : ses ultimes années (1980-1996), année parfois décriées, alors qu’elles nous paraissent sa période la plus aboutie. Duras, dans cette dernière période, a écarté toute velléité psychologisante et a préféré structurer ses récits autour de certains archétypes (comme l’archétype de l’homme idéal incarné par Andréa, le petit frère ou Ernesto) tout en décalage avec les modes et notre temps en général. Ce retour à une littérature archaïque participe à la recherche de Duras d’une « féminologie » plus radicale que chez Antoinette Fouque. Mais qui, comme chez cette dernière, a à voir avec la sorcière de Michelet. Seule, la sorcière est capable de percevoir l’indicible et de le retranscrire, non par la magie du Verbe (schéma tout droit emprunté du logos du Dieu-mâle), mais la force du non-dit. Cette abdication devant la rhétorique, Duras l’a alors faite sienne. Ainsi, l’homme longtemps attendu, Yann Andréa, vient compléter la romancière. Cet archétype, en se faisant chair, insuffle en elle de la recréation littéraire, comme il en allait pour les dames du Moyen-Âge inspirées par leur jeune champion. Notre approche inédite de Duras tente à montrer comment elle a traité de la manière archaïque/anachronique ce que d’autres considèrent comme les problèmes contemporains du couple. Il ressort de ce décalage sciemment cultivé par Duras une dialectique que nous appelons : « dynamique du masculin/ féminin dans la dernière période de la création littéraire de Marguerite Duras (1980-1996) à travers ses romans et récits »
The idea for this thesis arose from a certain documentary void regarding a whole segment of Duras' work : her final years...despite being a period in which she often came in for harsh criticism, seem to us her most fruitful and accomplished, during which she avoided dwelling on the psychology of her protagonists, and opted for a narrative structure based more upon certain archetypes (such as that of the ideal man, epitomised by Andréa, the younger brother, or Ernesto) hence going against modern trends. This return to an archaic style of literature is symptomatic of Duras' quest for an even more radical "feminology" than that of Antoinette Fouque. But is similar in its connection with Michelet's witch.Only the witch/sorcerer is capable of detecting the unspeakable and retranscribing it, not by the magic of the Word (directly borrowed from the male-God logos) but by the force of the unsaid. Thus Duras assumes this abdication in the face of rhetoric. So the long-awaited male, Yann Andrea, finally joins the novelist. This flesh and blood archetype inspires in her a new sense of literary ceativity like certains ladies in the Middle Ages inspired by their champions.Our novel approach to Duras tries to show how she treated in an archaic/anachronistic way what others considered as the couple's contemporary problems. What emerges from this carefully crafted discrepancy is a form of dialectic we'll call "The dynamic of masculine/feminine in the last period of literary creativity of M.D. through her novels and narratives

Al-Būnī est une figure centrale dans l'étude de la magie en Islam au Moyen Âge. En effet, son principal traité, le Šams al-maʿārif al-kubrā (Le « grand » soleil des connaissances), est le plus grand manuel de magie se basant sur le Coran, les beaux noms de Dieu, les invocations aux anges, etc. Malheureusement, à ce jour, cette oeuvre nous est connue à travers des éditions se basant sur des manuscrits très tardifs, fort éloignés du contenu des manuscrits des oeuvres ayant pu être écrites par al-Būnī : en témoignent les nombreux anachronismes. Aussi, ce travail de recherche propose de faire l'analyse et d'établir une édition critique d'une partie du « corpus bunianum » : le Šams al-maʿārif wa-laṭāʾif al-ʿawārif (Le soleil des connaissances et les grâces exquises) dans sa version courte (la supposée plus ancienne), al-Lumʿa l-nūrāniyya (La lueur luminescente) et d'autres traités qui ont contribué à former le Šams al-maʿārif. L'édition de ces textes correspondant au « noyau historique » de cet immense corpus met en évidence les éléments les plus anciens des oeuvres attribuées à al-Būnī et les influences ayant contribué à la formation d'une magie islamique, se référant non plus essentiellement à des autorités grecques, indiennes, mésopotamiennes, etc., mais aussi au Coran, à la tradition prophétique et aux traditions magiques, mystiques et kabbalistiques juives, chrétiennes et musulmanes. Intimement liée aux sphères du pouvoir, cette littérature magique participe également à leur mise en scène et reflète leur évolution
Indeed, his main treatise, the Šams al-maʿārif al-kubrā (The "Great" Sun of Knowledge), is the most important magic manual based on the Qurʾān, the beautiful names of God, invocations to the angels, etc. Unfortunately, until now, this work has been known to us through editions based on very late manuscripts, very different from the contents of manuscripts of works written by al-Būnī as the many anachronisms point out. In this research, we propose an analysis and a critical edition of part of the "corpus bunianum": Šams al-maʿārif wa-laṭāʾif al-ʿawārif (The Sun of Knowledge and the ExquisiteGraces) in its short version (the supposedly more ancient one), al-Lumʿa l-nūrāniyya (The Luminescent Glow) and other treaties that have been used to write down the Šams al-maʿārif. Editing these texts corresponding to the "historic core" of this vast corpus highlights the oldest parts of the works attributed to al-Būnī and the influences that contributed to the formation of an Islamic magic, referring not only to Greek authorities, Indian, Mesopotamian, etc.., but also to the Qurʾān, the prophetic tradition and magical, mystical and Kabbalistic Jewish, Christian and Muslim traditions.Closely linked to realms of power, this magical literature also contributes to their splendour andreflects their evolution

