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138 Philip Ford, Jan Bloemendal, and Charles Fantazzi, Eds
138 Book reviews Philip Ford, Jan Bloemendal, and Charles Fantazzi, eds. Brill’s Encyclopaedia of the Neo-Latin World. 2 vols. Leiden: Brill, 2014. Pp. xliii + 1245, illustrations (some color). Hb, 395 Euros. Alessandro Valignano (1539–1606), the visitor to the Jesuit missionary enter- prise in the Far East, requested that Superior General Claudio Acquaviva (1543–1615) send him 600 or 800 copies of Lactantius (240–320) (probably The Divine Institutes, which Valignano himself had annotated) for use by Japanese seminarians. The first text that Valignano’s novice, Matteo Ricci (1552–1610), wrote to his literati audience in China was a treatise on friendship—an imita- tion of Cicero’s De amicitia. The first book published by the first printing press of the Jesuit Roman College, where Ricci was trained, was Martialis’s Epigrams, a pagan classic. It was edited by the Jesuit André des Freux (d. 1556) who— along with Jerónimo Nadal and Peter Canisius—was part of the group that founded the first Jesuit school in Messina. Robert Southwell, a poet and Elizabethan martyr, wrote in Latin before he wrote in English. His companion in martyrdom, Edmund Campion, was the author of several tragedies in Latin, which he composed during his tenure as a teacher of rhetoric at the Jesuit col- lege in Prague. Classical tragedies of Seneca, often used by Jesuit playwrights, were translated into English by a sixteenth-century English Jesuit poet, Jasper Heywood. The latter’s countryman—Gerard Manley Hopkins, the Victorian Jesuit poet and professor of classics—was the author of an English translation of Cicero’s De officiis. -
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda. -
Early Modern Catholicism : an Anthology of Primary Sources
Early Modern Catholicism makes available in modern spelling and punctuation substantial Catholic contributions to literature, history, political thought, devotion, and theology in the sixteenth and early seventeenth centuries. Rather than perpetuate the usual stereotypes and misinformation, it provides a fresh look at Catholic writing long suppressed, marginalized, and ignored. The anthology gives back voices to those silenced by prejudice, exile, persecution, or martyrdom while attention to actual texts challenges conventional beliefs about the period. The anthology is divided into eight sections entitled controversies, lives and deaths, poetry, instructions and devotions, drama, histories, fic- tion, and documents, and includes seventeen black and white illustrations from a variety of Early Modern sources. Amongst the selections are texts which illuminate the role of women in recusant community and in the Church; the rich traditions of prayer and mysticism; the theology and politics of martyrdom; the emergence of the Catholic Baroque in literature and art; and the polemical battles fought within the Church and against its enemies. Early Modern Catholicism also provides a context that redefines the established canons of Early Modern England, including such figures as Edmund Spenser, John Donne, John Milton, William Shakespeare, and Ben Jonson. 1. Durante Alberti, ‘The Martyrs Picture’, 1583. The Blessed Trinity is depicted with two martyrs, St Thomas of Canterbury (1118–70) on the left and St Edmund of East Anglia (849–69) on the right. Christ’s blood falls on the British Isles and erupts in flame. The text is the College motto, Ignem veni mittere in terram (I have come to bring fire to the earth) (Luke 12:49). -
Tragedia De San Hermenegildo," Seville, 1590
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 The nI augural Production of the Spanish Jesuit "Tragedia De San Hermenegildo," Seville, 1590. Armando I. Garzon-blanco Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Garzon-blanco, Armando I., "The nI augural Production of the Spanish Jesuit "Tragedia De San Hermenegildo," Seville, 1590." (1976). LSU Historical Dissertations and Theses. 3018. https://digitalcommons.lsu.edu/gradschool_disstheses/3018 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Cat-Under-2500-Final-Copy.Pdf
