Sefer Ha-Zohar Is a Collection of Anonymous Mystical and Theosophical Writings, Recorded in Hebrew and in Various Dialects of the Aramaic Language
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Designing the Talmud: the Origins of the Printed Talmudic Page
Marvin J. Heller The author has published Printing the Talmud: A History of the Earliest Printed Editions of the Talmud. DESIGNING THE TALMUD: THE ORIGINS OF THE PRINTED TALMUDIC PAGE non-biblical Jewish work,i Its redaction was completed at the The Talmudbeginning is indisputablyof the fifth century the most and the important most important and influential commen- taries were written in the middle ages. Studied without interruption for a milennium and a half, it is surprising just how significant an eftèct the invention of printing, a relatively late occurrence, had upon the Talmud. The ramifications of Gutenberg's invention are well known. One of the consequences not foreseen by the early practitioners of the "Holy Work" and commonly associated with the Industrial Revolution, was the introduction of standardization. The spread of printing meant that distinct scribal styles became generic fonts, erratic spellngs became uni- form and sequential numbering of pages became standard. The first printed books (incunabula) were typeset copies of manu- scripts, lacking pagination and often not uniform. As a result, incunabu- la share many characteristics with manuscripts, such as leaving a blank space for the first letter or word to be embellshed with an ornamental woodcut, a colophon at the end of the work rather than a title page, and the use of signatures but no pagination.2 The Gutenberg Bibles, for example, were printed with blank spaces to be completed by calligra- phers, accounting for the varying appearance of the surviving Bibles. Hebrew books, too, shared many features with manuscripts; A. M. Habermann writes that "Conats type-faces were cast after his own handwriting, . -
Maharam of Padua V. Giustiniani; the Sixteenth-Century Origins of the Jewish Law of Copyright
Draft: July 2007 44 Houston Law Review (forthcoming 2007) Maharam of Padua v. Giustiniani; the Sixteenth-Century Origins of the Jewish Law of Copyright Neil Weinstock Netanel* Copyright scholars are almost universally unaware of Jewish copyright law, a rich body of copyright doctrine and jurisprudence that developed in parallel with Anglo- American and Continental European copyright laws and the printers’ privileges that preceded them. Jewish copyright law traces its origins to a dispute adjudicated some 150 years before modern copyright law is typically said to have emerged with the Statute of Anne of 1709. This essay, the beginning of a book project about Jewish copyright law, examines that dispute, the case of the Maharam of Padua v. Giustiniani. In 1550, Rabbi Meir ben Isaac Katzenellenbogen of Padua (known by the Hebrew acronym, the “Maharam” of Padua) published a new edition of Moses Maimonides’ seminal code of Jewish law, the Mishneh Torah. Katzenellenbogen invested significant time, effort, and money in producing the edition. He and his son also added their own commentary on Maimonides’ text. Since Jews were forbidden to print books in sixteenth- century Italy, Katzenellenbogen arranged to have his edition printed by a Christian printer, Alvise Bragadini. Bragadini’s chief rival, Marc Antonio Giustiniani, responded by issuing a cheaper edition that both copied the Maharam’s annotations and included an introduction criticizing them. Katzenellenbogen then asked Rabbi Moses Isserles, European Jewry’s leading juridical authority of the day, to forbid distribution of the Giustiniani edition. Isserles had to grapple with first principles. At this early stage of print, an author- editor’s claim to have an exclusive right to publish a given book was a case of first impression. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
The Genoese Colonies in Front of the Turkish Advance (1453-1475)