Jag har valt att skriva om förhållandet mellan Jung och den esoteriska tradition som benämns Fjärde vägen. Anledningen till detta val är att jag i båda dessa traditioner, den jungianska och Fjärde vägen, ser ett intressant kritiskt ifrågasättande av vår moderna tids uppfattningar om människan och det mänskliga psyket. Jung framhåller individuationsprocessen som en möjlighet att växa till en fullödig människa.

Inom den Fjärde vägen betonas vikten av att ta sin situation på allvar och att genom medvetet arbete och självobservans skapa sig en riktig själ.

Båda dessa skolor träder fram i en tid av stora och omskakande förändringar under början av 1900-talet. Båda skolorna ifrågasätter den själlösa massmänniska som den nya tiden har genererat och försöker utarbeta verktyg för att råda bot på tidens tillkortakommanden.

Min avsikt är att undersöka deras syn på människan och människans själsliga framåtskridande. Jag tror att detta kan vara ett fruktbart och meningsfullt studium där nya vinklar kan leda framåt.

Mina frågeställningar är:

Vilken syn på människan har de två riktningarna och vilka konsekvenser får detta?

Vilka likheter och skillnader finns det mellan Jungs syn på människans själsliga utveckling och den som Fjärde vägen skolan står för?

 

Nathan Neta ben Shlomo Shapira (1585-1633) is the most famous kabbalist stemming from the Jewish intellectual environment of Poland. His major treatise, Megaleh Amuqot, is among the most complex kabbalistic texts ever written. It combines variegated strata of older mystical traditions, to which the author applies diverse, often obscure modes of interpretation. For this reason, Nathan Shapira has remained one of the least studied figures in modern scholarship, despite the fact that he is generally acknowledged as the most important early-modern Ashkenazi kabbalist, whose influence on later Eastern-European mystical circles is well attested. Although there are some general accounts of Shapira’s religious activity in Kraków, and references have been made to his startling mathematical mind-set, scholarship still lacks a thorough examination of his literary legacy, and a detailed evaluation of his contribution to the development of Jewish mystical thought. My dissertation aims to integrate Nathan Shapira’s kabbalah within a broad panorama of Jewish mystical traditions of the early modern period. It challenges the notion of the dominance of Lurianic ideas in Shapira’s thought, arguing for a more pluralistic perspective of the historical development of the kabbalistic tradition. Recently, Yehuda Liebes and Moshe Idel have raised the possibility that Nathan Shapira’s kabbalah may have belonged to a tradition that sprang from a multifaceted cultural milieu of Ashkenazi mysticism, consisting of at least two distinct major strands. Following this notion, I propose to challenge the common view that the Ashkenazi mysticism was a homogenous entity, whose influences effectively ceased after 13th century. On the contrary, I claim that the medieval mystical Ashkenazi ideas underlie much of Nathan Shapira’s kabbalah. In considering medieval Ashkenazi mysticism as Shapira’s formative background, I focus on the ‘Enoch-Metatron’ cluster of traditions, which I claim was as central to Shapira’s thought as it was to his Ashkenazi predecessors.

