Paolo L Bernardini – författare

This book examines the four most important projects for Jewish emancipation in eighteenth-century Europe. The essays presented analyze the proposal advanced by the freethinker John Toland in 1714 and three projects of the 1780s, formulated by the state official Christian Wilhelm von Dohm in Frederick the Great’s Prussia, the economist Count D’Arco in Mantua under Habsburg rule, and the Abbé Henri Grégoire in France on the eve of the Revolution. Focusing on the combination of humanitarian and utilitarian arguments and objectives in the proposals to redefi ne the legal and social status of the Jews, this book is a particularly useful resource for scholars and students interested in the history of Jewish-Gentile relations and the Age of Enlightenment.

This book examines the four most important projects for Jewish emancipation in eighteenth-century Europe. The essays presented analyze the proposal advanced by the freethinker John Toland in 1714 and three projects of the 1780s, formulated by the state official Christian Wilhelm von Dohm in Frederick the Great’s Prussia, the economist Count D’Arco in Mantua under Habsburg rule, and the Abbé Henri Grégoire in France on the eve of the Revolution. Focusing on the combination of humanitarian and utilitarian arguments and objectives in the proposals to redefi ne the legal and social status of the Jews, this book is a particularly useful resource for scholars and students interested in the history of Jewish-Gentile relations and the Age of Enlightenment.

This book offers an innovative approach to the altarpieces of Giambattista Tiepolo (1696-1770) by discussing them within the intellectual context of the first half of the eighteenth century. Tiepolo occupies a particular position in the history of art: firmly embedded in the eighteenth century, he is one of the last great painters of the classical tradition, and, at the same time, one of the precursors of modernity.Why has Tiepolo’s religious art often been misunderstood? How can the abbreviation and absence of key symbols in the images be explained and why is this rhetoric of absence so utterly modern? Deliberately concentrating on what is not painted, rather than what is in the picture, the book deals with Tiepolo’s lacunism as an eighteenth-century phenomenon anticipating modernity. It discusses four different forms of rhetoric: iconic, narrative, silent, and visionary. Each discourse calibrates the images within their contemporary religious and philosophical context, which promote this type of rhetoric as highly innovative.