Steven Nadler

At the heart of Spinoza's Heresy is a mystery: why was Baruch Spinoza so harshly excommunicated from the Amsterdam Jewish community at the age of twenty-four? In this philosophical sequel to his acclaimed, award-winning biography of the seventeenth-century thinker, Steven Nadler argues that Spinoza's main offence was a denial of the immortality of the soul. But this only deepens the mystery. For there is no specific Jewish dogma regarding immortality: there is nothing that a Jew is required to believe about the soul and the afterlife. It was, however, for various religious, historical and political reasons, simply the wrong issue to pick on in Amsterdam in the 1650s. After considering the nature of the ban, or cherem, as a disciplinary tool in the Sephardic community, and a number of possible explanations for Spinoza's ban, Nadler turns to the variety of traditions in Jewish religious thought on the postmortem fate of a person's soul. This is followed by an examination of Spinoza's own views on the eternity of the mind and the role that that the denial of personal immortality plays in his overall philosophical project. Nadler argues that Spinoza's beliefs were not only an outgrowth of his own metaphysical principles, but also a culmination of an intellectualist trend in Jewish rationalism.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries.Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance.Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.

At the heart of Spinoza's Heresy is a mystery: why was Baruch Spinoza so harshly excommunicated from the Amsterdam Jewish community at the age of twenty-four? In this philosophical sequel to his acclaimed, award-winning biography of the seventeenth-century thinker, Steven Nadler argues that Spinoza's main offence was a denial of the immortality of the soul. But this only deepens the mystery. For there is no specific Jewish dogma regarding immortality: there is nothing that a Jew is required to believe about the soul and the afterlife. It was, however, for various religious, historical and political reasons, simply the wrong issue to pick on in Amsterdam in the 1650s. After considering the nature of the ban, or cherem, as a disciplinary tool in the Sephardic community, and a number of possible explanations for Spinoza's ban, Nadler turns to the variety of traditions in Jewish religious thought on the postmortem fate of a person's soul. This is followed by an examination of Spinoza's own views on the eternity of the mind and the role that that the denial of personal immortality plays in his overall philosophical project. Nadler argues that Spinoza's beliefs were not only an outgrowth of his own metaphysical principles, but also a culmination of an intellectualist trend in Jewish rationalism.