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The Palace of Secrets: Beroalde de Verville and Renaissance Conceptions of Knowledge

por Neil Kenny

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During the Renaissance, very divergent conceptions of knowledge were debated. Dominant among these was encyclopedism, which treated knowledge as an ordered and unified circle of learning in which branches were logically related to each other. By contrast, writers like Montaigne saw humanknowledge as an inherently unsystematic and subjective flux. The Palace of Secrets explores the tension between these two views by examining specific areas such as theories of knowledge, uses of genre, and the role of fiction in philosophical texts. Examples are drawn from numerous sixteenth- andseventeenth-century texts but focus particularly on the polymath Beroalde de Verville, whose work graphically illustrates these two competing conceptions of knowledge, since he gradually abandoned encyclopedism. Hitherto Beroalde has been mainly known for the extraordinary and notorious Moyen deparvenir; this is the first detailed study of the whole range of his work, both fictional and learned. The book straddles literary and intellectual history, and indeed it demonstrates that the division between the two has little meaning in Renaissance terms. The intellectual conflicts which itexplores have significance for the history of thought right up to the Enlightenment.… (más)
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‘During the Renaissance,’ runs this volume’s blurb, ‘very divergent conceptions of knowledge were debated. Dominant among these was encyclopedism, which treated knowledge as an ordered and unified circle of learning in which branches were logically related to each other. By contrast, writers like Montaigne saw human knowledge as an inherently unsystematic and subjective flux.’ In the book, Dr. Kenny explores the distinctions and overlaps between these two worldviews, with a specific focus on the literary career of François Béroalde de Verville (1556-1626), an author whose name I had first heard as the author of Le Moyen de Parvenir (‘The Way to Succeed’) a supposedly near-unreadable, and sporadically obscene work, somewhat reminiscent of Rabelais, that had been first translated into English by a young Arthur Machen. Béroalde was also responsible for a French version of the Hypnerotomachia Poliphili, entitled Le Tableau des riches inventions, to which he added a ‘Steganographic’ preface, packed with alchemical imagery, which purports to expound on the symbolism of the book’s frontispiece. Béroalde, by the way, defined steganography as ‘the art of representing plainly that which is easily conceived but which under the coarsened features of its appearance hides subjects quite other than that which seems to be represented…’ Dr. Kenny explains how, in his first books, the polymathic Béroalde was an exponent of the encyclopædic school of thought, but that in his later works he moved away from this position to one which instead exemplified a Montaignesque relish for the miscellaneous, the uncategorisable, and the uncontainable.
  misteraitch | Dec 5, 2006 |
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During the Renaissance, very divergent conceptions of knowledge were debated. Dominant among these was encyclopedism, which treated knowledge as an ordered and unified circle of learning in which branches were logically related to each other. By contrast, writers like Montaigne saw humanknowledge as an inherently unsystematic and subjective flux. The Palace of Secrets explores the tension between these two views by examining specific areas such as theories of knowledge, uses of genre, and the role of fiction in philosophical texts. Examples are drawn from numerous sixteenth- andseventeenth-century texts but focus particularly on the polymath Beroalde de Verville, whose work graphically illustrates these two competing conceptions of knowledge, since he gradually abandoned encyclopedism. Hitherto Beroalde has been mainly known for the extraordinary and notorious Moyen deparvenir; this is the first detailed study of the whole range of his work, both fictional and learned. The book straddles literary and intellectual history, and indeed it demonstrates that the division between the two has little meaning in Renaissance terms. The intellectual conflicts which itexplores have significance for the history of thought right up to the Enlightenment.

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