THE GENOESE COLONIES IN FRONT OF THE TURKISH ADVANCE (1453-1475) Giustina OLGIATI* The situation of the Gerioese colonies in the East after the faıı of Constantinople is efficaciously reflected in two letters sent to Genoa, a few months distant the one from the other, from Pera and from Chios. In the first letter, written on the 23 rd of June 1453, the ex-podesta of Pera, Angelo Giovanni Lomellino, related the tragic events of the conquest of the Greek Capital city and the surrender of the Genoese colo~y: the escape of the Christiansı ships, the sack, the demolition of all fortifications. That meant the order for Chios to pay a tribute, and the possibility of Kaffa and tha other lands of the Black Sea of being asked to pay some tributes too; that exorted the government of Genoa and the Christians to intervene; it reveal- ed the wish of Mehmed to reach and to conquest Rome within two years(l). On the 27 th of September 1453 , from Chios, Franco Giustini- ani, who should have succeeded Lomellino as the Podesta of Pera,. sentto sent to Genoa other details about the dramatic situation of Latin peoples in the East. Pera was imposed a Turkish goverment, taxes from Chios and from the colonies were demanded in the Black Sea, and the promises the Sultan had made were not reliable. it particular gave prominence to the fears of the habitants inspired by the Eastern colonies, and the ir döubts about the future, especi- aııy regarding the last initiative taken by Mehmed: the reinforce- ment of the fortress of Rumeli Hisary, to control the navigation through the Bosphorus, and therigging of at least two-hundred 00- (*) Genova Universitesi Ortaçağ Tarihi Asistanı. -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Eckhard Leuschner Roman Virtue, Dynastic Succession
Originalveröffentlichung in: Studia Rudolphina 6 (2006), S. 5-25 ECKHARD LEUSCHNER ROMAN VIRTUE, DYNASTIC SUCCESSION AND THE RE-USE OF IMAGES: CONSTRUCTING AUTHORITY IN SIXTEENTH- AND SEVENTEENTH-CENTURY PORTRAITURE A hallmark of seventeenth-century portraiture commander, with the modern portrait head was the simultaneous existence of highly of Alessandro added by the sculptor Ippolito original artistic solutions and, alongside Buzio.1 Alessandro's statue was not the last this, an unprecedented number of imitations, of these assemblages of ancient and modern replications and copies. While the increase in parts to be displayed in the room. In 1630, for the latter can partly be explained by technical example, the city's governing council decreed innovations in the production and diffusion that a similar monument be erected to the of every kind of imagery, some of the most recently deceased general Carlo Barberini (Fig. fascinating and, at the same time, provoking 1). On this occasion, another classical Roman cases of images being constantly re-used were torso was joined to a portrait head produced by motivated by more complex reasons, some of Gianlorenzo Bernini, while Alessandro Algardi which will be discussed in this paper. I will contributed the arms and legs.2 explore examples of both material re-use, i.e. Why did the city of Rome order this kind the integration of physical parts of the old of patchwork imagery when it could have had work into the new, and of the use of forms or complete statues made by Buzio, Bernini or compositions by way of copying and imitation. Algardi? The most obvious explanation, of The first part of the text analyses the recurring course, is time and money: with the largest references to visual and literary models of segment of the sculpture already supplied "Roman" virtue and dynastic succession in in the form of the classical torso, the artists the self-representations of early-seventeenth- had less work to do and could charge only a century nobility. -
The Devil's Trick. Impossible Editions in the Lists of Titles from The
chapter 14 The Devil’s Trick. Impossible Editions in the Lists of Titles from the Regular Orders in Italy at the End of the Sixteenth Century Roberto Rusconi La plus grande malice du diable est de nous faire croire qu’il n’existe pas CHARLES BAUDELAIRE After the publication of an Index librorum prohibitorum by Pope Clement viii, in 1596, the Sacred Congregation of the Index of prohibited books requested the regular orders to submit lists of all the books they owned.1 Each item in those lists was supposed to include five main bibliographic elements: author, title, place of publication, publisher/printer, year.2 The surviving lists sent to the Congregation are mainly kept by the Biblioteca Apostolica Vaticana in Rome.3 They reveal many titles that cannot be presently connected to a sur- viving book. Some may indeed be lost books, as has been suggested by other contributors to this volume, and elsewhere. All of this information, has, how- ever to be used with great care. This paper will analyze the morphology of misleading bibliographic items, explaining how mistakes came to be made in the compilation of the book lists. The examples are taken from the work of the rici project, a comprehensive retrospective analysis of this survey by the Congregation of the Index at the end of the sixteenth century.4 1 See the recostruction of the procedure in Gigliola Fragnito, ‘L’Indice clementino e le biblio- teche degli Ordini religiosi’, in Rosa Marisa Borraccini and Roberto Rusconi (eds.), Libri, biblioteche e cultura degli ordini regolari nell’Italia moderna attraverso la documentazione della Congregazione dell’Indice. -