El trabajo doctoral presentado se fundamenta en una investigación sobre el concepto de Infinito dentro de la Kabbalah (mística judía) y sus conexiones con las diferentes percepciones que del Infinito han desarrollado los diferentes pensadores occidentales a lo largo de la historia (San Juan de la Cruz, Spinoza, Hegel, Cantor, etc.). La originalidad de la tesis presentada está basada en la conexión de los antiguos conocimientos de los místicos judíos (cabalistas) con las nuevas formas de expresión de la matemática transfinita.

The work presents the results of the research project whose aim is to investigate the connection between the Renaissance music theory and the mathematical science; it takes into particular account the testimonies produced and collected in Veneto. In particular, the focus of the research is the link between the harmonic proportions, the numerology and the cabalistic symbolism contained in the treaty “Deh armonia mundi totius” by Francesco Zorzi, published in Venice, in 1525. The first section is focused on the work of Zorzi and on its musical sources, which have been identified through the perusing of “De harmonia mundi totius”. The analysis allowed to highlight a number of similarities and differences, which existed in the Venetian area in the16th Century, between the numerological system used by the traditional theory of music proportions and the Kabbalah. It has been verified how the numbers, used by the western culture to describe the tones and the tunes, can find symbolic and religious confirmations in the esoteric and mystical Hebraic teachings. So strong are these connections that they might provide the explanation for the universal order – in the duplex dimension of microcosm and macrocosm – and, therefore, stress the relation between music and the creative power of God. The passages of the treaty in which music is considered under this perspective are gathered in a specific appendix in which they are given both in Latin – the original language – and in Italian. The second section analyses the massive quantity of musical references, which can be found in “De harmonia mundi totius”, and which were examined by musicologists, but never with systematic criteria. Since Zorzi developed the theory of universal harmony from a philosophical, scientific and musical point of view, it has been of vital importance to determine the analogy with the Platonic and Pythagorean tradition. Particular attention has been paid to the fact that the position of the planets, the balance between the four elements (fire, water, air and earth), the numerical series, the geometrical figures and the bond between microcosm and macrocosm, appear to be following the same musical proportions. Moreover, the section describes the changes from the traditional musical theory to a new musical scale that followed a peculiar system of numerical series. Such is the originality of the relation between the cabalistic numerology and the musical proportions that the thesis analyses the connection established by the Kabbalah between every letter or word and the numerology. From the musicological point of view, De harmonia mundi totius is important because it offers many references to exoteric works such as Corpus Hemeticus, by Ermete Trismegito, De vita, by Ficino, and other texts connected with the cabalistic literature or the Bible tradition. As far as it is concerned, the iconographic elements from the Medieval tradition, such as the comparison between the mythological figures of the Muses and the Cherubs and Seraphs, can be studied following a new point of view. The investigation of the planets through musical scales, as far as the description of the “City of Light” through the musical concept of Apocalypse, were common at that time. Zorzi, though, crossed the boundaries and to explain these phenomena through a set of precise proportions connected one more time with the Kabbalah. The final section focuses on the correspondence between Zorzi’s theory and those of the distinguished Renaissance theorists, Franchino Garuffio and Gioseffo Zarlino. In particular, the section describes the analogies and the variances in treating the concepts of harmony and proportion. The research has been conducted through the constant consultation of the vast bibliography dedicated to Zorzi’s treaty and, from a musicological point of view, it has privileged the aspects concerning the musical repertoire and the executive praxis that characterised the period between the 15th and the 16th Century. As far as the connection between musical numerology and Kabbalah is concerned, the work aims to decode the complex system of calculations and iconographic correspondences, full of wisdom and even magical references, which represent the cornerstone of Francesco Zorzi’s theoretical system. The achieved results lead to the reevaluation of Zorzi’s figure as a music theorist. In fact, even though, from a certain point of view, De harmonia mundi totius aligns with the ancient and Medieval theories on consonances, it is evident that the author will is that of laying the foundations for the experimentation on the polyphonic language.