1. [ACCADEMICI TIMIDI] . Rime degli Accademici Timidi ... per fregio della laurea ... dell’una, e l’altra Legge… Mantua, Alberto Pazzoni, 1731. £1,250 8vo, pp. 36. Roman and Italic letter; a few damp stains, small rust spot to middle of gutter. Good copy in elegant contemporary gilt paper embossed with flowers; minor loss; several contemporary autographs, presumably of fellow members, to pastedowns. An interesting collection of rhymes written by the members of the Academy of the Shy Men, celebrating the graduation in law of one of their fellows. This important intellectual academy was active in Mantua from the beginning of seventeenth century. CJS4 FROM ADORNO, GOVERNOR OF GENOA 2. ADORNO, Agostino. [MS Letter]. £1,450 Genoa, 1496. One sheet, 20.5 x 29.5cm, paper, autograph letter signed 30 March 1496, 16 lines (plus signature), Latin in a very neat, humanistic italic, brown ink, paper wafer seal and docket to verso, some spotting and light browning from seal, watermark of a bird encircled from Ferrara, probably early C15 (Briquet 12.118). The letter is addressed by Adorno to the 'Brothers and Friends of the Antiani of Genoa'. The Antiani had been instituted in Italian cities since the 13th century as representatives of the plebian class, an updated version of Roman tribunes. Adorno asks that the Antiani grant pardon to Thomas Beti, whose 'excellence' Adorno hopes to 'make well known to strangers' as well as 'brothers and friends'; Beti is described as a 'ready speaker, eloquent in persuading' and powerful in negotiation. Agostino Adorno was appointed governor of Genoa in 1488 by Ludovico Sforza, Duke of Milan, who gained control of the city that year. -
347 “Jesuitware,” and How Jesuits Sought to Inspire Europeans Who for Lovely Porce Lain to Also Care for Distant Converted
Book Reviews 347 “Jesuitware,” and how Jesuits sought to inspire Europeans who for lovely porce lain to also care for distant converted souls. Paolo di Rico and Marino Vigano discuss the portraits painted of members of the Japanese mission to Europe in the late sixteenth century. Collectively, Changing Hearts does an excellent job of unraveling the tan gled weave of: 1) the rhetorical aspects of Jesuit performances, 2) the unique role of textuality itself as a vehicle to virtuous action for both author and audi ence, as well as 3) positing the wide variety of audience reactions. J. Michelle Molina Northwestern University [email protected] doi:10.1163/221413320070201210 Andreas Abele, ed. Jeremias Drexel, S.J., Iulianus Apostata tragoedia: Edition, Übersetzung und Kom- mentar. Frühe Neuzeit, 219. Berlin: De Gruyter 2018. Pp. xvi + 866. Pb, €149.95. The Jesuit scholar, teacher, and, in his early days, playwright Jeremias Drexel (1581–1638) had a wide impact on the Catholic reformation within the German countries in general and Bavaria in particular. This was mostly due to his edify ing and ascetic works such as the emblematic Orbis Phaethon (1629; 2 vols.), the Nicetas (1626, often reprinted) or the Zodiacus christianus seu signa xii divi- nae praedestinatonis (1618, later reprinted and enlarged), the latter directly re ferring to and correcting the infamous Zodiacus vitae (1565; 1588) by the Italian “heretic” scholar Palingenio Stellato. Aside from some translations during the seventeenth century and the posthumous Opera omnia from 1680, more recent editions of his works were scarce. Consequently, his vast output and his partic ular importance for the history of practical theology and education are almost totally overlooked and forgotten. -
The Place of Art in Jesuit Life
BOSTON CQU#£ $6 r n ( ubrmm ^PST mm <* 1 m& F • I I I ;. ,'X'V tyf.' mn Wax KaflHBmNi NaJl£fr5' I gal Ssn .. ; H'f..':.'v.-- '.'^ 'i^fciV «P$!.-Ml? 1 *? rafsKv"' ''•fc'iiV' ' •? , • yv.Wir^,r mm'^Q,',^ UQ3 H^H 1 1 1,;''>»>.; 1 b39w2w3B H\K#** RUSK '-,•-*•' *^*'. ; H * v- H ^H *•*.,»,.* './. v '-'^nlEHMHi/-^v * H ffianwfBfff 1 1 ^.yv: vsftf'ft JBnSI '"'»-'»• k»^»v* KB' i:%- fii v39 1 ^Hi »"*«* ml ram* Hi ifli illL tm in the Spirituality of Jesuits The Place of Art in Jesuit Life Art and the Spirit of the Society of Jesus Pedro Arrupe, S.J. Art in Jesuit Life Clement J. McNaspy, S.J. Published by the American Assistancy Seminar on Jesuit Spirituality, especially for American Jesuits working out their aggiomamento in the spirit of Vatican Council II Vol.V April 1973 No. 3 THE AMERICAN ASSISTANCY SEMINAR ON JESUIT SPIRITUALITY consists of a group of Jesuits from various provinces who are listed below. The members were appointed by the Fathers Provincial of the United States. The purpose of the Seminar is to study topics pertaining to the spiritual doctrine and practice of Jesuits, especially American Jesuits, and to com- municate the results to the members of the Assistancy. The hope is that this will lead to further discussion among all American Jesuits — in pri- vate, or in small groups, or in community meetings. All this is done in the spirit of Vatican Council II 's recommendation to religious institutes to recapture the original charismatic inspiration of their founders and to adapt it to the changed circumstances of modern times. -
