Humanism and Education in Medieval and Renaissance
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Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university. -
Schaums Outline of Italian Vocabulary, Second Edition Pdf, Epub, Ebook
SCHAUMS OUTLINE OF ITALIAN VOCABULARY, SECOND EDITION PDF, EPUB, EBOOK Luigi Bonaffini | 288 pages | 24 Mar 2011 | McGraw-Hill Education - Europe | 9780071755481 | English | United States Schaums Outline of Italian Vocabulary, Second Edition PDF Book Find out more here. A word is a combination of phonemes. With nouns denoting family members preceded by possessive adjectives. There are no plural forms. The coins are as follows: lc or E 0. Complete the following with the correct definite article: 1. Dramatically raise your ACT score with this go-to study guide filled with test-taking tips, practice tests and more! Avere and Essere. Chi colui che, colei che, coloro che. Complete the following with the appropriate words for the relative superlative: 1. No trivia or quizzes yet. Special use of Duecento, Trecento, etc. Irregular verbs. Book in almost Brand New condition. Enter in each space provided an appropriate word from the list below that corresponds with the underlined sound produced by the English word in parentheses, and fits well in the context of each sentence. Complete the following with the appropriate form of the indicated adjective s : 1. Queste cravatte sono blu. Supply the correct form of the titles provided. Many compound nouns are formed by uniting two separate nouns. Tu ti vesti come me. On the structure and affinities of the tabulate corals of the Palaeozoic period PDF. Don Giuseppe suona il mandolino. The Postal Service Guide to U. This cat m. Fortunately for you, there's Schaum's Outlines. Observe the following: Ste-fa-no sim-pa-ti-co U. Religious Education PDF. -
Art Basel Ferrari & Ducati Interview Seaports
December 2007 - Vol.4 No. 4 A periodic publication from the ART BASEL Discovering Southern Italian Design FERRARI & DUCATI Champions of Italian Technology INTERVIEW Prof. Camillo Ricordi SEAPORTS Ft. Lauderdale - Olbia Cooperation .4 .6 Business | Affari Business | Affari Art Basel: Discovering Champions of Italian Southern Italian Design Technology .9 Business | Affari INDEX Luxury Cars .14 .18 Events | Eventi Interview | Italian Investments Intervista in the Southeast Prof. Camillo Ricordi .20 Business | Affari .25 Olbia – Ft. Lauderdale Culture | Cultura Seaports Cooperation EUArt .27 Business Lounge .32 Trade Shows and .30 Exhibitions in New Members USA and Italy .1 Board Members Honorary President: Hon. Marco Rocca President: Giampiero Di Persia Executive Vice-President: Marco Ferri, Esq. Vice-President: Francesco Facilla Treasurer: Roberto Degl’Innocenti Secretary: Joseph L. Raia, Esq. Directors: Sara Bragagia Michele Cometto Chandler R. Finley, Esq. Arthur Furia, Esq. Amedeo Guazzini Paolo Romanelli, M.D. Staff: Executive Director: Silvia Cadamuro Business Development Coord.: Nevio Boccanera Marketing Services: Francesca Tanti Trade Officer: Francesca Lodi Junior Trade Officer: Kristen Maag Contributing to this issue of .IT Supervision: Chandler R. Finley and Alessandro Rancati Project Management: Nevio Boccanera Content: Nevio Boccanera A periodic publication from the Italy-America Cham- Krystle Cacci ber of Commerce Southeast www.iacc-miami.com Silvia Cadamuro Francesca Tanti Cover: “Vesuvius” floor lamp from Mundus Vivendi Translations: -
Early Renaissance Italian Art
Dr. Max Grossman ARTH 3315 Fox Fine Arts A460 Spring 2019 Office hours: T 9:00-10:15am, Th 12:00-1:15pm CRN# 22554 Office tel: 915-747-7966 T/Th 3:00-4:20pm [email protected] Fox Fine Arts A458 Early Renaissance Italian Art The two centuries between the birth of Dante Alighieri in 1265 and the death of Cosimo de’ Medici in 1464 witnessed one of the greatest artistic revolutions in the history of Western civilization. The unprecedented economic expansion in major Italian cities and concomitant spread of humanistic culture and philosophy gave rise to what has come to be called the Renaissance, a complex and multifaceted movement embracing a wide range of intellectual developments. This course will treat the artistic production of the Italian city-republics in the late Duecento, Trecento and early Quattrocento, with particular emphasis on panel and fresco painting in Siena, Florence, Rome and Venice. The Early Italian Renaissance will be considered within its historical, political and social context, beginning with the careers of Duccio di Buoninsegna and Giotto di Bondone, progressing through the generation of Gentile da Fabriano, Filippo Brunelleschi and Masaccio, and concluding with the era of Leon Battista Alberti and Piero della Francesca. INSTRUCTOR BIOGRAPHY Dr. Grossman earned his B.A. in Art History and English at the University of California- Berkeley, and his M.A., M.Phil. and Ph.D. in Art History at Columbia University. After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. -
