DOCSLIB.ORG

New York City 1–3 April 2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New York City 1–3 April 2004 RENAISSANCE SOCIETY OF AMERICA Annual Meeting New York City 1–3 April 2004 PROGRAM AND ABSTRACT BOOK COVER ILLUSTRATION: The Triumph of Fame; (verso) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families Birth tray, ca. 1449 Giovanni di Ser Giovanni (called Scheggia) (Italian, Florentine, 1406–86) Tempera, silver, and gold on wood; overall, with engaged frame, diameter 36 ½ in. (92.7 cm); recto, painted surface, diameter 24 5/8 in. (62.5 cm); verso, painted surface, diameter 29 5/8 in. (75.2 cm). THE METROPOLITAN MUSEUM OF ART, NEW YORK Purchase in memory of Sir John Pope-Hennessy: Rogers Fund, The Annenberg Foundation, Drue Heinz Foundation, Annette de la Renta, Mr. and Mrs. Frank E. Richardson, and The Vincent Astor Foundation Gifts, Wrightsman and Gwynne Andrews Funds, special funds, and Gift of the children of Mrs. Harry Payne Whitney, Gift of Mr. and Mrs. Joshua Logan, and other gifts and bequests, by exchange, 1995 (1995.7). The commemorative birth tray (desco da parto) was commissioned to celebrate the birth, in 1449, of Lorenzo de’ Medici, il Magnifico. Its imagery was taken from Boccaccio’s L’Amorosa visione and Petrarch’s Trionfi. Table of Contents Acknowledgments ............................................................................ 4 Book Registration, Exhibitors, and Times ......................................... 6 Business Meetings ............................................................................ 8 Plenaries, Talks, and Special Events .................................................. 9 Room Locator and Hotel Directory ................................................. 18 Program Thursday .................................................................................20 Friday .....................................................................................23 Saturday ..................................................................................26 Abstracts Thursday .................................................................................29 Friday ...................................................................................128 Saturday ................................................................................230 Advertisements .............................................................................320 Indices of Chairs and Respondents ......................................................335 of Presenters ...........................................................................339 of Organizers and Sponsors .....................................................350 of Panel Titles ........................................................................353 Acknowledgments The Renaissance Society of America would like to thank The Graduate Center, City University of New York, for its hospitality and assistance in organizing the meeting. The Society also wishes to thank the following persons and organizations for their contribu- tions to the success of the meeting: THE PROGRAM COMMITTEE Janet Cox-Rearick Patrick Macey Ottavio Di Camillo John Monfasani Martin Elsky François Rigolot PARTICIPATING AFFILIATE SOCIETIES AND CENTERS Association for Medieval and Renaissance Studies in Israel Association for Textual Scholarship in Art History Centre for Reformation and Renaissance Studies, University of Toronto Erasmus of Rotterdam Society Fédération Internationale des Sociétés et Instituts pour l’Étude de la Renaissance The International Sidney Society The Instituto Cervantes of New York The Italian Art Society The Malone Society The Massachusetts Center for Renaissance Studies The Medici Archive Project