La tesi raccoglie i risultati del progetto di ricerca che ha avuto come obiettivo l’indagare i rapporti esistenti tra la teoria musicale rinascimentale e le scienze matematiche, considerando soprattutto le testimonianze prodotte in area veneta. In particolare, la riflessione si è concentrata sulle relazioni tra le proporzioni armoniche, la numerologia e la simbologia cabalistica contenute nel trattato di Francesco Zorzi De harmonia mundi totius, pubblicato a Venezia nel 1525. La prima sezione della tesi è dedicata all’opera dello Zorzi e alle sue fonti, specialmente a quelle di natura musicale che sono state individuate attraverso un’indagine analitica conseguente alla lettura e allo studio integrale del trattato De harmonia mundi totius. È stato così possibile enucleare una serie di analogie e divergenze presenti in area veneta nel secolo XVI tra il sistema numerologico utilizzato dalla teoria tradizionale delle proporzioni musicali e quello della kabbalah. In pratica, è stato verificato in quale misura i numeri utilizzati dalla cultura occidentale per descrivere gli intervalli e le consonanze musicali possano trovare precisi riscontri di ordine simbolico e religioso negli insegnamenti esoterici e mistici propri dell’ebraismo, fino a spiegare l’ordine dell’universo (nella duplice dimensione di macrocosmo e microcosmo) e, quindi, evidenziare sotto una nuova luce lo stretto rapporto che si voleva esistesse tra l’opera creatrice di Dio e la musica. In un’apposita appendice sono stati trascritti tutti i passi del trattato di Francesco Zorzi nei quali si parla di musica secondo questa prospettiva. Essi sono stati ordinati nell’originaria versione in lingua latina e nella traduzione in quella italiana, indicando per ognuno le fonti relative. La seconda sezione della tesi è dedicata all’analisi della ragguardevole quantità di riferimenti musicali disseminati nel trattato De harmonia mundi totius, ripetutamente presi in esame dai musicologi, mai però con criteri sistematici. Poiché lo Zorzi sviluppa la teoria dell’armonia universale da un punto di vista filosofico, scientifico e musicale che privilegia il linguaggio delle proporzioni, è stato prioritario stabilire i punti in comune con la tradizione platonica e pitagorica, con particolare riguardo per: l’utilizzo del linguaggio delle proporzioni musicali nella definizione della disposizione dei pianeti; il rapporto tra gli elementi naturali (terra, aria, acqua e fuoco), le serie numeriche e le figure geometriche; il legame del macrocosmo con il microcosmo, che si corrispondono secondo le medesime proporzioni musicali. Inoltre sono state illustrate le novità proposte dallo Zorzi rispetto alla teoria musicale tradizionale, in particolare il suo sistema di suddivisione della scala musicale e la sua rielaborazione del sistema delle serie numeriche. Risultando originale, per vari aspetti, anche l’accostamento che lo Zorzi propone tra la numerologia cabalistica e il linguaggio delle proporzioni musicali, si è cercato quindi di individuare e analizzare la natura del rapporto posto tra il valore numerico assegnato dalla kabbalah ad ogni lettera o parola e la numerologia delle serie musicali. Dal punto di vista musicologico, il trattato De harmonia mundi totius è importante anche per i numerosi riferimenti musicali ed organologici, che sono stati analizzati con attenzione per gli aspetti riconducibili in primo luogo a testi esoterici come il Corpus hermeticum di Ermete Trismegisto, alla letteratura cabalistica come il De vita del Ficino o, ancora, alla tradizione ebraica dei testi biblici. Considerati in questo contesto, assumono nuovi significati gli stessi elementi iconografici e organologici derivati dalla tradizione medievale, come l’accostamento delle figure mitologiche delle Muse a quelle delle schiere dei Cherubini o dei Serafini. Era consueto anche indagare i pianeti per mezzo degli intervalli musicali, come pure illustrare la «Città della luce» attraverso la visione musicale dell’Apocalisse, ma lo Zorzi si spinge oltre fino a descriverne le dimensioni attraverso precise proporzioni legate, ancora una volta, alla simbologia numerica della kabbalah. Considerato l’interesse che il trattato De harmonia mundi totius riserva alla teoria musicale e all’organologia, nella sezione conclusiva della tesi sono state indagate le corrispondenze esistenti tra le teorie dello Zorzi e quelle di alcuni tra i più autorevoli trattatisti del Rinascimento attivi in area veneta, quali Franchino Gaffurio e Gioseffo Zarlino. In particolare, sono stati verificati quali siano i punti in comune e le divergenze che intercorrono tra i vari teorici nella discussione dei concetti di armonia e proporzione, nell’interpretazione delle fonti iconografiche e nell’utilizzo delle testimonianze organologiche. La ricerca è stata sviluppata attraverso un costante confronto con l’ampia bibliografia dedicata al trattato di Francesco Zorzi e che, dal punto di vista musicologico, ha privilegiato gli aspetti che presentano un interesse prevalente per lo studio dei repertori musicali e la conoscenza della prassi esecutiva tra i secoli XV e XVI. Concentrandosi, invece, sul rapporto scarsamente indagato tra la numerologia della teoria musicale e quella cabbalitica, si è pervenuti a una decodificazione dei complessi calcoli numerici e delle corrispondenze simboliche e iconografiche, ricchi di rinvii sapienziali se non addirittura magici, che sono alla base del sistema teorico di Francesco Zorzi. È stata messa a fuoco l’originale rielaborazione della teoria delle proporzioni elaborata dal religioso veneziano attraverso un’abile combinazione di elementi matematici, costituiti dalla serie geometriche, aritmetiche e armoniche, e calcolo cabbalistico, fondato sulla permutazione, la duplicazione e il notariqon. I risultati ottenuti inducono a riconsiderare la figura di Francesco Zorzi come teorico musicale, superando gli schemi di lettura fin qui adottati. Infatti, se per certi aspetti il De harmonia mundi rimane in linea con la trattatistica antica e medievale, ora risulta alquanto evidente il proposito del suo autore di superare i limiti delle speculazioni tradizionali sulle consonanze e, più in generale, sull’armonia, nel tentativo di garantire delle basi scientifiche certe e aggiornate alle sperimentazioni del linguaggio polifonico.