The Passion(S) of Jesuit Latin — Brill
Brill’s Encyclopaedia of the Neo-Latin World The Passion(s) of Jesuit Latin (10,799 words) ¶ Was there ever such a thing as Jesuit Latin, and if so, how and why did it die? By the mid-eighteenth century, Article Table of Contents philosophes such as Jean le Rond d’Alembert seem to have associated belletristic Latin primarily with the Society of Hearts on Fire: The Engine of ‘aemulatio’ Jesus, and with a perniciously reactionary world view. Knowledge of Latin was necessary for reading the works Other Minds, Other Hearts of Horace or Tacitus, the Port Royal alumnus conceded, Further Reading but original literary composition in Latin was absurd. In the preface to the Encyclopédie, d’Alembert endorsed Latin’s continued use as an international language of science and philosophy, of erudition—to which he was not in principle opposed1—, but his (disingenuous?) resignation to the fact that the old language was, for all that, on its way out, no doubt hastened its march to an early French grave. Jesuit-educated Dutch physician, Gerard Nicolaas Heerkens (1726–1801), in his youth an acolyte of Voltaire and a frequenter of the philosophes, would scoff in the footnotes to an ornithological work: ‘That d’Alembert, a man of such great judgment, licensed only the explicators of scientific matters to write in Latin [sc. in the Preface to the Encyclopédie], but to write it in any old way—lest, that is, anyone who was going to write plainly should waste their time. But that writer will waste his time who is scarcely understood, and who is understood with such difficulty that he is therefore rejected’.2 But it is in the third volume of the Encyclopédie, under the rubric, ‘Collège’, that the sometime translator of Tacitus reveals the true extent of his animus against the Latin culture of the Society of Jesus. -
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. - " t f ; , f.• ;.. l '.' '" . ~ î t l , " , , 1 1. 1 ... f , ! , .· .- , 1 • " f. f " , ' . , t, ,1 àermà.o. Jesui't TheatJ:'e" BrêC,Jtt ~ , . '. and' th'e Concept,. of persuaaio ' l ,"''' _ ( , . , 'j " " , , " R~ber't .G ~ Sull i van , . " " " '.' . :~ "1 , ' ' , ! " , ....,. l' ' • . ' . ' , , - A thesis '·sub~'it'titd .. to' tbè . raè:!ulty ~f Graduate ' 'Studles 'anel. " Re.ea~ch 'in P-BJ'tial ~u.lfilDlent o.f ,t~e réquir~.nt. for the ,de.gree of Master of Arts. ,:',' ,;"," ." " ; "\ - '. " \ ...neparf'ÎDent' of Ger.man; MeGill tJn'ivers'i'tt,' , . Montr.al" Qu.bec, Canada . ~, , , ' , .. ... ,~ " . ... ' " .., , ~~ober, 19~' èopyright ,c,R9~rt G. Sulliva~ , ,. 1 • , , , " , '. , , , ' . , . ~. ~- .....-_____.-: ....... ..-----:-;..r .~ __.::.-~.;....... __ " ~ -.~.;;I._.~ ..... :--:____ y_,'--~~~ '.4\! il: , 1 _'", __ ' ..~. - "",1 " ,'- -._'---...,.-. '. 1, ~ , .. ',- y 1 , .. w " " - : _;..h. , " ~ . , . " , '. \, ,,' :. ~bstr.ac,t . ,- ( '~ , , .- ' l. : 'Ii 1. " , .,.. " .. " '. { • ' J " ,. .. - ;, Th~"Germ~n· "-Jesui t dr.ama of the 17th centur3 *nd the , . i . .', '" '. , p~ayl!l Brecht may be contrasted and c·.ompared' . i . ~ .. t . • 4 .. th'r~ugh an ;nvest-ïgation . of, their ~se- 'of rh,t~~ic~ 'J~S~~~ , , t, p' • . " dr.ama i s. a direct r-esult, of' the ,Jesuit school cu(r iculu~ whicn placed hea,,-y emph~sis,on" rnetoJ;i'c, especlally the"<~r&. ... -, , " disputîs'ndi: , ' . ' • • 1"" - " Bertol t.. Brec·h:.t' s, rhètor~c, is' not as , , traditional a$ the jesuit dramatist-s!',' but Sim~,lâr i ~i~~'lJj~~ " ~he Je'surt dz::amatists and' Brecht JI'> .' dev,loped dramatic . theories ,wh'lch sho" that t."hey ·both . , \, conceived of their dramas'as'vehicles ,of ·persu~sion. They !' ~ i , è~6se their plots a~d:str'uctured their- plays so that.t~ef; . -
The Tears in Things: How the Jesuits “Ripped Up” Virgil
