Steiner leads us to the brink of this new perspective-as nearly as it can be done with words, diagrams, analogies, and examples of many kinds. In doing so, he continues his lifelong project of demonstrating that our objective, everyday thinking is the lowest rung of a ladder that reaches up to literally infinite heights. The talks in this series and the selections from the question-and-answer sessions on many mathematical topics over the years are translated into English for the first time in THE FOURTH DIMENSION. They bring us to tantalizing new horizons of awareness where Steiner hoped to lead his listeners: Topics include: * The relationship between geometric studies and developing direct perception of spiritual realities * How to construct a fourth-dimensional hypercube * The six dimensions of the self-aware human being * Problems with the theory of relativity * The Trinity and angelic hierarchies and their relationship to physical space * The dimensional aspect of the spiritual being encountered by Moses on Mt. Sinai

    Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst’s work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites. This pioneering research adds an essential key to understanding the multilayered complexity of Ernst’s works, as it affirms his standing as one of Germany’s most significant artists of the twentieth century.

    Astrology was one of the many intellectual tools--along with what we consider to be the superior tools of social and political analysis--that Renaissance thinkers used to attack practical and intellectual problems. It was a coherent body of practices, strongly supported by social institutions. And alchemy was not viewed primarily as a spiritual pursuit, an idea popularized by nineteenth-century occultists, but as a part of natural philosophy. It was often compared to medicine.Many Renaissance writers suggested links between astrology and alchemy that went beyond the use of astrological charts to determine the best time to attempt alchemical operations. Secrets of Nature shows the many ways in which astrology (a form of divination) and alchemy (an artisanal pursuit concerned with the technologies of minerals and metals) diverge as well as intersect. Overall, it shows how an appreciation of the role of the occult opens up new ways of understanding the past. Topics include the career of Renaissance astrologer Girolamo Cardano and his work on medical astrology, the astrological thinking of Johannes Kepler and Galileo Galilei, the history of the Rosicrucians and the influence of John Dee, the work of medical alchemist Simon Forman, and an extended critique of the existing historiography of alchemy.

    The early presence of esotericism in North America has not been much studied, and even less so the indebtedness to esotericism of some major American literary figures. In this book, Arthur Versluis breaks new ground, showing that many writers of the so-called American Renaissance drew extensively on and were inspired by Western esoteric currents.