Le travail vise à reconstruire l’interprétation de la Cabbale fourni par Paolo Ricci (m. 1541), en ce qui concerne la réception du Sefer Sha‘are Orah (Livre des portes de lumière [ShOr]) de Yosef Giqaṭilla (XIII siècle). Après une introduction générale et une présentation du status quaestionis, la première partie de la thèse se focalise surtout sur le milieu culturel du ShOr, sur son auteur et sur ses possibles sources. La deuxième partie offre une reconstruction de la vie intellectuelle du traducteur du ShOr, Paolo Ricci, en accordant une attention particulière aux relations (historiques et / ou culturelles) avec certains humanistes de l'époque. Un intérêt particulier est réservé au rôle de Pic de la Mirandole et de Johannes Reuchlin, ainsi qu’à la rencontre avec Ellenbog, à l’affrontement avec Johannes Eck, et aux épitres de Pirckheimer. On ce concentre donc sur la possible influence de sources du judaïsme médiéval (en particulier, du ShOr) dans l’élaboration du programme de réforme religieuse d’Agrippa de Nettesheim. Le chapitre sur la «systématisation» de la Cabbale fournie par Ricci vise à fournir une explication possible pour le choix de traduire précisément ShOr. L'analyse est ensuite reliée à l’élaboration d’un court écrit (In cabalistarum seu allegorizantium eruditionem Isagoge), conçu comme un ouvrage d’introduction à la traduction du ShOr, d’importance fondamentale pour la définition de la Cabbale de la part de Ricci. La dernière question abordée concerne l’histoire de la réception de la version latine et de la pensée de Ricci au XVIe et au XVIIe siècle. Deux annexes suivent, dont la première contient une réflexion d’Ernesto Buonaiuti sur le problème de l’unification entre l'homme et Dieu dans la pensée de Pic. La deuxième annexe inclut le premier chapitre du ShOr, selon la traduction latine préparée par Ricci : c’est principalement grâce à cette section que le texte a survécu
The work aims to reconstruct the interpretation of the Kabbalah provided by Paolo Ricci (d. 1541), with particular focus on the Latin reception of the Sefer Sha‘are Orah (Book of the Gates of Light [ShOr]) by Yosef Giqaṭilla (13th century). After a general introduction and a presentation of the status quaestionis, the first part of the thesis focuses on the cultural milieu of ShOr, on his author and his possible sources. The second part pays particular attention to the intellectual life of Paolo Ricci, mainly to his relations with important humanists of his period. The work then focuses on the possible influence, among other sources, played by the Latin version by Ricci of ShOr on the development of the reformation of magic proposed by Agrippa from Nettesheim. The chapter on Ricci’s theorization of the Kabbalah aims to explore some aspects of his exegetical method and seeks to give a possible explanation for the choice of its translation. The analysis is then related to a short writing (In cabalistarum seu allegorizantium eruditionem Isagoge), conceived by Ricci as an introductory work to ShOr and fundamental to understand his conception of the Kabbalah. The last question concerns the history of the reception of Ricci’s thought as well as the fortune of the Latin version of ShOr between the 16th and the 17th centuries. Two annexes follow, the first of which contains a reflection of Ernesto Buonaiuti on the problem of the unification between man and God in the thought of Pico. The second appendix includes the first chapter of ShOr, according to the Latin translation offered by Ricci: it is mainly thanks to this section that the text survived