Settlement Patterns and Defence on Northern Chios, 9Th - 16Th Centuries
“CAPITANIA VALISSO CASTRUM DICTI LOCI”: SETTLEMENT PATTERNS AND DEFENCE ON NORTHERN CHIOS, 9TH - 16TH CENTURIES by IOANNA NIKOLAOU KOUKOUNI A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Institute of Archaeology and Antiquity College of Arts & Law University of Birmingham December 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. TO THE REVERED MEMORY OF MY FATHER AND OF MY GRANDPARENTS, AND ALL OUR NORTH-CHIOT ANCESTORS FOR THEY PLOUGHED THIS LAND WITH THE TEARS OF THEIR TOIL. I PAY THIS TRIBUTE ABSTRACT This thesis is a survey of Mount Amani, the northwestern province of Chios island (east Aegean). The thesis examines the natural environment and explores the landscape using different kinds of information, in order to reconstruct the medieval historical topography of this region and to contribute to the problématique of the history and evolution of the Byzantine village and its remarkable longevity. The methodology applied ranges from the scanty literary sources, and visible archaeological evidence, and extends to the tracing of any sign of human activity on the landscape. -
Natural Law and the Chair of Ethics in the University of Naples, 1703–1769
Modern Intellectual History (2020), 1–27 doi:10.1017/S1479244320000360 ARTICLE Natural Law and the Chair of Ethics in the University of Naples, 1703–1769 Felix Waldmann* Christ’s College, Cambridge *Corresponding author. E-mail: [email protected] Abstract This articles focuses on a significant change to the curriculum in “ethics” (moral philosophy) in the University of Naples, superintended by Celestino Galiani, the rector of the university (1732–53), and Antonio Genovesi, Galiani’s protégé and the university’s professor of ethics (1746–54). The art- icle contends that Galiani’sandGenovesi’s sympathies lay with the form of “modern natural law” pioneered by Hugo Grotius and his followers in Northern Europe. The transformation of curricular ethics in Protestant contexts had stemmed from an anxiety about its relevance in the face of moral skepticism. The article shows how this anxiety affected a Catholic context, and it responds to John Robertson’scontentionthatGiambattistaVico’suseof“sacred history” in his Scienza nuova (1725, revised 1730, 1744) typified a search among Catholics for an alternative to “scholastic natural law,” when the latter was found insufficiently to explain the sources of human sociability. In August 1746, Antonio Genovesi was appointed to a professorship of moral phil- osophy or “ethics” in the University of Naples. The appointment marked a second attempt by Celestino Galiani, the university’s rector or cappellano maggiore,tosecure Genovesi a permanent chair (cattedra), after his failed attempt to install Genovesi in the cattedra of logic and metaphysics in March 1744.1 Until Genovesi’s appointment in May 1754 to a professorship of commerce, he would hold the cattedra di etica only in anticipation of a contest or concorso, in which any aspirant could vie for the post. -
Sixteenth-Century Hebrew Books in the Library of Congress
Sixteenth-Century Hebrew Books at the Library of Congress A Finding Aid פה Washington D.C. June 18, 2012 ` Title-page from Maimonides’ Moreh Nevukhim (Sabbioneta: Cornelius Adelkind, 1553). From the collections of the Hebraic Section, Library of Congress, Washington D.C. i Table of Contents: Introduction to the Finding Aid: An Overview of the Collection . iii The Collection as a Testament to History . .v The Finding Aid to the Collection . .viii Table: Titles printed by Daniel Bomberg in the Library of Congress: A Concordance with Avraham M. Habermann’s List . ix The Finding Aid General Titles . .1 Sixteenth-Century Bibles . 42 Sixteenth-Century Talmudim . 