Fourteen GIOVANNI PICO DELLA MIRANDOLA
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E Renaissance Society of America Annual Meeting Program
e Renaissance Society of America Annual Meeting Program Philadelphia April 02 - 04, 2020 Table of Contents Links to Program Times and Sessions ursday at 6:00 pm RSA Awards Ceremony Friday at 6:00 pm CANCELLED: Josephine Waters Bennett Lecture Saturday at 6:30 pm RSA 2020 Philadelphia Closing Reception ursday at 11:00 am RSA Board of Directors Meeting ursday at 4:00 pm Cervantes Society of America Business Meeting and Society for Renaissance Studies (UK) Annual Lecture Annual Lecture Friday at 12:45 pm RSA Council Meeting Friday at 4:00 pm Margaret Mann Phillips Lecture Saturday at 2:00 pm e RSA High School Teaching Program Saturday at 4:00 pm American Cusanus Society Lecture Society for the Study of Early Modern Women and Gender Annual Lecture and Business Meeting Saturday at 5:30 pm Society for the Study of Early Modern Women and Gender Reception Saturday at 5:45 pm RSA Member Meeting ursday at 9:00 am (More an) irteen Ways of Looking at a Preacher: Netherlandish Printmaking Before Aux uatre Vents: Approaches to Early Modern Spanish Preaching Professionalism in the Graphic Arts, ca. 1500–50 CANCELLED: Barberiniana – Aspects of the Barberini New Perspectives on Italian Art I Reign (1623–44): A New Renaissance in Baroue Rome New Technologies and Renaissance Studies I: Trace I and Pattern CANCELLED: French Tragedy and the Wars of Pico, Machiavelli, and Ficino: Metaphysics, Ethics, and Religion eology CANCELLED: Impressed upon the Imagination: Reassessing Lucrezia Marinella's Oeuvre I Recreating Manuscript Cultures in the Age of Print Reconsidering -
Europa E Italia. Studi in Onore Di Giorgio Chittolini
21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Norberto Gramaccini Petrucci, Manutius Und Campagnola Die Medialisierung Der Künste Um 1500
Norberto Gramaccini Petrucci, Manutius und Campagnola Die Medialisierungder Künste um 1500 Die Jahre um 1500 waren für die Medialisierung der Künste und Wissenschaften von entscheidender Bedeutung.1 Am 15.Mai 1501 brachte in Venedig der aus Fossombrone gebürtige Musikdrucker Ottaviano dei Petrucci (1466–1539) mitseinemmusikalischen BeraterPetrusCastellanus das Harmonicemusices OdhecatonA(RISM 15011)heraus: Es ist das erste im Typendruckverfahren hergestellte Buch in mehrstimmigen Mensuralnoten, enthaltend 100drei- und vierstimmige Chansons der bekanntesten zeitgenössischen Komponisten –die meisten Franzosen und Flamen.2 Bereits 1498 hatte Petrucci beim veneziani- schen Senat ein Gesuch gestellt, das ihm als Erfnder ein Monopol für die Dauer von 20 Jahren zusichern sollte: »… chome aprimo Inventore che niuno altro nel dominio de Vostra Signoria possi stampare Canto fgurado …per anni vinti«.3 Dem Erstling folgten gleichgeartete Publikationen (Canti B, Canti C), die ei- nen Hinweis liefern, dass Petruccis vorrangiges Ziel in den ersten Jahren sei- ner Herausgebertätigkeit (bis 1504)darin bestand, nicht die sakrale, sondern 1Hans Blumenberg, Die Lesbarkeit der Welt,Frankfurt 1983;David McKitterick, Print, Manuscript and the Search for Order, 1450–1830,Cambridge 2004,S.109. 2Helen Hewitt und Isabel Pope, Petrucci. Harmonice Musices Odhecaton A,New York 1978. Das Datum 15/V/1501geht aus der Widmung an Girolamo Donato hervor. Für eine andere Datierung, David Fallows, »Petrucci’s Canti Volumes: Scope and Repertory«, in: Basler Jahrbuch für Historische Musikpraxis 25: Musik –Druck –Musikdruck. 500Jahre Ottaviano Petrucci (2001), S.39–52: S.41.ZuCastellanus,dem »magistercapelle«der Kirche SS.Giovanni ePaolo, den die Zeitgenossen als »arte musice monarcha« bezeichneten, Bonnie J. Blackburn, »Petrucci’s Venetian Editor: Petrus Castellanus and His Musical Garden«, in: Musica Disciplina 40 (1995), S.15–41: S.25.Zuden späten Quellen, die Petrucci auch als Besitzer mehrerer Papiermühlen ausweisen, Teresa M. -
The Hypnerotomachia Poliphili: Image and Text in a Renaissance Romance