The choral music of Israeli composer Paul Ben-Haim (1897-1984) falls clearly into two distinct compositional periods. Born in Munich, Germany as Paul Frankenburger, the composer received formal, classical training at the Munich Academy of Music. His compositions from this period are an amalgamation of many styles, and they include influences of Bach, Handel, Mahler, Debussy, and Strauss. In 1933, Ben-Haim, along with other trained artists and composers, immigrated to Palestine as part of the Fifth Aliyah. Prior to this wave of immigration, Palestine had not yet received any serious composers, and musically, was still in its infancy. Eager to divorce themselves from the West and identify with their new home in the East, Ben-Haim and his fellow transplant composers sought a new musical language and a unique voice for Israel. Enamored with the exotic sounds of his new environment, Ben-Haim began to absorb elements of Eastern Mediterranean music into his compositions. As a Westerner, he was not familiar with these Eastern traditional folk song melodies, modes, and scales, and he required outside source materials from which to draw. This document examines two choral works, one from each of Paul Ben-Haim’s style periods, Joram (1933) and Kabbalat Shabbat (1968), and identifies the compositional source materials that yielded a significant change in the character and style of his work.

Le but de cette these est de presenter une analyse de la galliade, poeme de guy le fevre de la boderie, ecrivain de la renaissance francaise. Cette oeuvre de pres de 9000 vers est parue en 1578. Apres une etude biographique sur l'auteur, les sources du poeme sont analysees avant qu'un essai, le point centrique, vienne montrer quelle est la conception de l'histoire developpee dans la galliade et comment le poete applique la notion d'harmonie du monde en s'appuyant principalement sur l'etymologie et sur la musique. La position philosophique est ensuite analysee ainsi que la facon dont est vu dieu. Enfin le probleme des rapports particuliers entre le fevre et la pleiade est aborde. Apres l'etablissement du texte et les variantes, une bibliographie precede les index. Le texte de la galliade est ensuite annote de facon a eclaircir toutes les difficultes, aussi bien d'ordre philosophique que religieux ou linguistique. Ainsi peut-on faire apparaittre combien ce poeme est une forte illustration de l'idee de retour en france du savoir transmis par noe apres le deluge, et du choix du roi de france comme monarque universel pour le nouvel age de renouveau spirituel. Le fevre doit etre place dans le courant neo-platonicien et dans celui de la kabbale chretienne. La galliade a pour but la defense du christianisme contre les attaques du protestantisme
The aim of this thesis is to present an analysis of la galliade, a work of a late french renaissance poet and linguist, guy le fevre de la boderie. This poem, compound with about nine thousand lines, shows that france is the home of all post diluvean knowledge (chiefly poetry and music), and that the french king is chosen by god to be universal monarch in the new age of spiritual renewal. Le fevre must be placed, on the one hand, in the context of the florentine neo-platonist tradition (the prisca theologia is much important), and, on the other hand, in the context of the christian kabbalah. The purpose of this new christian lyricism is the defense of catholicism against the attacks of the protestantism

