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Medieval and Renaissance Studies 1 HIST 4312 European Encounters, 1400-1800 MEDIEVAL AND RENAISSANCE Philosophy STUDIES PHIL 307 Medieval Philosophy Medieval & Renaissance Studies is cross-cultural in design and covers the time-period from Late Antiquity (ca. 400) to the seventeenth century. Through the interdisciplinary study of history, art, religion, language and literature, students will develop an integrated understanding of medieval and early modern civilization. Its legacy, along with its intellectual and social diversity, enhances our understanding not only of the past but of present society. Minor or LIBS Concentration Only The minor/concentration in Medieval and Renaissance Studies consists of 15 credit hours from the courses (CABR) listed below. Students must include courses from three disciplines. Code Title Credit Hours Art History ARTH 331 Erly Christian Byzan Art ARTH 332 Early Med and Romanesque Art ARTH 333 Gothic Art and Architecture ARTH 334 The 14th Century ARTH 335 Women in Medieval Art ARTH 341 Art&Arch in Early Ren Florence ARTH 342 High Renaissance and Mannerism ARTH 343 Northern Renaissance Art ARTH 344 Italian Renaissance Sculpture ARTH 351 Southern Baroque Art ARTH 352 Northern Baroque Art ARTH 454 Rembrandt Comparative Literature COML 433 Writing Women in Renaissance English ENGL 371 Engl Lit from Begin-1500 ENGL 372 Engl Lit: 1500 to 1600 ENGL 373 English Lit 1600-1660 ENGL 400 Maj Engl Auth of the Mid Ages ENGL 401 Lit of Anglo-Saxon England ENGL 405 Chaucer ENGL 406 Studies in Medieval Lit/Cult ENGL 408 Shakespeare I: Earlier Works ENGL 409 Shakespeare II: Later Works ENGL 410 Maj Engl Authors of the Renais ENGL 412 Milton ENGL 413 Shakespeare's Contemporaries ENGL 414 Seventeenth-Century Readings History HIST 314 England: Tudors and Stuarts HIST 329 Medieval Society HIST 330 The Renaissance HIST 331 The Reformation Era: 1500-1648.

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Medieval Studies
College of Liberal Arts | Fall 2021-22 Minor - Medieval Studies ● Minor - Medieval Studies Minor - Medieval Studies Description The minor in medieval studies is an interdisciplinary course of study that covers the period from 476 to 1517. Students will be encouraged to take courses from a wide range of disciplines, which makes this minor well-suited to many majors. They will come to understand that "the Middle Ages" in fact includes a wide variety of cultures, artistic trends, literatures, languages, philosophies, and religious practices. In developing a deeper appreciation for the past, students will come to a better understanding of the foundation of our fast-paced, ever- changing present-day world. Course Requirements The minor in medieval studies consists of 18 semester hours, including Hst 309 or Eng 316 or Mlll 375. Students must complete 15 hours at the 300 level or above from the approved list of courses below. The 18 semester hours must be taken in at least three different areas (e.g., English, Spanish, German), with 15 hours in an area different from the student's major. The same course may not satisfy requirements for both the major and the minor. Medieval Studies Coursework AH 330 Medieval Art AH 332 Early Christian, Byzantine & Islamic Art AH 334 Early Medieval Art and Archaeology AH 336 Viking Art and Archaeology AH 338 Romanesque and Gothic Art AH 530 Topics in Medieval Art Eng 317 Chaucer Eng 318 Medieval Romance Eng 319 Medieval Drama Eng 320 The Heroic Age Eng 321 Literature of Medieval Europe Eng 322 Studies in Medieval
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000 (London, 2009)
Aristotle from York to Basra An investigation into the simultaneous study of Aristotle’s Categories in the Carolingian, the Byzantine and the Abbasid worlds by Erik Hermans A dissertation submitted in partial ful@illment of the requirements for the degree of Doctor of Philosophy Institute for the Study of the AnCient World New York University May, 2016 _________________________ Robert Hoyland © Erik Hermans All Rights Reserved, 2016 ACKNOWLEDGEMENTS This dissertation is the produCt of a new and interdisCiplinary graduate program at the Institute for the Study of the AnCient World (ISAW) at New York University. Without the vision and generosity of Leon Levy and Shelby White ISAW would not have existed and this dissertation would not have been written. I am therefore greatly indebted to these philanthropists. At ISAW I was able to Create my own graduate CurriCulum, whiCh allowed me to expand my horizon as a ClassiCist and explore the riChness of Western Europe, Byzantium and the Middle East in the early medieval period. My aCademiC endeavors as a graduate student would not have been successful without the reliable, helpful and impeCCable guidanCe of Roger Bagnall. Without him AmeriCan aCademia would still be a labyrinth for me. I Consider myself very fortunate to have an interdisCiplinary Committee of supervisors from different institutions. Helmut Reimitz of PrinCeton University and John Duffy of Harvard University have voluntarily Committed themselves to the supervision of both my Comprehensive exams and my dissertation. I would like to thank them deeply for their time and assistanCe. However, I am most indebted to my primary advisor, Robert Hoyland.