Italian Studies (ITAL) 1 Italian Studies (ITAL)
Italian Studies (ITAL) 1 Italian Studies (ITAL) * ITAL 110a, Elementary Italian I Staff A beginning course with extensive practice in speaking, reading, writing, and listening and a thorough introduction to Italian grammar. Activities include group and pairs work, role-playing, and conversation. Introduction to Italian culture through readings and films. Conducted in Italian. L1 1½ Course cr * ITAL 120b, Elementary Italian II Staff Continuation of ITAL 110. L2 1½ Course cr * ITAL 125b, Intensive Elementary Italian Staff An accelerated beginning course in Italian that covers in one term the material taught in ITAL 110 and 120. Admits to ITAL 130 or 145. Enrollment limited to 15. L1, L2 2 Course cr * ITAL 130a, Intermediate Italian I Staff The first half of a two-term sequence designed to increase students' proficiency in the four language skills and advanced grammar concepts. Authentic readings paired with contemporary films. In-class group and pairs activities, role-playing, and conversation. Admits to ITAL 140. Conducted in Italian. ITAL 120 or equivalent. L3 1½ Course cr * ITAL 140b, Intermediate Italian II Staff Continuation of ITAL 130. Emphasis on advanced discussion of Italian culture through authentic readings (short stories, poetry, and comic theater) and contemporary films. Admits to Group B courses. Conducted in Italian. L4 1½ Course cr ITAL 150a, Advanced Composition and Conversation: Simona Lorenzini Discussion of social, political, and literary issues in order to improve active command of the language. Development of advanced reading skills through magazine and newspaper articles, essays, short stories, films, and a novel; enhancement of writing skills through experiments with reviews, essays, creative writing, and business and informal Italian. -
PH.D. READING LIST Effective August 2008 Duecento-Trecento
PH.D. READING LIST effective August 2008 Duecento-Trecento (Except where indicated candidates shall prepare the work in its entirety). Candidates shall read all the poems for the following authors in the Rime della scuola siciliana, a cura di Bruno Panvini (Firenze, Olschki): Giacomo da Lentini, Guido delle Colonne, Federico II, Rinaldo d’Aquino, Pier delle Vigne, Stefano Protonotaro, Giacomino Pugliese, Compagnetto da Prato, Cielo d’Alcamo The following works or authors shall be read in their entirety in the two-volume anthology Poeti del Duecento, a cura di Gianfranco Contini (Milano, Ricciardi). Ritmo Laurenziano, Ritmo Cassinese, Laudes Creaturarum (“Il Cantico di Frate Sole”), Guittone d’Arezzo, Bonagiunta Orbicciani, Chiaro Davanzati, Dante da Maiano, Guido Guinizzelli, Guido Cavalcanti, Lapo Gianni, Dino Frescobaldi, Cino da Pistoia, Gianni Alfani, Cecco Angiolieri, Rustico Filippi, Folgore di San Gimignano, Cenne da la Chitarra, Rime dei Memoriali Bolognesi, Detto dal gatto lupesco, Brunetto Latini’s Il Tesoretto, Jacopone da Todi Il Novellino For other prose works of the Duecento candidates will familiarize themselves with the selections contained in La Prosa del Duecento, a cura di Mario Marti and Cesare Segre (Milano, Ricciardi). Dante: Divina Commedia Vita Nuova De Vulgari Eloquentia Monarchia Convivio: Books I, II, and IV(chapters 1-4) Rime Epistolae: To the princes and peoples of Italy (V); To the Florentines (VI); To the Emperor Henry VII (VII); To the Empress Margaret (VIII); To the Empress Margaret (IX); To the Italian Cardinals (X); To Can Grande della Scala (XII) Petrarca: Canzoniere Trionfi Secretum De Vita Solitaria Coronation Oration Epistolae de Rebus Familiaribus: IV, 1 and 4; VI, 3; VIII, 3; X, 3 and 5; XII, 8; XIII, 8; XIX, 3 and 16; XXI, 15; XXII, 2 and 10; XXIV, 1. -
The Vigils of Medieval Tuscany