47 ii Sixteenth-Century Hebrew Books in the Library of Congress: Introduction to the Finding Aid An Overview of the Collection The art of Hebrew printing began in the fifteenth century, but it was the sixteenth century that saw its true flowering. As pioneers, the first Hebrew printers laid the groundwork for all the achievements to come, setting standards of typography and textual authenticity that still inspire admiration and awe.1 But it was in the sixteenth century that the Hebrew book truly came of age, spreading to new centers of culture, developing features that are the hallmark of printed books to this day, and witnessing the growth of a viable book trade. And it was in the sixteenth century that many classics of the Jewish tradition were either printed for the first time or received the form by which they are known today.2 The Library of Congress holds 675 volumes printed either partly or entirely in Hebrew during the sixteenth century. -
Perspicue Et Fideliter Conversus: Johannes Buxtorf the Younger's
Yod Revue des études hébraïques et juives 22 | 2019 Medieval and Early Modern Translations of Maimonides’ Guide of the Perplexed Perspicue et fideliter conversus: Johannes Buxtorf the Younger’s Translation of the Guide of the Perplexed Perspicue et fideliter conversus : la traduction du Guide des égarés par Johannes Buxtorf le Jeune התרגום הלטינישל מורהנבוכים – יוהנס בוקסטורףהצעיר Saverio Campanini Electronic version URL: https://journals.openedition.org/yod/3765 DOI: 10.4000/yod.3765 ISSN: 2261-0200 Publisher INALCO Printed version Date of publication: 25 September 2019 Number of pages: 133-153 ISBN: 978-2-85831-317-4 ISSN: 0338-9316 Electronic reference Saverio Campanini, “Perspicue et fideliter conversus: Johannes Buxtorf the Younger’s Translation of the Guide of the Perplexed”, Yod [Online], 22 | 2019, Online since 20 September 2019, connection on 21 September 2021. URL: http://journals.openedition.org/yod/3765 ; DOI: https://doi.org/10.4000/yod. 3765 Yod est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. Perspicue et fideliter conversus: Johannes Buxtorf the Younger’s Translation of the Guide of the Perplexed Perspicue et fideliter conversus : la traduction du Guide des égarés par Johannes Buxtorf le Jeune התרגום הלטיני של מורה נבוכים – יוהנס בוקסטורף הצעיר Saverio Campanini Università di Bologna חפצתי להדפיס ס' מורה נבוכים בשלש לשונות בשלש קולונאס או עמודים עברי וערבי ולטין J. Roman1 Since there are many ways to study a translation, it seems appropriate to state beforehand what the reader will not find in this contribution. I am not going to study Johannes Buxtorf the Younger’s translation of the Guide of the Perplexed from a strictly linguistic point of view. -
The First Greek Printing Press in Constantinople (1625‐1628)
The First Greek Printing Press in Constantinople (1625‐1628) NIL OZLEM PEKTAS A thesis submitted for the degree of Doctor of Philosophy at the University of London (Royal Holloway and Bedford New College) June 2014 1 Candidate’s declaration: I confirm that this PhD thesis is entirely my own work. All sources and quotations have been acknowledged. The main works consulted are listed in the bibliography. Candidate’s signature: Date: 2 Abstract The thesis is a study of the first Greek printing house established in Constantinople in 1627‐1628 by the Greek monk Nikodemos Metaxas, who began his printing venture in London’s Fleet Street in 1625. The aim of the thesis is to explore the history of Metaxas’s press and examine the intricate web of relations behind the establishment and closure of his printing house. The study follows Metaxas’s arrival in London, his printing activities in England, the transportation of the printing device to the Ottoman capital, the books produced in Constantinople and the events leading to the confiscation of the press and its subsequent release. The research is based on published and unpublished material, including the diplomatic reports and the correspondence between English, French, Venetian and Dutch ambassadors, letters exchanged between George Abbot, Archbishop of Canterbury, and Cyril Loukaris, the Patriarch of Constantinople; the letters of Sir Thomas Roe, English ambassador to the Porte, and other contemporary accounts of the event such as those collected by the clergymen Thomas Smith and Antoine Leger; and the extant copies of all printed volumes containing the treatises published by Metaxas in London, Constantinople and Cephalonia between 1624‐1628 and various manuscripts dispersed around the world relating to his publications.