The Hypnerotomachia Poliphili: Image and Text in a Renaissance Romance April Oettinger Winston-Salem, North Carolina B.A., Colgate University, 1994 M.A., University of Virginia, 1996 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May2000 To my parents, ever supportive guides in my ongoing discovery of the forestand the trees; To Carrie, my companionon those early journeys through the Dark Forest; and To Max, my Poliphilo. 11 © Copyright by April Oettinger AllRights Reserved May2000 ill Acknowledgments I am indebted to numerous friendsand colleagues who have guided and enriched my journey at every turn. My advisors Paul Barolskyand David Summers first encouraged me to pursue my studies of the Polifilo; their unflagging support sustained me throughout, and their example continues to inspire me to follow in Poliphilo's path. My other readers, Francesca Fiorani and David Van Der Muelen provided valuable suggestions andadvice on patronage, dedications, and incunabula. I also wish to expressmy gratitude to Anne Schutte, Alistair Fowler, Deborah Parker, Martin Colker, and Terry Bellanger for stimulating conversations and generous advice, and Martin Colker and Thomas Govero for their assistance with the translations of Leonardo Grassi's dedication of the Polifiloand Ludovico Odassio's dedication of the Comucopiae. I am also grateful to Linda Carroll, Wendy Steadman Sheard, Patricia Fortini Brown, Wolfgang Wolters, Louisa Matthews, Anne Barriault,Norman Land, Ralph Lieberman, DeborahHoward, Jurgen Schultz, Ann Markam Schultz, and Mark SamuelsLasner forthought-provoking conversations at home and abroad. A Dupont Fellowship fromthe University of Virginia in 1998-1999 and a Fulbright Fellowship in 1999-2000 enabled me to continue my research in Italy, where I was fortunate to explore the holdings of several marvelous libraries. -
Humanism and Early Modern Philosophy Edited by Jill Kraye and M.W.F.Stone
London Studies in the History of Philosophy Series Editors: Jonathan Wolff, Tim Crane, M.W.F.Stone and Tom Pink London Studies in the History of Philosophy is a unique series of tightly focused edited collections. Bringing together the work of many scholars, some volumes will trace the history of the formulation and treatment of a particular problem of philosophy from the Ancient Greeks to the present day, while others will provide an in-depth analysis of a period or tradition of thought. The series is produced in collaboration with the Philosophy Programme of the University of London School of Advanced Study. 1 Humanism and Early Modern Philosophy Edited by Jill Kraye and M.W.F.Stone Forthcoming 2 Proper Ambition of Science Edited by M.W.F.Stone and Jonathan Wolff Humanism and Early Modern Philosophy Edited by Jill Kraye and M.W.F.Stone London and New York First published 2000 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2003. © 2000 Jill Kraye and M.W.F.Stone All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Humanism and early modern philosophy/[edited by] Jill Kraye and M.W.F.Stone. -
Andrea Riccio's Della Torre Tomb Monument
ANDREA RICCIO‘S DELLA TORRE TOMB MONUMENT: HUMANISM AND ANTIQUARIANISM IN PADUA AND VERONA by Rebekah Anne Carson A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto @ Copyright by Rebekah Anne Carson 2010 Andrea Riccio‘s Della Torre Tomb Monument: Humanism and Antiquarianism in Padua and Verona Doctorate of Philosophy 2010 Rebekah A. Carson Department of Art University of Toronto Abstract An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all‘antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ii ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. -
RSA 2015 Annual Meeting, Berlin, Germany, 26–28 March
