Thesis--Freiburg i. Br. / Includes bibliographical references (p. 316-329).

Thesis--Faculté des Lettres de Paris. / "Catalogue général des oeuvres manuscrites de Cremonini": p. [367]-386. Includes bibliographical references.

Doctor's dissertation at Paris (France)--University.

Thesis--München. / "Literatur": p. 5-6.

Marsilio Ficino provides the ground to consider Renaissance Platonism as a distinctive movement within the vast context of Renaissance philosophy. Ficino's Platonism includes traces of earlier humanistic thought and ideas from Neoplatonic philosophers such as Plotinus, Proclus, and Dionysius the Areopagite. Ficino was able to rebuild a traditional philosophy that, from the ancient Greeks to Plotinus, had established the harmony between paganism and Christianity. Neoplatonism, characterized by complex metaphysical, ethical, and psychological canons, provided the grounds for Ficino's cosmological challenge to merge the cyclical aspect of the universe with the religious notion of the soul, in order to secure its cosmic position. Ficino adopted Plotinus hierarchy of being as a dominant component of his own thought. His formulations on the three hypostases and the movements of the soul allow him to develop his own hierarchy of the universe, in which soul anchors the metaphysics of the structure and reaffirms its ontological nature as immortal. / by Nora I. Ayala. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Habil.-Schr.--Freie Universität--Berlin, 1994. / Bibliogr. p. 267-300. Index.

This thesis studies the reception of Aristotle's political thought in sixteenth-century Italy. It focuses on Aristotle's discussion of the dissolution of constitutions in Book 5 of the Politics and aims to show how Aristotle's political thought remained central to late Renaissance political discourse. No comprehensive study of the topic exists. Modern historiography on Renaissance political thought generally downplays the importance of Aristotle in the history of sixteenth-century Italian political thought and emphasises the Roman tradition over the Greek. This research aims to fill the gap in modern scholarship and revise modern interpretation of Renaissance political theory. This thesis is essentially divided into three parts, each part containing two chapters. Part I is largely introductory. Chapter 1 offers a historiographical review of modern scholarship on the reception of Aristotle in the Renaissance and early-modern political thought. Chapter 2 explores the revival of Greek studies in the fifteenth century and the changing perception of Aristotle's Politics in the Renaissance. Part II focuses on Aristotle and Machiavelli. Chapter 3 examines the similarities between Aristotle's analysis of the means of preserving tyranny and Machiavelli's discussion of how to mantenere lo stato in The Prince. Chapter 4 explores the effects that these similarities between Aristotle and Machiavelli had on the reception of Aristotle in Renaissance political thought. Part III centres on Aristotle in the republican and vernacular traditions. Chapter 5 explains the importance of Aristotle's discussion of the dissolution of constitutions to Renaissance republican political thought. Chapter 6 underlines the continuous relevance of Aristotle's Politics in the second half of the sixteenth century. The conclusion sums up the central argument of each chapter and invites us to explore the influence of Aristotle on reason of state literature.

By examining five types of astronomical and celestial phenomena—comets, constellations, the zodiac, planets, and the music of the spheres—this thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celestial properties within the imaginary and physical space of early modern drama and theatre. It argues that the case study plays examined within this thesis demonstrate a period-wide engagement, rather than an authorial-, company-, theatre-, or even genre-specific practice. Dramatists developed techniques using astronomical phenomena as dramatic methods that occasionally underscored early modern astronomical thought. However, in many cases constructed plots, characters, visual and sound effects, and movements transgressed astronomical expectations. Dramatists broke down constellations, inserted new stars in the heavens, created zodiacal females, launched pyrotechnical comets, moved planets unexpectedly across the stage, and played (and refrained from playing) celestial "music" for the audience. Recognising composite and often contradictory astronomical constructions within the drama, this thesis moves the critical discussion away from an intellectual history of natural philosophy and gravitates toward an active astronomical dramaturgy.

édition critique du commentaire au Parménide de l'humaniste Marsile Ficin, avec traduction française annotée et introduction / Doctorat en philosophie et lettres, Orientation histoire des religions / info:eu-repo/semantics/nonPublished

Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.