Edition critique du "Grand Olympe, ou philosophie poétique attribuée au très renommé Ovide", traité d'alchimie (XVI°-XVII° siècles) attribué à Pierre Vitecoq (ou Vicot), alchimiste de Flers (Orne), qui constitue la première interprétation alchimique française des "Métamorphoses" d'Ovide; ce traité composé de trois parties distinctes (un poème de 2376 vers octosyllabiques en rimes plates ou suivies et deux commentaires en prose) possède une disposition en trois colonnes. Il offre la première interprétation alchimique des "Emblèmes" d'André Alciat, contribue au développement du mythe de Nicolas Flammel alchimiste et forme une véritable "mythographie alchimique". La présente édition critique s'intéresse, dans la préface, aux alchimistes de Flers et à l'auteur présumé du traité, expose les problȩ̀mes de datation et d'attribution de ce dernier, rend compte des diverses lectures mythographiques dans l'Antiquité, insiste sur l'allégorie, la mythographie et la fortune d'Ovide au Moyen Age et à la Renaissance, avant de décrire précisément chaque manuscrit. .
Critical edition of "Le Grand Olympe, ou philosophie poétique attribuée au très renommé Ovide", treatise on alchemy (16th-17th centuries) attributed to Pierre Vitecoq (or Vicot), alchemist from Flers (Orne,Normandy), which is the first French alchemichal interpretation of Ovid's "Metamorphosis"; this treatise is composed of three distinct parts: a poem of 2376 octosyllable verses in rhyming couplets and two commentaries in prose. It gives the first alchemichal interpretation af André Alciat's "Emblèmes", contributes to the developpemnt of the myth of Nicholas Flamel alchemist and constitutes a real alchemichal mythography. This critical edition, in its preface, discourses upon the alchemists from Flers and the presumed author of this treatise, exposes its problems of datation and attribution, shows the different mythographic readins in Antiquity, insists on allegory, mythography and Ovid's success in Middle Ages and in Renaissance, before a precise description of each of the manuscripts we have examinated. .

This thesis explores the way the conducting profession is being fashioned in the modern world. As a portfolio thesis, it is made up of three individual papers which address this issue from a variety of perspectives. These are 1) conducting tuition, 2) female conductors and 3) chamber rehearsal. Each paper makes use of a model, external to the field of music, to investigate the situation for conductors in the modern world. The third paper, building on the previous two, provides an insight crucial to understanding the thesis as a whole. Humans (in this case musicians) ascribe values to various aspects of their day-to-day lives and it is this value weighting that determines what becomes their focus and what may, conversely, be overlooked. In the three papers it is shown that today’s conducting world gives significant utility to 1) video production, 2) quotas of women and 3) social concerns in rehearsal, often at the expense of musical considerations. I argue that that these weightings contribute to the formation of conductors who enact, rather than embody, the role: a concept that is termed performativity. Of concern with performativity is that it may compromise musical thinking, an idea that was crystallised for me at the Audite conducting competition. Audite was a novel experiment as it entailed a screen being placed between the participants and the jury so that competitors were judged “blind”. The paradox of the screen is that it served to reveal as well as conceal, for the framework of contemporary conducting was, in a way, uncovered. This thesis aims to reveal the frameworks in the three case studies and, through this, to turn dichotomies into paradoxes. The Maestro, reconfigured, should be able to be simultaneously musical and performative.

Contrairement à une idée répandue, les questions légales et rituelles sont au centre des préoccupations des kabbalistes. Et, en retour, la littérature halakhique est très loin d'avoir ignoré le discours kabbalistique sur ces questions. Depuis les débuts de la kabbale, voire dans le Talmud déjà, les deux ordres de discours s'interpénétrent. Leur unité organique et la finalité messianique de leur dialectique trouve son expression la plus claire dans l'introduction du 'Ets Hayyim, principal texte de la kabbale lurianique. A la lumière des notions qui y sont exposées, et guidée par le concept de hiérohistoire emprunté à Henry Corbin, cette étude propose une relecture phénoménologique de trois points précis du rituel juif qui ont cristallisé autour d'eux l'essentiel des discussions sur les rapports entre kabbale et halakha. Il en résulte un regard nouveau sur les moteurs métahistoriques et eschatologiques de l'histoire des pratiques religieuses juives
Contrary to a well-spread notion, legal and ritual issues are an important focus of kabbalistic discourse and the halakhic literature, in turn, is far from having negleted what the kabbalists had to say. Since the historic beginnings of kabbalah, and even in the Talmud, legal and symbolic discourses interpenetrate. Their organic unity and the messianic telos of their dialectics are best articulated in the introduction to the main text of Lurianic kabbalah, 'Ets Hayyim. In the light of the notions presented therein, and following the concept of hierohistory borrowed from Henry Corbin, this study proposes a phenomenological re-reading of three precise aspects of the Jewish ritual, which have crystallized the essential discussions about the relationship between halakhah and kabbalah. The result is a new outlook on the metahistorical and eschatological motives behind the history of Jewish religious practices