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Courses Taught in Foreign Languages in Academic Year 2020/21 Content
Courses taught in foreign languages in academic year 2020/21 Content Winter Term ............................................................................................................................................ 2 Heresy in Medieval Society ................................................................................................................. 2 Modern Architecture ........................................................................................................................... 3 Ancient Political Thought .................................................................................................................... 4 Education for Democratic Citizenship ................................................................................................. 5 English Language ................................................................................................................................. 6 Methods and Application of Historical Geography ............................................................................. 7 History of Long 19th Century .............................................................................................................. 8 Czechs and Germans in the Bohemian Lands 1848-1947 ................................................................. 10 Health and Disease in the Middle Ages and Early Modern Period ................................................... 11 Summer term .......................................................................................................................................
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erudition and the republic of letters 2 (2017) 359-395 brill.com/erl Universal History and the Origin Narrative of European Modernity: The Leiden Lectures of Jacob Perizonius (1651–1715) on Historia Universalis Frederic Clark Department of Classics, University of Southern California, Los Angeles, ca 90089 [email protected] Abstract This article explores a central facet of humanist scholarship and pedagogy—namely, the writing and teaching of universal history—in the decades around 1700. In does so by examining one of the most prominent humanists of the European Republic of Let- ters: the Leiden classical scholar Jacob Perizonius (1651–1715). Through analysis of Peri- zonius’s unpublished lectures on universal history, it explores how ‘classicists’ (long before they commonly identified as such) could command geographies and tempo- ralities far distant from Greco-Roman antiquity. Late humanist classical scholars like Perizonius used the ancient genre of universal history or historia universalis to com- bine everything from the fall of Rome to the emergence of Renaissance Europe into a single continuous narrative. In so doing, Perizonius helped forge a via media between antiquity and modernity at a moment when self-identified “ancients” and “moderns” * I wish to thank Mordechai Feingold for inviting me to write this article and for his generous assistance throughout the process. I am also most grateful to Anthony Grafton for his many insights into Perizonius and his expert guidance through the world of humanist scholarship. As I was finishing this article I greatly benefited from participation in a discussion group with Anton Matytsin and Thomas Wallnig on the history of early modern historiography.
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UCLA Center for Medieval and Renaissance Studies 2009 – 2010
UCLA Center for Medieval and Renaissance Studies Non-Profit Org. Box 951485 U.S. Postage Los Angeles, CA 90095-1485 PAID UCLA UCLA Center for Medieval and UCLA Medieval Centerfor Renaissance Studies 2009 –2010 CMRS STAFF 2009 - 2010 The UCLA Center for Medieval and Renaissance Studies (CMRS) was established during academic year Director 1962-63 through the inspiration of the distinguished historian Lynn White, who served as its first director. Brian P. Copenhaver The Center’s goal is to promote interdisciplinary and cross-cultural studies of the period from late antiquity 310.825.1880 to the mid-seventeenth century in order to better understand cultural, social, religious, and political issues [email protected] that are rooted in the deep past yet continue to resonate in our contemporary world. Associate Director, Medieval Studies Associate Director, Renaissance Studies As an Organized Research Unit of the University of California, CMRS supports the research activities of Zrinka Stahuljak Massimo Ciavolella some 140 faculty members in twenty-eight different academic disciplines and programs. The Center offers 310.825.1880 310.825.5943 fellowships and support for both graduate and undergraduate education; it sponsors lectures, seminars, and [email protected] [email protected] conferences; and it hosts visiting scholars and other researchers. Its publications include Viator, internationally recognized as one of the best scholarly journals in the field, Comitatus, one of the oldest graduate student Assistant to the Director Publications Director journals, and Cursor Mundi, a series of single-authored books and multi-authored collections conceived as a Karen E. Burgess Blair Sullivan companion to Viator.