Plainsong and Medieval Music, 17, 1, 23–54 © 2008 Cambridge University Press doi:10.1017/S0961137108000764 Printed in the United Kingdom The vigils of medieval Tuscany BENJAMIN BRAND* ABSTRACT. Of the liturgical ceremonies enacted by the papal court in the Middle Ages, few were as distinctive as the ‘double offices’ that occurred on nights before high feasts of the Sanctorale. These consisted of two night offices, a private ‘vigil’ enacted by the pope and his entourage at dusk and a public office at the normal hour of Matins. Even as this custom flourished in Rome through the twelfth century, it concomitantly migrated north to cathedrals throughout Tuscany. Typically comprising only one nocturn, the Tuscan vigils shed their once private character, presenting a selection of the plainsong and lessons of the night office at a convenient hour for the laity. They likewise acquired distinctively civic overtones as cathedral clerics employed them in honour of local patron saints. Nowhere was this transformation more evident than in Florence and Lucca, where the vigils of Sts Zenobius and Reparata, Regulus and Martin emerged as eminently public spectacles. In this way, Tuscan clerics transformed a venerable Roman tradition into an emblem of civic as well as ecclesiastical prestige. Of the eight canonical hours celebrated daily at religious houses throughout medieval Christendom, none were longer or more complex than Matins. This so-called ‘night office’ began in the early hours of the morning with the recitation of two short versicles with their responses. Then followed a hymn, which was either proper to the feast or season, or part of a fixed cycle for specific days of the week throughout the year. -
DEPARTMENT of ITALIAN STUDIES Academic Year 2020-2021
DEPARTMENT OF ITALIAN STUDIES Academic Year 2020-2021 Professors Millicent Marcus, Giuseppe Mazzotta, Jane Tylus Assistant Professor Christiana Purdy Moudarres Language Program Director Anna Iacovella Senior Lector Michael Farina Lectors Simona Lorenzini Deborah Pellegrino Lecturers Serena Bassi Megan Crognale Director of Undergraduate Studies Simona Lorenzini Rm. 412, 82–90 Wall St., (203) 503-7941 [email protected] THE MAJOR IN ITALIAN The major in Italian explores Italy's vital role in the formation of Western thought and culture. The core language courses bring students to a high level of aural, spoken, and written proficiency, provide a solid literary and historical background in the language, and prepare students for study in Italy. Other offerings build on the core courses to explore Italian literature, film, history, culture, and art. The Italian major is of particular relevance to the fields of art, economics, film studies, history, history of art, international relations, linguistics, literature, philosophy, and theology. Requirements of the Major- The major consists of eleven term courses beyond the prerequisite. Eight term courses in Italian studies numbered 140 or above (including graduate courses) are required, at least five of which must be conducted in Italian. The courses in the department must include either ITAL 150 or 151, a survey course on Italian literature (ITAL 162 or 172), and a course on Dante’s Divine Comedy (ITAL 310 or equivalent), as well as three courses covering different periods in Italian studies: one in the Middle Ages (in addition to the course on Dante’s Comedy), one in the Renaissance, and one in modern Italian literature and media. -
A Documentary History of Naples Medieval Naples Bibliography
A DOCUMENTARY HISTORY OF NAPLES MEDIEVAL NAPLES Bibliography Ronald G. Musto A Documentary History of Naples Vol. 2: Medieval Naples Bibliography Introduction The following bibliography accompanies the first version of Medieval Naples: A Documentary History. It contains materials of use for research, teaching, and general reading and covers the period from roughly 450 CE to 1450 CE, from late antiquity, and Byzantine, Ducal and Lombard, Norman, Hohenstaufen (Swabian) and Angevin periods of Naples’ history. It is divided into several categories: 1. Archival 2. Manuscript 3. Manuscript Catalog 4. Printed Sources 5. Secondary Works This PDF document is provided with an interactive table of contents, and each of these categories can be accessed by clicking on the bookmark in the panel to the left. This document is also fully searchable by using the search field above. Within each category entries are listed alphabetically. The printed sources and secondary works cover several types of materials: catalogs, primary-source collections, monographs, general surveys, and journal articles. The publication dates range from contemporary medieval sources to 2008. The materials are geared toward both the interactive map of Napes accompanying this publication: http://www.italicapress.com/index287.html and contains topographical and other urbanistic materials, and to historical, cultural, artistic, literary and religious materials covered in the series of downloadable readings of primary sources. As they become available, these will be linked to the online table of contents at: http://www.italicapress.com/index286.html This bibliography is a work in progress and will be updated regularly. Ronald G. Musto Series Editor A Documentary History of Naples January 3, 2009 v. -