BERLIN 26–28 March 2015 RSA 2015 Annual Meeting, Berlin, Germany, 26–28 March Annual Meeting, Berlin, Germany, The Renaissance Society of America Annual Meeting The Renaissance Society of America Annual Meeting Program Berlin, Germany 26–28 March 2015 Schaffhausen, Glasfenster mit Szenen der Münzherstellung (Schaffhausen, Stained glass window depicting the minting of coins), 1565. Photo credit: Münzkabinett, Staatliche Museen zu Berlin. Contents RSA Executive Board .......................................................................5 Acknowledgments ............................................................................. 6 Registration and Book Exhibition ...................................................12 Business Meetings........................................................................... 14 Plenaries, Awards, and Special Events .............................................15 Program Summary Thursday ................................................................................. 18 Friday ..................................................................................... 38 Saturday ................................................................................. 59 Full Program Thursday 8:30–10:00....................................................................... 76 10:15–11:45 .................................................................... 99 1:15–2:45 ...................................................................... 126 3:00–4:30 ..................................................................... -
6949 RCOMP 16Th PHILOSOPHY Aacg Adapted 7X10 29/09/2016 11:43 Page 225
6949 RCOMP 16th PHILOSOPHY_Aacg_adapted 7x10 29/09/2016 11:43 Page 225 1111 2 3 10 4 5 6 THE POMPONAZZI 7 8 AFFAIR 9 1011 1 The Controversy over the 2 3111 Immortality of the Soul 4 5 Leen Spruit 6 7 8 9 20111 1 The issue of the immortality of the soul involves several disciplinary fields, including 2 natural philosophy (psychology as a part of natural science), theology (afterlife), and 3 ethics (individual responsibility of human actors). Although different and contradictory 4 answers have been given to this question in the Western tradition, four doctrinal strands 5 can be traced. 6 First, materialists affirm that man, inasmuch as his body is an organized aggregate of purely 7 material elements, disappears completely when the elements that compose him are dissolved. 8 This is the answer of some Presocratics, Epicurus, the Stoics, and, in the early moden period, 9 Thomas Hobbes, who reduced mental acts to organic functions or to epiphenomena of 30111 matter. 1 Second, for Plato, the soul is a substance in itself that exists prior to being joined to the 2 body, which it moves. It dwells in the body for a certain time but departs at death to take 3 up residence in other bodies, until, thoroughly purified, it is able to return to the world of 4 the ideas. Some of Plato’s later followers viewed the human soul as a particular expression 35 of the cosmic Soul, or as a particle of the World Soul. These authors admit the immortality 6 of the soul, but this immortality is not seen as specifically personal. -
Signatures Volume 1 —
IGNATUATURES SVOLUMEUME O NE Contents Chapter Author Title Editorial Signatures Information 1 Duncan Salkeld Preface: Descartes’ ghost 2 Jill Kraye The Immortality of the Soul in the Renaissance: Between Natural Philosophy and Theology 3 Richard Sugg Donne,Vesalius, and the Anatomy of Body and Soul 4 Carola Scott-Luckens The Broken Tabernacle:Bodily and Cosmic paradigms in Henry Jessey’s 1647 narrative of Sarah Wight 5 Christa Knellwolf The Mechanic Powers of the Spirit: Medicine and Mock-Heroic in Samuel Garth’s The Dispensary 6 Roy Porter The Soul and the English Enlightenment 7 Stephanie Norgate Percentages SIGNATURES About Signatures Signatures is a peer-reviewed electronic journal (issn 1472–2178) which publishes interdisciplinary studies in the humanities, espe- cially in the areas of literary and cultural history, literary criticism, theory and philosophy, and creative writing. It is published twice yearly and is freely available on the Internet. The journal welcomes articles relating to all aspects of the humanities. particu- larly