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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. / <p><p>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

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der 'Institutiones mathematicae' (ca. 1630), der 'Mathematica curiosa' (ca. 1640) und der 'Musurgia universalis' (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher''s way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher''s 'Institutiones mathematicae' (c1630), 'Mathematica curiosa' (c1640), and 'Musurgia universalis' (1650). Special emphasis lies on Kircher''s use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der 'Institutiones mathematicae' (ca. 1630), der 'Mathematica curiosa' (ca. 1640) und der 'Musurgia universalis' (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher''s way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher''s 'Institutiones mathematicae' (c1630), 'Mathematica curiosa' (c1640), and 'Musurgia universalis' (1650). Special emphasis lies on Kircher''s use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.