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Medieval World, 2018-2019
COURSES THAT COUNT Medieval World, 2018-2019 Key to Requirements: HIS: Courses on the History of the Medieval World TIS: Courses on Texts, Images, and/or Sound SPR: Courses on Science, Philosophy, and/or Religion IC: HL90s on Pre-Modern Topics and Other Introductory Courses Aesthetic and Interpretive Understanding 40. Monuments of Islamic Architecture. Necipoglu- Kafadar and Roxburgh. (TIS) Aesthetic and Interpretive Understanding 64. Chaucer: The Canterbury Tales. Watson. (TIS) Celtic Languages and Literatures 101. [Irish Heroic Saga]. Nagy. (TIS) Celtic Languages and Literatures 103. [The Celts]. McKenna. (HIS) Celtic Languages and Literatures 105. The Folklore of Gaelic Ireland. Sumner.(TIS) Celtic Languages and Literatures 106. The Folklore of Gaelic Scotland. Sumner. (TIS) Celtic Languages and Literatures 109. [Finn: The Great Gaelic Hero]. TBA. (TIS) Celtic Languages and Literatures 111. Shapeshifters and Manbeasts in Celtic Traditions. McKenna. (TIS) (SPR) Celtic Languages and Literatures 120. [Food and Fantasy in Irish Tradition]. TBA. (TIS) Celtic Languages and Literatures 121. The Art of Storytelling in Medieval Ireland. Nagy. (TIS) Celtic Languages and Literatures 137. [Celtic Mythology]. TBA. (TIS) (SPR) Celtic Languages and Literatures 138. [The Mabinogion: Stories from Medieval Wales]. TBA. (TIS) Celtic Languages and Literatures 187. [Literature of the Dispossessed: Gaelic Ireland, c.1600- 1900]. TBA. (TIS) Celtic Languages and Literatures 188. [Songs of the Highlander]. TBA. (TIS) Celtic Languages and Literatures 194. The World of the Celtic Bard. McKenna. (HIS) (TIS) Chinese History 185. [The Historiography of the Middle Period]. Bol. (HIS) Chinese Literature 114. Introduction to Premodern Chinese Literature. Tian.(TIS) Classical Studies 119. Augustine the North African. Trettel. (SPR) Comparative Literature 114.
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Jodi Cranston Department of the History of Art & Architecture Boston
Jodi Cranston Department of the History of Art & Architecture Boston University 725 Commonwealth Avenue Boston, Massachusetts 02215 email: [email protected] Professional Experience Boston University Professor, Department of the History of Art & Architecture 1998-present; awarded tenure September 2004; promoted September 2013 Columbia University Preceptor, Department of Art History and Archaeology 1994-1997 Education Ph.D., 1998; M.Phil. 1994; M.A., 1992, Columbia University, History of Art Dissertation: “Dialogues with the Beholder: The Poetics of Portraiture in the Italian Renaissance” Advisor: Professor David Rosand B.A., 1991; Yale University Highest Honors in Renaissance Studies Graduated summa cum laude Publications Books: The Green Worlds of Renaissance Venice. Penn State University Press, January 2019. Awarded Millard Meiss Award for Publication Subvention, CAA, December 2017; additional subvention grants from the BU Center for the Humanities and BU College of Arts and Sciences The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. Penn State University Press, February 2010. Reviews: Burlington Magazine; Renaissance Quarterly; Sixteenth-Century Journal Venetian Painting Matters, 1450-1750. Edited by Jodi Cranston. New York: Brepols, 2015. Review: Renaissance Quarterly 1 The Poetics of Portraiture in the Italian Renaissance. Cambridge and New York: Cambridge University Press, 2000. Reviews: CAA Reviews; Art Bulletin; Renaissance Quarterly; Sixteenth-Century Journal; Journal of Aesthetics and Art Criticism Digital
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Medieval and Renaissance Studies 2018-2019
MEDIEVAL AND RENAISSANCE STUDIES 2018-2019 MEDIEVAL AND RENAISSANCE STUDIES Dr. Sharon M. Rowley, Director McMurran Hall 209 (757) 594-7024 [email protected] The Minor Program in Medieval and Renaissance IDST 240. Medieval and Renaissance Perspectives (3-3-0) Studies (18 credits) [formerly MRST 200, equivalent] AIWT We look back to the middle ages for the origins of An interdisciplinary and trans-historical course examining the contemporary Western civilization and the liberal arts, cultures of medieval and early modern Europe. Students will and to the early modern period to learn about western learn about the foundations of western art, thought and culture: expansion, humanism and creativity. This minor brings scholasticism, humanism and the Liberal Arts; Christianity, together a dynamic set of courses across several departments, the Reformation and Islam; chivalry, feudalism and warfare; allowing students to explore the ways in which the legacies pandemic and plague; architecture and city-planning. These of medieval and early modern arts, history, literature and concepts will be studied through the lenses of medieval and theater, as well as philosophical, theological and political early modern arts, literature, history, theater, philosophy and thought have helped to shape our modern world. theology. Medieval and Renaissance Studies (MRST) minors will Core consider the world in which they live, as well as their place IDST 240 Medieval and Renaissance Perspectives in that world, from a trans-historical and multi-disciplinary Electives perspective. The MRST minor is open to all, but will appeal CLST 201 The Mythic Imagination especially to students majoring in art, art history, English, ENGL 200 Literary Foundations I: Ancient-17th Century government, history, modern and classical languages, music, ENGL 271 Arthurian Legend in Fiction and Film philosophy, religious studies and theater.
