Reuchlin?s keen interest in Jewish mysticism resulted in the original publication of this work in 1517. The first part of this dialogue reflects on messianism, the second part on the relation of the Pythagorean system to the Kabbalah, and the third on the "practical Kabbalah." ø The German humanist Johann Reuchlin (1455-1522) defended the value of Jewish scholarship and literature when it was unwise and unpopular to do so. As G. Lloyd Jones points out, "A marked mistrust of the Jews had developed among Christian scholars during the later Middle Ages. It was claimed that the rabbis had purposely falsified the text of the Old Testament and given erroneous explanations of passages which were capable of a christological interpretation." Christian scholars most certainly did not advocate learning the Hebrew language. ø Reuchlin was exceptional in pursuing and promoting Hebrew studies, believing that a working knowledge of that language was essential for a true appreciation of the Bible and rabbinic literature. Refusing to join Christian contemporaries who wished to destroy the Kabbalah and the Talmud, he spoke out against ignorance. Christians could have a useful dialogue with Jews if they gained a thorough knowledge of the writings of Jewish exegetes and philosophers. Toward that end he proposed university endowments that aroused the fury of opponents and led to the famous "battle of the books." ø Reuchlin's keen interest in Jewish mysticism resulted in the publication of De arte cabalistica in 1517. The first part of this dialogue reflects on messianism, the second part on the relation of the Pythagorean system to the Kabbalah, and tdhe third on the "practical Kabbalah." According to Jones, "Reuchlin demonstrates how Christians can make profitable use of Jewish mystical writings, and therefore shares with the reader his understanding of the art of the Kabbalah." That art will reach more readers in this modern English-language translation by Martin and Sarah Goodman. It reinforces the historical importance of the man who prevented the destruction of Jewish books and anticipated the more liberal climate of the Reformation.

Hasidic Art and the Kabbalah presents eight case studies of manuscripts, ritual objects, and folk art developed by Hasidic masters in the mid-eighteenth to late nineteenth centuries, whose form and decoration relate to sources in the Zohar, German Pietism, and Safed Kabbalah. Examined at the delicate and difficult to define interface between seemingly simple, folk art and complex ideological and conceptual outlooks which contain deep, abstract symbols, the study touches on aspects of object history, intellectual history, the decorative arts, and the history of religion. Based on original texts, the focus of this volume is on the subjective experience of the user at the moment of ritual, applying tenets of process philosophy and literary theory – Wolfgang Iser, Gaston Bachelard, and Walter Benjamin – to the analysis of objects.

This new approach introduces Kabbalah as a spiritual Jewish way of living, a practical wisdom for living, creativity and well being, and not merely a religious phenomenon or esoteric theology. Professor Shokek suggests that the Kabbalistic theme of Creation is the central ingredient in the spiritual teachings of Jewish mysticism. He skilfully reveals the core questions that emerge from the wisdom of the Jewish sages, opening up a lively avenue of debate in this increasingly popular area of study.

A collection of essays examining medieval and early modern texts aimed at performing magic or receiving illumination via the mediation of angels. Includes discussion of Jewish, Christian and Muslim texts.

Basic psycho-pop retelling of the JFK-Dallas story of 1963. We find here strong emphasis on alternative aspects and elements of the Sefirotic Kabbalah, mystic esoterica, meta-history, crypto-spiritualism, quasi-eidetic imagery, secret arcane formula, and related akashic trivia. A remarkable and unforgettable reading assignment and literary investigation, with many new insights, noetic asides, and unexpected surprises.

This volume contains a variety of essays that deal with the complex relationships between Judaism and Christianity. From the Jewish side, particularly in Orthodox circles, there is a position maintaining the independence of Judaism from outside influences including Christianity. Traditional Christian theology, on the other hand, held a supercessionist view in which Judaism was seen merely as a historical preparation for the later revelation of Christianity. Was there no real interaction? When and how did Judaism and Christianity become two distinct religions? When did the 'parting of ways" take place, if indeed there really was such a parting of ways? The present volume takes a bold step forward by assuming that no historical period can be excluded from the interactive process between Judaism and Christianity, conscious or unconscious, as a polemical rejection or as tacit appropriation.

Although the Petersens' name is quite known among specialists of Pietism, their work, their ideas and the development of their thought remain mostly unresearched. Elisa Belucci aims to shed more light on their works, analysing and interpreting them in relationship to the theological and socio-political context. In so doing, she fills some gaps present in the research on these authors: firstly, she analyses the positions presented in the Petersens' work until 1703 at length; secondly, she tries to unearth sources and influences; thirdly, she seeks to comment on the Petersens' ideas and positions in relationship to the historical context. The result is an entangled picture which questions the traditional distinction between "church Pietism" and "radical Pietism", "orthodoxy" and "radicalism/separatism", showing, instead, that these categories are sometimes too narrow to describe the position of certain authors, such as the Petersens.

Told as a series of reflections, this study traces links between cultures as diverse as pre-Vedic India and late 19th-century France. An array of unrelated artists are all in fact linked by the Kabbalah and the correlation between art and this mystic Jewish thought.