Newberry Library Center for Renaissance Studies The Nicholas of Cusa Society Renaissance English Text Society Renaissance Studies Certificate Program, The Graduate Center, City University of New York Société Française d’Étude du Seizième Siècle 4 Acknowledgments Society for Confraternity Studies The Society for the History of Authorship, Reading and Publication The Society for the Study of Early Modern Women University of Pennsylvania Seminar on the Renaissance CONTRIBUTING DISCIPLINE REPRESENTATIVES Christopher S. Celenza Deborah N. Losse Liana De Girolami Cheney Patrick Macey William J. Connell John Jeffries Martin Mary Thomas Crane Angelo Mazzocco Anthony Francis D’Elia Eileen A. Reeves Hannibal Hamlin Bette Talvacchia Lorna Hutson Nicholas Terpstra Thomas M. Izbicki Alison P. Weber Mary Ellen Lamb Marjorie Curry Woods Joanna Woods-Marsden THE RSA OFFICE STAFF Antonella Dalla Torre Tonya Knudsen.com Julia Elsky Timothy Krause Martha Newman 5 Book Registration, Exhibitors, and Times REGISTRATION Badges and abstract books may be picked up during the times listed: Mezzanine Level of the Grand Hyatt Hotel (one flight up from the reception desk in the lobby). Wednesday, 31 March, 1:00–4:00 PM Thursday, 1 April, 8:00–11:00 AM; 12:00–5:00 PM Friday, 2 April, 8:00–11:00 AM; 12:00–5:00 PM Saturday, 3 April, 8:00–11:00 AM; 12:00–2:00 PM Replacement/additional books may be purchased at the registration desk for $25, cash or checks only. BOOK EXHIBIT Grand Hyatt Hotel —Ballroom A Wednesday, 31 March, 1:00–4:00 PM Thursday, 1 April, 8:00–11:00 AM; 12:00–5:00 PM Friday, 2 April, 8:00–11:00 AM; 12:00–5:00 PM Saturday, 3 April, 8:00–11:00 AM; 12:00–2:00 PM EXHIBITORS AND ADVERTISERS American Council of Learned Societies Arizona Center for Medieval and Renaissance Studies Ashgate Publishing Company The Association of American University Presses Blackwell’s Publishers, Inc. Brill Academic Publishers Cambridge University Press The David R. Brown Book Company Equinox Publishers IDC Publishers, Inc. 6 Book Registration, Exhibitors, and Times Istituto Italiano per gli Studi Filosofici, Naples Italica Press, Inc. Librairie Droz S. A. McGraw-Hill Companies Saint Joseph's University Press Scholar’s Choice Truman State University The University of Chicago Press The University of Toronto Press 7 Business Meetings Wednesday, RSA EXECUTIVE BOARD DINNER 31 March LOCATION: GRAND HYATT NEW YORK, 6:30 PM ALVIN ROOM by invitation Thursday , RSA COUNCIL MEETING 1 April AND LUNCHEON 12:00 – LOCATION: GRAND HYATT NEW YORK, 1:30 PM COMMODORE GRILL by invitation 8 Plenaries, Talks, and Special Events Wednesday, SPLENDORS OF THE RENAISSANCE 31 March PRINCELY ATTIRE IN ITALY: 12:00 –7:30 PM RECONSTRUCTIONS OF HISTORIC COSTUMES Thursday – By Fausto Fornasari, King Studio, Italy Saturday, Catalogue by Janet Cox-Rearick, 1–3 April The Graduate Center, CUNY 12:00 –6:00 PM LOCATION: THE GRADUATE CENTER, CUNY, THE ART GALLERY Fausto Fornasari’s exhibition has toured museums in Italy (beginning with the Palazzo Ducale, Mantua) and Spain, as well as being shown in five South American capitals and in Montreal in 2002–03. “Splendors of the Renaissance” opens on 10 March and runs through 24 April. It displays Fornasari’s carefully researched and executed reconstructions of fifteen spectacular court costumes dating from the mid-1400s to the early 1600s. It is introduced by a didactic section explaining and illustrating some of the techniques used to make the reconstructions. All of the costumes are based on Renaissance portraits, large reproductions of which are displayed next to the mannequins. Some of these are by Florentine artists such as Bronzino (Eleonora di Toledo and Her Son Giovanni) and Jacopo da Empoli (The Marriage of