Neoplatonic in the context of "Ein Sof"

Julian (Latin: Flavius Claudius Julianus; Ancient Greek: Ἰουλιανός Ioulianos; 331 – 26 June 363) was the Caesar of the West from 355 to 360 and Roman emperor from 361 to 363, as well as a notable philosopher and author in Greek. His rejection of Christianity, and his promotion of Neoplatonic Hellenism and persecution of Christians, caused him to be remembered as Julian the Apostate in the Christian tradition.

A nephew of Constantine the Great, Julian was one of few in the imperial family to survive the purges and civil wars during the reign of Constantius II, his cousin. Julian became an orphan as a child after his father was executed in 337, and spent much of his life under Constantius's close supervision. However, the emperor allowed Julian freedom to pursue an education in the Greek-speaking east. In 355, Constantius II summoned Julian to court and appointed him to rule Gaul. Julian was successful in his rule, defeating and counterattacking Germanic raids across the Rhine and encouraging the provinces' return to prosperity. In 360, he was proclaimed emperor by his soldiers at Lutetia (Paris), sparking a civil war with Constantius. However, Constantius died before the two could face each other in battle, having named Julian as his successor to prevent further bloodshed.

Spanish Baroque literature is the literature written in Spain during the Baroque, which occurred during the 17th century in which prose writers such as Baltasar Gracián and Francisco de Quevedo, playwrights such as Lope de Vega, Tirso de Molina, Calderón de la Barca and Juan Ruiz de Alarcón, or the poetic production of the aforementioned Francisco de Quevedo, Lope de Vega and Luis de Góngora reached their zenith. Spanish Baroque literature is a period of writing which begins approximately with the first works of Luis de Góngora and Lope de Vega, in the 1580s, and continues into the late 17th century.

The fundamental characteristics of Spanish Baroque literature are the progressive complexity in formal resources and a theme centered on the concern for the passage of time and the loss of confidence in the Neoplatonic ideals of the Renaissance. Likewise, the variety and diversity in the subjects dealt with, the attention to detail and the desire to attract a wide audience, of which the rise of the Lope de Vega comedies are an example. From the dominant sensual concern in the 16th century, there was an emphasis on moral values and didactics, where two currents converge: Neostoicism and Neoepicureism. El Criticón from Baltasar Gracián is a point of arrival in the baroque reflection on man and the world, the awareness of disappointment, a vital pessimism and a general crisis of values.

Ilm al-kalam or ilm al-lahut, often shortened to kalam, is the scholastic, speculative, or rational study of Islamic theology (aqida). It can also be defined as the science that studies the fundamental doctrines of Islamic faith (usul al-din), proving their validity, or refuting doubts regarding them rationally via logic. Kalām was born out of the need to establish and defend the tenets of Islam against philosophical doubters and non-Muslims, and also to defend against heretical and religious innovations (bidʿah). A scholar of kalam is referred to as a mutakallim (plural mutakallimun), a role distinguished from those of Islamic philosophers and jurists.

After its first beginnings in the late Umayyad period, the Kalām experienced its rise in the early Abbasid period, when the Caliph al-Mahdi commissioned Mutakallimūn to write books against the followers of Iranian religions, and the Barmakid vizier Yahya ibn Khalid held Kalām discussions with members of various religions and confessional groups in his house. By the 10th century, the Muʿtazilites were main pioneers of 'Kalam' during the early formative period of Islam. However, due to increased criticism by traditionalist Muslim scholars that the Mu'tazilites started departing from mainstream Sunni orthodoxy, they were refuted heavily. Soon after, two new important Sunni Kalām schools emerged: the Ashʿaris and the Maturidis. They positioned themselves against the growing Neoplatonic and Aristotelian philosophy within the Mu'tazilites and elevated the "Kalām science" (ʿilm al-kalām) as an acceptable ranking science in mainstream Sunni discourse. Some of the arguments of these Mutakallimūn also found their way into Jewish and Christian theological discussions in the Middle Ages. Kalām science by the early modern period was essentially limited to the study of manuals and commentaries, from the late 19th century onwards various reform thinkers appeared in British India and the Ottoman Empire who called for the founding of a "new Kalām".

Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus). The tale concerns the overcoming of obstacles to the love between Psyche (/ˈsaɪkiː/; Ancient Greek: Ψυχή, lit. 'Soul' or 'Breath of Life', Ancient Greek pronunciation: [psyːkʰɛ̌ː]) and Cupid (Latin: Cupido, lit. 'Desire', Latin pronunciation: [kʊˈpiːd̪oː]) or Amor (lit. 'Love', Greek Eros, Ἔρως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius from the 2nd century AD, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth.

The story of Cupid and Psyche was known to Boccaccio in c. 1370. The first printed version dates to 1469. Ever since, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and even wallpaper.

Renaissance magic was a resurgence in Hermeticism and Neoplatonic varieties of the magical arts which arose along with Renaissance humanism in the 15th and 16th centuries CE. During the Renaissance period, magic and occult practices underwent significant changes that reflected shifts in cultural, intellectual, and religious perspectives. C. S. Lewis, in his work on English literature, highlighted the transformation in how magic was perceived and portrayed. In medieval stories, magic had a fantastical and fairy-like quality, while in the Renaissance, it became more complex and tied to the idea of hidden knowledge that could be explored through books and rituals. This change is evident in the works of authors like Spenser, Marlowe, Chapman, and Shakespeare, who treated magic as a serious and potentially dangerous pursuit.

Heinrich Cornelius Agrippa, a scholar, physician, and astrologer, popularized the Hermetic and Cabalistic magic of Marsilio Ficino and Giovanni Pico della Mirandola. Agrippa's ideas on magic were revolutionary, and he faced persecution for his criticism of authorities and ruling classes. His work, De occulta philosophia, explored both benevolent and malevolent magic, but he rejected forbidden forms of sorcery. Similarly, Paracelsus, a Swiss physician and alchemist, combined medical practice with astrology. He introduced elemental beings and viewed the cosmos as interconnected, assigning spiritual significance to natural elements.

Pseudo-Dionysius the Areopagite (or Dionysius the Pseudo-Areopagite) was a Greek author, Christian theologian and Neoplatonic philosopher of the late 5th to early 6th century, who wrote a set of works known as the Corpus Areopagiticum or Corpus Dionysiacum. Through his writing in Mystical Theology, he has been identified as the "progenitor of apophatic or negative theology."

The author pseudepigraphically identifies himself in the corpus as "Dionysios", portraying himself as Dionysius the Areopagite, the Athenian convert of Paul the Apostle mentioned in Acts 17:34.