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African Art at the Portuguese Court, C. 1450-1521
African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W.
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PATRICIA FORTINI BROWN Curriculum Vitae - 1
PATRICIA FORTINI BROWN Curriculum Vitae - 1 Patricia Fortini Brown, Professor Emerita Princeton University Dept. of Art and Archaeology Princeton, NJ 08544-1018 Home 609/683-4076; Cell 609/462-9838 Email [email protected] EDUCATION: University of California, Berkeley: A.B. Political Science, 1959; M.A. History of Art, 1978; Ph.D. History of Art, 1983 Dissertation: “The Painted Histories of the Scuole Grandi of Venice, c. 1494-1534" ACADEMIC POSITIONS: University of California, Berkeley, Dept. of History of Art Teaching Assistant/Associate, 1978-80 Mills College, Oakland, California, Dept. of Art Lecturer, 1983 Princeton University, Dept. of Art and Archaeology Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-2010; Professor Emeritus, 2010-present Department Chair, 1999-2005; Acting Chair, Fall 2007 University of Cambridge, Slade Professor of Fine Arts, 2000-1 (Lent term: January-March 2001) Fellow Commoner, St John’s College Venice International University, Summer Humanities Seminar, Lecturer, 2003, 2004 American Universities in Asia, Summer School, Tsinghua University, Beijing, China, Summer 2012 HONORS, AWARDS AND FELLOWSHIPS: 1980-82: Social Science Research Council and American Council of Learned Societies International Doctoral Research Fellowship 1980-81: Fulbright-Hays Grant to Italy 1980-81: University of California Italian-American Traveling Fellowship (declined) 1982: Gladys Krieble Delmas Foundation Grant for Research in Venice 1982: University of California Humanities Research Grant 1984, 1985, 1986, 1987, 1991, 1997, 2005: Princeton University, University Committee on Research in the Humanities and the Social Sciences, research grants 1989-90: Rome Prize Fellowship, American Academy in Rome 1989-90: Villa I Tatti Fellowship (declined) 1989-90: John Simon Guggenheim Fellowship (deferred to 1992-93) 1989: Premio "Salotto Veneto 89", for the best book published on Venetian culture -- second prize awarded to Venetian Narrative Painting in the Age of Carpaccio 1991-95: Andrew W.
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THE MEDIEVAL PERIOD (A.K.A Middle Ages) C. 500-1400 (Began
Name_____________________________ HR Teacher_________________________ THE MEDIEVAL PERIOD (a.k.a Middle Ages) C. 500-1400 (began with with fall of the Roman Empire) WORDS TO KNOW chant/plainchant unaccompanied, monophonic music used in liturgy of the western church monophony (monophonic, adj. ) (mono=one) a single melody played, written, or sung with no harmony polyphony (polyphonic, adj.) (poly=many) music featuring two or more independent melodies played, written, or sung simultaneously homophony (homophonic, adj.) (homo=same) music in which the accompanying parts have the same rhythm as the melody; secular music music not related to religion or religious services sacred music music used for religious service or purpose Gregorian Chant named after Pope Gregory I) is monophonic, plainchant music neumes symbols representing from one to four notes, used in the musical notation of the Middle Ages/Medieval Era THE RENAISSANCE PERIOD 1400-1600 renaissance literally means “re-birth”; rebirth of education, science, art, literature, music motet a sacred, polyphonic vocal composition, usually unaccompanied (a cappella) madrigal a secular, polyphonic song based on poems, often about love consort a small group of instruments playing together MEDIEVAL COMPOSERS TO KNOW GUIDO of AREZZO c. 991-1033 ♫ Guido was an Italian monk ♫ He created a set of syllables to help singers remember melodies designed after the human hand ♫ Guido also developed staff notation; a change from neumatic notation, which only gave a general outline of
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The Guitar in the Middle Ages and Renaissance by Julie Carmen for Tournaments Illuminated, Issue #129, Winter, 1999 (Pre-Print)
Central Washington University ScholarWorks@CWU Library Scholarship James E. Brooks Library Winter 1999 The uitG ar in the Middle Ages and Renaissance Julie D. Carmen Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/libraryfac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Carmen, Julie D., "The uitG ar in the Middle Ages and Renaissance" (1999). Library Scholarship. 62. https://digitalcommons.cwu.edu/libraryfac/62 This Article is brought to you for free and open access by the James E. Brooks Library at ScholarWorks@CWU. It has been accepted for inclusion in Library Scholarship by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 1 The Guitar in the Middle Ages and Renaissance By Julie Carmen For Tournaments Illuminated, Issue #129, Winter, 1999 (pre-print) In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar. In preparation for this search, guidelines had to be set as to what the Society deems “authentic”. Is it more aesthetically pleasing
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