Vincenzo Gonzaga and Eleonora de’ Medici), while others are based on portraits by Mantuan court figures such as the Gonzaga Dukes Federico II and Vincenzo I, and Marchesa Isabella d’Este, whose costume is illustrated on page 10. The show also includes two fifteenth-century costumes based on works by Pisanello for the D’Este court at Ferrara, which have not been previously exhibited. The Graduate Center exhibition will complement two sessions on costume organized by Professor Cox-Rearick: “Princely Attire in Italy” (Saturday, 3 April, 8:45 AM-12:00 PM). The papers will explore topics on Florentine and Mantuan court costume and the issue of indigenous styles of dress of various Italian centers versus those styles influenced by the fashions of other countries. These sessions, together with three other sessions on Italian costume and textiles, will give the subject a high profile at RSA 2004. 9 Detail of a reconstruction of the costume of Isabella d’Este, after a portrait by Guilio Romano of 1531 (Hampton Court). 10 Wednesday, OPENING RECEPTION 31 March Sponsored by: THE RENAISSANCE 5:30 –7:00 PM STUDIES CERTIFICATE PROGRAM, THE GRADUATE CENTER, CUNY AND ITS PARTICIPATING PH.D. PROGRAMS IN ART HISTORY, COMPARATIVE LITERATURE, ENGLISH, FRENCH, HISPANIC AND LUSO-BRAZILIAN LITERATURES, HISTORY, MUSIC, PHILOSOPHY, AND THEATRE AND WITH THE GENEROUS SUPPORT OF THE EXECUTIVE VICE CHANCELLOR FOR ACADEMIC AFFAIRS OF THE CITY UNIVERSITY OF NEW YORK THE PROVOST AND SENIOR VICE PRESIDENT, THE GRADUATE CENTER THE PROVOST AND VICE PRESIDENT FOR ACADEMIC AFFAIRS, BROOKLYN COLLEGE THE SIMON H. RIFKIND CENTER FOR THE HUMANITIES AND THE ARTS, THE CITY COLLEGE OF NEW YORK THE DEAN OF ARTS AND HUMANITIES AND THE DEAN OF THE SCHOOL OF SOCIAL SCIENCE, QUEENS COLLEGE AND THE RENAISSANCE SOCIETY OF AMERICA LOCATION: THE GRADUATE CENTER, CONCOURSE LEVEL Welcoming Remarks by William P. Kelly, The Provost and Senior Vice President, The Graduate Center Music provided by: THE QUEENS COLLEGE VOCAL ENSEMBLE Late-Sixteenth-Century Polyphony including works by Byrd, Monteverdi, and Gesualdo (James John, Conductor; Jonathan Devries, Assistant Conductor). 11 Wednesday, OPENING RECEPTION 31 March OF THE PAUL
Load more

Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Acollection of Correspondence
    © 2012 Capuchin Friars of Australia. All Rights Reserved. A COLLECTION OF CORRESPONDENCE Some Letters … and other things, from Sixteenth Century Italy in their original languages Bernardo, ben potea bastarvi averne Co’l dolce dir, ch’a voi natura infonde, Qui dove ‘l re de’ fiume ha più chiare onde, Acceso i cori a le sante opre eterne; Ché se pur sono in voi pure l’interne Voglie, e la vita al destin corrisponde, Non uom di frale carne e d’ossa immonde, Ma sète un voi de le schiere sperne. Or le finte apparenze, e ‘l ballo, e ‘l suono, Chiesti dal tempo e da l’antica usanza, A che così da voi vietate sono? Non fôra santità,capdox fôra arroganza Tôrre il libero arbitrio, il maggior dono Che Dio ne diè ne la primera stanza.1 Compiled by Paul Hanbridge Fourth edition, formerly “A Sixteenth Century Carteggio” Rome, 2007, 2008, Dec 2009 1 “Bernardo, it should be enough for you / With that sweet speech infused in you by Nature, / To light our hearts to high eternal works, / Here where the King of Rivers flows most clearly. / Since your own inner wishes are sincere, / And your own life reflects a pure intent, / You’re ra- ther an inhabitant of heaven. /As to these masquerades, dances, and music, /Sanctioned by time and by ancient custom - /Why do you now forbid them in your sermons? /Holiness it is not, but arrogance to take away free will, the highest gift/ Which God bestowed on us from the begin- ning.” Tullia d’Aragona (c.