items that demonstrate originality in focus, contribution to knowledge, and literary excellence. Signatures will allow scholars and writers rapid publication and distribution. The journal will provide a forum for debate on matters of scholarly interest. Submitted manuscripts will be ‘blind-reviewed’ by at least two readers. Articles will appear within less than one year of acceptance. Submissions: Articles for publication should be submitted in hard copy and spaced (quotations indented not tabbed – and single-spaced), on disk to 12 point Times New Roman, with italics for all titles and emphases. Notes should be numbered in conventional Arabic Dr. Duncan Salkeld, Signatures, numerals and collected as a separate file (not as ‘Word’ School of English and Media Studies, footnotes or endnotes). -
Liberalitas in Musical Exchanges in Florence and Ferrara
This is a repository copy of Liberalitas in Musical Exchanges in Florence and Ferrara. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/97940/ Version: Accepted Version Book Section: Shephard, T. (2017) Liberalitas in Musical Exchanges in Florence and Ferrara. In: Shephard, T. and Colton, L., (eds.) Source of Identity: Makers, Owners and Users of Music Sources Before 1600. Epitome Musicale . Brepols , Turnhout . ISBN 978-2-503-56778-5 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Liberalitas in Musical Exchanges in Florence and Ferrara Tim Shephard The Florentine chansonnier V-CVbav Urbinates Latini 1411 (hereafter V-CVbav Urb. lat. 1411), a small manuscript containing just nineteen songs, opens with an inscription recording that it ‘was given to Piero de Archangelo de li Bonaventuri of Urbino by the Magnifico Piero di Cosimo de’ Medici of Florence’.1 Piero d’Archangelo, an agent of the ruler of Urbino, Federico da Montefeltro, probably received the manuscript from Piero di Cosimo some time between 1474 and 1479; but James Haar has shown that behind this straightforward donation lies a much more complex history of musical exchange, extending both earlier and later in the fifteenth century.2 Very likely the book was first made for the Medici intimate Ugo della Stufa c. -
Aldus Manutius : Printer and Publisher of Renaissance Venice
ALDUS MANUTIUS PRINTER AND PUBLISHER OF RENAISSANCE VENICE ^ff ^ ^ MARTIN DAVIES ALDUS MANUTIUS : Sii $Att%A, FJtiMA* ""^ SMVtKeCO AVDITOR ImtMmtwitmiuim m r€f^mm rvawp*^ V wrtw *a<« rMm thtfiUt is I mfmaeirff miAirtammk ^ N IT ifeyftwiywMrAfiM mifimffii umffms T defhrnHmufammi ^emi tarn wmr^m Ukn S crtftrnt ,«tmitrf»mt ^Mm fintmf,Oreprst M £mf , a je^tmemmmnif^ms antrum y t^atm- Qjtiddfiimuam^^ttvnpiedtmmytu A edms,imdt*lmsfunmdtdemhittaurmm j > r tUuttU^ Muoms uodenrr umyeims mnmtgt % S emftr,et0fJlidM0ruftMUam«^Kmmi ttms mj mmmm 1 jf frmUfuMnxmmtjtii CtmpbmmMmm^yht^frmmttuiMmm '•' D •rmrttpdaiefteUmeimd.ammiMffM' % S imuttjitfUaiirMmmmsimitttns^ed^m, 4tfiaif « iMili ||Hbj Mil || i bui wh^. \ i »^ The Aldine Juvenal and Persius of 1501 a copy printed on vellum and illuminated for the Pisani family of Venice. Original page-size 166x101 mm. c.4.g.io, sig. a2. Aldus Manutius Printer and Publisher of Renaissance Venice Martin Davies Arizona Center for Medieval and Renaissance Studies Tempe, Arizona 1999 © 1995 Martin Davies First published 1995 by The British Library Great Russell Street London wciB 3DG Second Printing © Copyright 1999 Martin Davies Published in North America by The Arizona Center for Medieval and Renaissance Studies as Volume 214 in the series Medieval & Renaissance Texts & Studies NOTE Unless otherwise specified, pressmarks of the books illustrated are of copies in The British Library ALDUS MANUTIUS # AS WITH MOST PRINTERS OF THE FIFTEENTH CENTURY from Gutenberg onwards, we know next to nothing of Aldus Manutius before he took up, in his forties, the activity which was to give him lasting renown. He was a reticent man who seldom wrote about himself, as opposed to his work, and no early biography supplies the gaps.