1 The tears in things: how the Jesuits “ripped up” Virgil Revised from a paper given to the Virgil Society on 20 January 2019 Virgil was the Roman poet most revered by early modern Jesuits, yet his significance for the Society of Jesus is in some ways as elusive as his presence was ubiquitous. In their Ratio Studiorum (‘Code of Studies’, Rome, 1599) we read the following rule for the penultimate class of the lower curriculum, “Humanities” (sometimes called “Poetry”): “Virgil, with the exceptions of some eclogues and the fourth book of the Aeneid is the matter for poetry, along with Horace’s selected odes. To these may be added elegies, epigrams and other poems of recognized poets, provided they are purged of all immoral expressions”.1 At the Roman College at the turn of the 18th century, Rainier Carsughi exhorted his “Rhetoric” (final year of high school) students, in a didactic poem on the ‘Art of Writing Well’, to “praise excellent poets but worship Virgil” if they aspired to write “divine poetry”.2 It is not clear whether Carsughi means by “divine”, here, poetry which is devoted to sacred themes, or simply that which is serious or sublime, “top shelf”. The first Jesuits inherited the cult of Virgil from Italian Renaissance humanism. Marco Girolamo Vida (?1485-1566), humanist churchman and ultimately bishop of Alba, composed a delightful Georgic on silkworms as well as his more ambitious epic Christiad, and rounded off his three-book De arte poetica with a hymn to Virgil.3 But already in the first 1 A. -
Dramaandtheatreinearly Moderneurope
Politics and Aesthetics in European Baroque and Classicist Tragedy Drama and Theatre in Early Modern Europe Editor-in-Chief Jan Bloemendal (Huygens Institute for the History of the Netherlands) Editorial Board Cora Dietl ( Justus-Liebig-Universität Gießen) Peter G.F. Eversmann (University of Amsterdam) Jelle Koopmans (University of Amsterdam) Russell J. Leo (Princeton University) volume 5 The titles published in this series are listed at brill.com/dtem Politics and Aesthetics in European Baroque and Classicist Tragedy Edited by Jan Bloemendal Nigel Smith leiden | boston This is an open access title distributed under the terms of the cc-by-nc License, which permits any non-commercial use, and distribution, provided no alterations are made and the original author(s) and source are credited. The publication of this volume in open access was made possible partly by a grant from the nwo funded project ‘Transnational Communication and Public Opinion in Early Modern Europe’. Cover illustration: The actor Jan Punt as Apollo delivers a speech for stadholder Prince William v and Princess Wilhelmina van Pruisen, 1768, After a print by S. Fokke, in Historie van den Amsterdamschen Schouwburg (History of the City Theatre of Amsterdam; Warnars and Den Hengst, Amsterdam, 1772), Private collection. Library of Congress Cataloging-in-Publication Data Names: Bloemendal, Jan, 1961- editor. | Smith, Nigel, 1958- editor. Title: Politics and aesthetics in European baroque and classicist tragedy / Edited by Jan Bloemendal, Nigel Smith. Description: Leiden ; Boston : Brill, 2016. | Series: Drama and theatre in early modern Europe, ISSN 2211-341X ; volume 5 | Includes bibliographical references and index. Identifiers: LCCN 2016019815 (print) | LCCN 2016026594 (ebook) | ISBN 9789004323414 (hardback : alk. -
15 • Literary Mapping in German-Speaking Europe Franz Reitinger
15 • Literary Mapping in German-Speaking Europe Franz Reitinger Early modern maps were surrounded by and interspersed drafting of an elegant typology. At the fringe of contem- with texts of many kinds. The intimate relationship be- porary image making and still small in number, these maps tween cartographic image and geographical text in the achieved their full significance only in the light of further map was due to the map’s mixed media structure and its developments at the end of the seventeenth century.2 early appearance in the context of history books, travel reports, or chorographic descriptions. Literature was Utopian Fiction based on other types of text. Epic, drama, and poetry were essentially written forms; yet they, too, were sur- The largest and best-known literary map in the German rounded by and interspersed with numerous images. Up language is certainly Johann Baptist Homann’s Accurata to the fifteenth century, direct points of contact between Utopiae Tabula: Das ist der Neu-entdeckten Schalck- the spheres of geography and literature were rare. But Welt oder des so offt benannten, und doch nie erkannten there was a common denominator that cartography and Schlarraffenlandes Neu erfundene lächerliche Land- literature shared, namely, the idea of a Christian world. Tabell, which was printed for the art dealer and publisher Literature has never meant only the production of texts, Daniel Funck at the end of the seventeenth century to- as cartography does not mean simply the production of gether with a comprehensive explanatory