    [Show full text]
  • Accademia Pontaniana Issn 1121-9238 Atti
    ATTI DELLA ACCADEMIA PONTANIANA ISSN 1121-9238 ATTI DELLA ACCADEMIA PONTANIANA NUOVA SERIE - VOLUME LXI ANNO ACCADEMICO 2012 DLXXI DALLA FONDAZIONE ISSN 1121-9238 ATTI DELLA ACCADEMIA PONTANIANA NUOVA SERIE - VOLUME LXI ANNO ACCADEMICO 2012 DLXXI DALLA FONDAZIONE GIANNINI EDITORE NAPOLI 2013 NOTE Il presente volume è stato pubblicato grazie al contributo di COINOR Università “Federico II”, COINOR Centro di Ateneo per la Comunicazione e l ’Innovazione Organizzativa del MIUR, dell’Istituto Banco di Napoli - Fondazione, della Regione Campania, REGIONE CAMPANIA del Banco di Napoli SpA NOTE Atti Accademia Pontaniana, Napoli N.S., Vol LI (2012), pp. 7-15 Guido Della Valle e la filosofia dei valori Nota del Socio ALDO MASULLO 1. Sul tema del tempo e del suo rapporto con l’intemporalità della sfera logica, cioè del nesso tra differenza vissuta e identità pensata, si giocò la tragica ambiguità dello spirito borghese negli ultimi decenni del sec. XIX e nei primi del XX, proprio mentre nella cultura dell’Occidente la coscienza della storicità dell’esistere si espri- meva nella egemonia dell’intonazione storicistica. La razionalità tecnologico-economica e la sua esaltante prospettiva di un illimi- tato sviluppo del potere umano sulla natura (cui corrispondeva, per lo più incon- fessata, l’arrogante sicurezza dell’illimitata conservazione del dominio sui molti da parte di quei pochi che il potere sulla natura effettivamente detengono) estesero la pretesa dell’oggettività conoscitiva, espressa nell’intemporalità degli enunciati “scientifici”, anche agl’“ideali” del mondo borghese, assunti nella loro più recente versione, e proiettarono nel progettato futuro la pretesa stabilità, sempre meno ri- conoscibile nel passato prossimo.
    [Show full text]
  • Introduction: the Queen Versus the People 1
    N OTES Introduction: The Queen versus the People 1 . J e a n n e L o u i s e C a m p a n , Memoirs of the Court of Marie Antoinette, Queen of France , ed. M de Lamartine (Philadelphia, PA: Parry and McMillan, 1854), pp. 158–159. 2 . Nancy Nichols Barker, “Revolution and the Royal Consort,” in Proceedings of the Consortium on Revolutionary Europe (1989): 136–143. 3 . Barker, “Revolution and the Royal Consort,” p. 136. 4 . Clarissa Campbell Orr notes in the introduction to a 2004 collection of essays concerning the role of the European queen consort in the Baroque era that “there is little comparative work in English on any facet of European Court life in the period from 1660 to 1800.” See Clarissa Campbell Orr, “Introduction” in Clarissa Campbell Orr (ed.), Queenship in Europe: 1660–1815: The Role of the Consort (Cambridge: Cambridge University Press, 2004), p. 2. There are strong exceptions to Orr’s conclusion, including the works of Jeroen Duidam and T.C.W. Blanning, which compare the culture, structure, and politics of Early Modern courts revealing both change and continuity but these stud- ies devote little space to the specific role of the queen consort within her family and court. See Jeroen Duindam, Vienna and Versailles: The Courts of Europe’s Dynastic Rivals 1550–1780 (Cambridge: Cambridge University Press, 2003), and T.C.W. Blanning, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002). 5 . See Kevin Sharpe, The Personal Rule of Charles I (New Haven, CT: Yale University Press, 1996); Bernard Bourdin, The Theological-Political Origins of the Modern State: Controversy between James I of England and Cardinal Bellamine (Washington, DC: The Catholic University of America Press, 2010), pp.
    [Show full text]
  • [STENDHAL]. — Joachim Rossini , Von MARIA OTTINGUER, Leipzig 1852
    REVUE DES DEUX MONDES , 15th May 1854, pp. 731-757. Vie de Rossini , par M. BEYLE [STENDHAL]. — Joachim Rossini , von MARIA OTTINGUER, Leipzig 1852. SECONDE PÉRIODE ITALIENNE. — D’OTELLO A SEMIRAMIDE. IV. — CENERENTOLA ET CENDRILLON. — UN PAMPHLET DE WEBER. — LA GAZZA LADRA. — MOSÈ [MOSÈ IN EGITTO]. On sait que Rossini avait exigé cinq cents ducats pour prix de la partition d’Otello (1). Quel ne fut point l’étonnement du maestro lorsque le lendemain de la première représentation de son ouvrage il reçut du secrétaire de Barbaja [Barbaia] une lettre qui l’avisait qu’on venait de mettre à sa disposition le double de cette somme! Rossini courut aussitôt chez la Colbrand [Colbran], qui, pour première preuve de son amour, lui demanda ce jour-là de quitter Naples à l’instant même. — Barbaja [Barbaia] nous observe, ajouta-t-elle, et commence à s’apercevoir que vous m’êtes moins indifférent que je ne voudrais le lui faire croire ; les mauvaises langues chuchotent : il est donc grand temps de détourner les soupçons et de nous séparer. Rossini prit la chose en philosophe, et se rappelant à cette occasion que le directeur du théâtre Valle le tourmentait pour avoir un opéra, il partit pour Rome, où d’ailleurs il ne fit cette fois qu’une rapide apparition. Composer la Cenerentola fut pour lui l’affaire de dix-huit jours, et le public romain, qui d’abord avait montré de l’hésitation à l’endroit de la musique du Barbier [Il Barbiere di Siviglia ], goûta sans réserve, dès la première épreuve, cet opéra, d’une gaieté plus vivante, plus // 732 // ronde, plus communicative, mais aussi trop dépourvue de cet idéal que Cimarosa mêle à ses plus franches bouffonneries.