3S-Ss-Alfabeto-Delle-Date.Pdf
ALFABETO DELLE DATE Si suppone che uno studente delle Scuole Superiori conosca assolutamente e senza nessuna esitazione questo “alfabeto” per indicare le date in Storia: I secoli con numero ordinale primo secolo o I secolo o 1° secolo (cioè 1-100 se d.C.; 100-1 se a.C.)… decimo secolo o X secolo o 10° secolo (cioè 901-1000 se d.C.; 1000-901 se a.C.)…. quattordicesimo secolo o XIV secolo o 14° secolo (cioè 1301-1400 se a.C.; 1400-1301 se a.C.)… diciottesimo secolo o XVIII secolo o 18°secolo (cioè 1701-1800 se a.C.; 1800-1701 se a.C.)… ecc. Tutte le voci che precedono indicano interi secoli, con l’avvertenza che se vogliamo esprimere con numeri cardinali gli anni di quel secolo, dobbiamo diminuire l’ordinale di uno, prima di moltiplicarlo per 100 (gli anni del XIV secolo sono gli anni che iniziano con 13: 1301-1400d.C. o 1400-1301a.C.) Le abbreviazioni valide per per certi secoli Duecento Trecento Quattrocento Cinquecento Seicento Settecento Ottocento Novecento devono essere scritti con la maiuscola ed indicano secoli (non anni): Duecento indica il secolo che va dal 1201 al 1300 dopo Cristo; attenzione! Il Mille è sottinteso ma c’è!! ‘200 ‘300 ‘400 ‘500 ‘600 ‘700 ‘800 ‘900 (attenzione!! con l’apostrofo!! Per dire che ci manca la cifra inziale “uno” che sta per “mille”) sono la trascrizione numerica di Duecento, Trecento… ed hanno lo stesso identifico significato Attenzione! 1200 1300 1400 ecc. non possono essere usati per indicare un secolo!! In Storia, usati come date, indicano unicamente un anno preciso (1200 è l’anno che viene dopo 1199 e prima di 1201), né più né meno che 1492, 1815…. -
Seeing Renaissance Glass: Art, Optics, and Glass of Early Modern Italy, 1250–1425 / Sarah M
Dillon With the invention of eyeglasses around 1280 near Pisa, the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, religion, and science. References to glass are Seeing Renaissance Glass found throughout the Bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and Art, Optics, and Glass of the Incarnation. At the same time, a well-known Islamic scientific treatise, which Early Modern Italy, 1250–1425 likened a portion of the eye’s anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, Seeing Renaissance Glass no study has offered a comprehensive consideration of the important role glass played in shaping the art of the Italian Renaissance. Seeing Renaissance Glass explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others employed the medium of glass—whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass—to resonate with the period’s complex visuality and achieve their artistic goals. Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well-suited to an introductory humanities course as well as classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality. Sarah M. Dillon is Assistant Professor of Art History at Kingsborough Community College, CUNY, specializing in early modern art. -
Everyday Objects
A Severed Bond? Exploring Fourteenth-Century Art Across the Eastern and Western Christian World Friday 15 May 2015 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN ABSTRACTS Kayoko Ichikawa (University of Warwick) The Iconography of Christ Mounting the Cross in the East and the West This paper focuses on a panel painting depicting Christ Mounting the Cross attributed to Guido da Siena here dated c.1267 and explores how this relatively rare iconography came to be included in a narrative cycle which can be considered a precedent of Duccio's Maestà. The earliest surviving visual example of this extra-biblical episode is found in an eleventh-century Armenian gospel illumination, and later it appears frequently in various media in Italy including panel paintings, manuscript illumination and mural cycles, as well as in the mural cycles in the Balkan area between the late- thirteenth and early-fourteenth centuries. Anne Derbes rightly observed that the iconography eastern in its origin was reinterpreted by duecento Tuscan painters to suit their local audiences: Guido gives a prominently active role to Mary, the protectress of Siena, who compassionately embraces Christ. The depiction of Mary’s sorrow imported from the East allowed the exploration of emotional expression, which formed the basis of the Renaissance. The shared interest in the human side of the biblical figures on both sides of the Mediterranean might have led to the shared phenomenon of the proliferation of developed narratives with increasing number of figures and their role in iconography, although it did not lead them to pursue the same degree of humanism and artistic naturalism.