Appendix - "The Medieval Antecendents of Renaissance Humanism"__

Representing an extraordinary lifetime of scholarship, Renaissance Thought and Its Sources offers a systematic account of major themes in Renaissance philosophy, science, and literature. Here, in some of Paul Oskar Kristeller's most comprehensive and ambitious writings, is an exploration of the distinctive trends and concepts of the Renaissance, grounded in detailed historical investigation.

Written by an eminent authority on the Renaissance, these classic essays deal not only with Paul Kristeller's specialty, Renaissance humanism and philosophy, but also with Renaissance theories of art. The focus of the collection is on topics such as humanist learning, humanist moral thought, the diffusion of humanism, Platonism, music and learning during the early Renaissance, and the modern system of arts in relation to the Renaissance. For this volume the author has written a new preface, a new essay, and an afterword.

Offers a broad sampling of humanist work by educators, statesmen, philosophers, churchmen and courtiers translated into English.

This book establishes that the ancient Greeks had a prevailing method of doing philosophy which was rooted in philosophical realism. Through extensive historical and philosophical analysis, it demonstrates that this method was challenged in ancient times by an apocryphal notion of philosophy which eventually became confused with philosophical reasoning, and was passed on to posterity through the work of Christian theologians until it was called into question by leading thinkers of the thirteenth century. It shows how this thirteenth-century challenge influenced the growth of the Renaissance humanist movement and how this movement, in turn, passed on to modernity the same apocryphal notion of philosophy as a rhetorical theology of allegorical prefiguration.

Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.

A short anthology of philosophers of the sixteenth and seventeenth century, which includes the most important philosophical writings from Europe during this period. Part of the Readings in the History of Philosophy series, this volume features writings by the most important philosophers of the era: Martin Luther, Francis Bacon, Rene Descartes, Thomas Hobbes, Baruch Spinoza, Amerigo Vespucci, and more, with selections carefully chosen to emphasize the range and significance of the important philosophers of this period, their inter-relationships with each other and with the intellectual currents of their age.

This book presents a lost tradition of inner work, the way of the householder, which was believed by the Brotherhood of Common Life to have been the teaching of the Apostles. It focuses on the emergence, amidst the decay of medieval culture, of "the mixed life," this reconciliation of action and contemplation, as the essential link between Catholic spirituality and Protestantism. The transmission of this work to lay persons seeking the interior dimensions of their lives without withdrawing from the world is presented. The hitherto monastic spiritual exercises for strengthening attention are discussed in depth. The traditional and vital Christian knowledge of the human condition, which the Brothers and Sisters verified for themselves, is emphasized, especially the crucial significance of the force of attention in the recollection of oneself and God. The importance of strengthening attentive awareness is everywhere alluded to in the sources, but virtually ignored in current accounts of the Christian heritage. The book traces a transmission of spiritual exercises supported by a strongpsychological base that is strangely familiar to the climate of today's search for meaning.

Philosophers of the Renaissance introduces readers to philosophical thinking from the end of the Middle Ages through the sixteenth century.

Proposing an original and important re-conceptualization of Italian Renaissance drama, Kristin Phillips-Court here explores how the intertextuality of major works of Italian dramatic literature is not only poetic but also figurative. She argues that not only did the painterly gaze, so prevalent in fifteenth- and sixteenth-century devotional art, portraiture, and visual allegory, inform humanistic theories, practices and themes, it also led prominent Italian intellectuals to write visually evocative works of dramatic literature whose topical plots and structures provide only a fraction of their cultural significance. Through a combination of interpretive literary criticism, art historical analysis and cultural and intellectual historiography, Phillips-Court offers detailed readings of individual plays juxtaposed with specific developments and achievements in the realm of painting. Revealing more than historical connections between artists and poets such as Tasso and Giorgione, Mantegna and Trissino, Michelangelo and Caro, or Bruno and Caravaggio, the author locates the history of Renaissance art and drama securely within the history of ideas. She provides us with a story about the emergence and eventual disintegration of Italian Renaissance drama as a rigorously philosophical and empirical form. Considering rhetorical, philosophical, ethical, religious, political-ideological, and aesthetic dimensions of each of the plays she treats, Kristin Phillips-Court draws our attention to the intermedial conversation between the theater and painting in a culture famously dominated by art. Her integrated analysis of visual and dramatic works brings to light how the lines and verses of the text reveal an ongoing dialogue with visual art that was far richer and more intellectually engaged than we might reconstruct from stage diagrams and painted backdrops.