    [Show full text]
  • The Chronicle of Dino Compagni / Translated by Else C. M. Benecke
    #m hbl.stx DG 737.2.C613 le i?mnP/!f? of Dino Compagni / 3 1153 0DSMS117 t, % n WRITTEN •T$' FIRST PRINTED • IN • 1726- PLEASE NOTE It has been necessary to replace some of the original pages in this book with photocopy reproductions because of damage or mistreatment by a previous user. Replacement of damaged materials is both expensive and time-consuming. Please handle this volume with care so that information will not be lost to future readers. Thank you for helping to preserve the University's research collections. THE TEMPLE CLASSICS THE CHRONICLE OF DINO COMPAGNI Digitized'by the Internet Archive in 2010 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/chronicleofdinocOOcomp mmyi CHRPNICE 92DINO COMPAGNI TRANSITED ^ELSE CM. BENECKE S§ FERRERS HOWELL MDCCCCVI PUBL15H6D- BY-^M D6NT- •AMP-CO : ALDlNe-HOUSe-LOMDON-W-O PRELIMINARY NOTE vii PRELIMINARY NOTE Though Dino Compagni calls his work a Chronicle, it is not (like Giovanni Villani's, for example) a Chronicle in the sense in which the term is now used to express a particular kind of narration dis- " tinguished from a history ; the terms " chronicle and "history" being in Dino's time interchange- able. Dino's book is in form the history of a particular fact, namely, the division of the Guelf party in Florence into the White and the Black Guelfs, with its attendant circumstances, its causes, and its results : but under this form is unfolded at the same time the history of the steps by which the wealthy traders of Florence (jfropolani, popolani grassi, and collectively popolo grasso) organised in the greater guilds (see Appendix II.) acquired and retained the control of the machinery of govern- ment in the city and its outlying territory (contado), excluding (practically) from all participation therein on the one hand the Magnates (i.e.
    [Show full text]
  • A Transcription and Translation of Ms 469 (F.101R – 129R) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen
    A SCURRILOUS LETTER TO POPE PAUL III A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen by Paul Hanbridge PRÉCIS A Scurrilous Letter to Pope Paul III. A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen. This study introduces a transcription and English translation of a ‘Letter’ in VS 469. The document is titled: Epistola invectiva Bernhardj Occhinj in qua vita et res gestae Pauli tertij Pont. Max. describuntur . The study notes other versions of the letter located in Florence. It shows that one of these copied the VS469, and that the VS469 is the earliest of the four Mss and was made from an Italian exemplar. An apocryphal document, the ‘Letter’ has been studied briefly by Ochino scholars Karl Benrath and Bendetto Nicolini, though without reference to this particular Ms. The introduction considers alternative contemporary attributions to other authors, including a more proximate determination of the first publication date of the Letter. Mario da Mercato Saraceno, the first official Capuchin ‘chronicler,’ reported a letter Paul III received from Bernardino Ochino in September 1542. Cesare Cantù and the Capuchin historian Melchiorre da Pobladura (Raffaele Turrado Riesco) after him, and quite possibly the first generations of Capuchins, identified the1542 letter with the one in transcribed in these Mss. The author shows this identification to be untenable. The transcription of VS469 is followed by an annotated English translation. Variations between the Mss are footnoted in the translation. © Paul Hanbridge, 2010 A SCURRILOUS LETTER TO POPE PAUL III A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St.
    [Show full text]
  • Le Livre À La Télévision
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bibliothèque numérique de l'enssib Rapport pour Madame la Ministre de la Culture et de la Communication LE LIVRE A LA TELEVISION Olivier Bourgois 16 mars 2000 1 Sommaire Introduction 7 I L'inventaire des émissions qui parlent des livres 11 A. L'inventaire détaillé des émissions de la télévision française Emissions quotidiennes: Emissions hebdomadaires 13 Emissions mensuelles 15 Emissions occasionnelles au cours de la période concernée: 16 Autres émissions sans caractère culturel 17 Magazines Journaux télévisés Stations régionales de FR3 18 Liste des films adaptés d'œuvres littéraires: 20 Programmation de pièces de théâtre 22 - La radio 23 B. Historique des émissions littéraires en France. 25 C. L'étranger: 29 Grande-Bretagne Allemagne Italie Espagne Belgique Pays-Bas Etats-Unis Conclusions sur l'étranger 34 La situation française apparaît comme exceptionnelle. 34 - Pourquoi cette exception française? - Va-t-elle durer? 37 2 II Le livre et la télévision 39 A. L'Interaction culturelle: La télévision concurrence le livre - La pratique de la télévision: - La pratique du livre: 40 La télévision ne se substitue pas au livre. 42 Mais la télévision modifie l'attitude à l'égard des livres: 45 B. L'Interaction commerciale: 45 La place de la télévision dans la promotion du livre Le problème de la publicité. 48 C. L'interaction économique 53 La place du livre dans le monde des mass-media. L'édition et les grands groupes de communication. - Le livre et les nouveaux supports. 54 - Livre, télévision et droits d'auteur.
    [Show full text]
  • Introduction – Manifold Reader Responses: the Reception of Erasmus in Early Modern Europe
    INTRODUCTION – MANIFOLD READER RESPONSES: THE RECEPTION OF ERASMUS IN EARLY MODERN EUROPE Karl Enenkel Erasmus provides one of the most interesting cases not only for the pro- cesses of early modern image and reputation building through publishing in print,1 but at the same time – and certainly not to a lesser degree – for the impossibility of controlling one’s reception before an audience that was continually growing, was increasingly emancipated, heterogeneous, and fragmented, and was, above all, constantly changing. This loss of control is especially striking, since Erasmus had been so successful in building up his literary and scholarly fame by shrewdly utilizing both the hierarchical organization of early modern intellectual life and the means of the new medium of the printed book. From the second decade of the 16th century onward, Erasmus succeeded in gaining an immense, hitherto unrivalled fame spread over the whole of Latin-writing and Latin-loving Europe. Erasmus fought his crusade for fame by means of his Latin works – which he had printed at such important publishers as Josse Bade (Paris), Aldus Manutius (Venice), Johannes Froben (Basel), and Mathias Schürer (Strasbourg) – especially the Adagia; De duplici copia; his translation and paraphrases of and commentaries on the New Testament; his edition of Hieronymus, including a new Life of St. Jerome; the Ciceronianus; and the Laus Stultitiae. By their very appearance, all of these works caused seri- ous earthquakes in intellectual life with respect to philological criticism, authentic Latin style, and religious, ethical, and social criticism. Since Erasmus was so successful in spreading his fame all over Europe that almost all intellectuals of that era were, in some way or another, acquainted with his name (even if they did not have the opportunity to carefully study his works), one could be tempted to think that “Eras- mus” or “Erasmian” became a kind of intellectual trademark or brand.
    [Show full text]
  • Atti Dell'accademia Pontaniana Anno 2008
    ATTI DELLA ACCADEMIA PONTANIANA ISSN 1121-9238 ATTI DELLA ACCADEMIA PONTANIANA NUOVA SERIE - VOLUME LVII ANNO ACCADEMICO 2008 DLXVI DALLA FONDAZIONE GIANNINI EDITORE NAPOLI 2009 4 NOME AUTORE (4) Il presente volume è pubblicato grazie al contributo dell’Istituto Banco di Napoli - Fondazione, del Ministero dell’Università e della Ricerca, del Ministero per i Beni e le Attività culturali e della Regione Campania COMMEMORAZIONI Atti Accademia Pontaniana, Napoli N.S., Vol. LVII (2008), pp. 7-10 Commemorazione di Gianfranco Cimmino (1908-1989) nel centenario della nascita tenuta dal Socio Ord. Res. CARLO SBORDONE Gianfranco Cimmino, nacque a Napoli il 12 marzo 1908. Il padre Francesco (1862- 1939) illustre orientalista e poeta napoletano, fu più volte Segretario Generale della Società Nazionale di Scienze Lettere e Arti in Napoli dal 1915 al 1930 e fu Segretario della classe di Archeologia Lettere e Belle Arti dal 1914 al 1935. Laureato a 19 anni in Matematica all’Università di Napoli nel 1928 divenne assistente di Geometria Analitica e Libero Docente in Analisi nel 1931. Vinse il concorso a cattedra nel 1938 a Cagliari per poi passare a Bologna dal 1939. La sua attività scientifica comprende una sessantina di pubblicazioni in vari settori dell’Analisi. I primi lavori di Cimmino riguardavano la cosiddetta ‘Identità di Picone’, che 8 CARLO SBORDONE (2) egli estese in vari modi, uno dei quali accolto anche nel trattato di Analisi di Severi- Scorza, un altro in una memoria lincea ‘Sui sistemi di infinite equazioni differen- ziali lineari con infinite funzioni incognite’ s.6, V (1931-34), 271-345, in cui si pre- correva quella che poi è stata chiamata teoria delle ‘equazioni differenziali astratte’.
    [Show full text]
  • Museo Di Palazzo Davanzati
    Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze collana diretta da Antonio Paolucci 29 Museo di Palazzo Davanzati Guida alla visita del museo a cura di Rosanna Caterina Proto Pisani e Maria Grazia Vaccari Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze Musei del Collezionismo storico Museums of Historical Collecting Museo di Palazzo Davanzati Sotto l’Alto Patronato del Presidente della Repubblica / Under the High Patronage of the President of the Italian Republic Con il patrocinio di / Under the sponsorship of Ministero per i Beni e le Attività Culturali Enti promotori / Promoted by Ente Cassa di Risparmio di Firenze Regione Toscana Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze In collaborazione con / In collaboration with Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana Comune di Firenze Realizzazione / Production Ente Cassa di Risparmio di Firenze – Ufficio Progetti Culturali motu proprio Supervisione generale / General supervision Antonio Gherdovich Coordinamento generale e di progetto / General and project coordination Marcella Antonini e Barbara Tosti Segreteria scientifica / Secretary Paola Petrosino Comitato Scientifico / Committee of Experts Presidente / President Antonio Paolucci Cristina Acidini Luchinat, Kirsten Aschengreen Piacenti, Rosanna Caterina Proto Pisani, Cristina
    [Show full text]
  • Pontassieve Pontassieve
    History, art and curiosities COMUNE DI PONTASSIEVE PONTASSIEVE PONTASSIEVE COMUNE DI PONTASSIEVE Servizio URP – Comunicazione Comune di Pontassieve Texts by Riccardo Ciolli Graphics by Claudia Barbugli Translations by Chiara Fantaccini Historical sources: Historical Archieves and Public Library – Municipality of Pontassieve Thanks to Matilde Benvenuti and Matteo Lapi for the historical research Special thanks to Associazione Fotografi del Levanter Fiorentino and to all the people attending the “Fiascaie” Photography class Printed in Pontassieve - Printing House of the Municipality of Pontassieve 2 PONTASSIEVE COMUNE DI PONTASSIEVE PONTASSIEVE FLORENCE’S SOUTH-EASTERN DOOR Pontassieve is a prestigious town in the countryside around Florence, a territory surrounded by rivers running down from the mountain ridges to the valleys, softened by the meandering shapes of our hills, living witnesses to the presence of man and our traditions: churches, castles, ancient villas give rise to an open-air museum all around this territory. Culture and nature combine in a single setting, among vineyards and olive groves, typical products and flavours. 3 PONTASSIEVE PONTASSIEVE SOME HISTORY BITES Many archaeological finds are evidence that Pontassieve was dominated by the Etruscans, first, and the Romans afterwards. It was only in the Middle Ages that the old town grew in importance and value. Situated at the confluence of the riv- ers Sieve and Arno, Pontassieve was an area of particular interest to the Florentines who wanted to take full possession of this important river system. In 1357, the Floren- tines built a majestic castle here, named Castel Sant’Angelo, soon surrounded by many houses; the old borough was pro- tected by high sheltering walls.
    [Show full text]