Early Renaissance Art in Italy - SUNY Cortland SUNY Cortland, Art and Art History Department

Total Page:16

File Type:pdf, Size:1020Kb

Early Renaissance Art in Italy - SUNY Cortland SUNY Cortland, Art and Art History Department ATH 340 Early Renaissance Art In Italy - SUNY Cortland SUNY Cortland, Art and Art History Department SYLLABUS Professor: Erika Fowler-Decatur Office: Dowd 204 Email: [email protected] Phone: 607.753.4100 Office Hours: Tues/Thurs 11:30 am–2:00 pm or by appointment Catalog Listing: (C) Architecture, sculpture, and painting from the late 13th through 15th centuries. Works by Giotto, Brunelleschi, Donatello, Masaccio, Fra Angelico, Botticelli, etc., studied in their social and cultural contexts. Prerequisite: ATH 120, 121 or 122, or permission of instructor. Fulfills: LASR. (3 cr. hr.); Frequency code C = offered at least once every two years Course Description This course will cover art and architecture in Italy during the Early Renaissance from the late 1200s, or Duecento, through the late fifteenth century, or Quattrocento. Works by Giotto, Brunelleschi, Donatello, Masaccio, Fra Angelico, and Botticelli among others will be studied in their social and cultural contexts. Course Objectives This course will provide an overview of the artistic developments that occurred during the early Renaissance in the urban centers of Florence, papal Rome, Pisa, and Siena among others. You will become familiar with the impact of patronage on the creation of art and architecture in terms of stylistic innovation and iconography during this period. In addition, because this is a “Writing Intensive” course, you will complete a thoughtful, scholarly paper on an agreed upon topic within early Renaissance art. Textbook: John T. Paoletti & Gary M. Radke, Art in Renaissance Italy 4th ed. (2011) Additional readings will be required throughout the course. Course Requirements and Percentage of Final Grade Participation: 20% Midterm Exam: 25% Paper: 30% Final Exam: 25% Participation: It is imperative that you come to class having thoroughly read and thought about the assigned readings. You are expected to actively engage with the material by asking questions and offering observations during class discussions. Attendance is essential since you must be present to participate. Exams: The midterm and final exams will consist of multiple choice questions. Failure to attend an exam without an official university excuse will result in a grade of zero. Paper: You are expected to write an 8-10 page paper with proper endnotes and bibliography. The paper and drafts must be submitted both via Blackboard and as a hard copy. Topic and bibliography: 5% First draft: 20% Second draft and peer review: 20% Presentation: 5% Final draft: 50% All elements of the paper are due in class on the day specified in the Tentative Sequence of Topics. Classroom Etiquette: -Do not arrive late. -Turn off and put away cell phones, computers and other electronic devices before class. -Beverages are allowed but not food. -Do not engage in private conversation during class. (Do pose appropriate questions to the entire group.) Academic dishonesty of any kind will not be tolerated. Cheating on an exam in any way will result in a grade of zero on that exam, and the Academic Grievance Tribunal will be notified of the incident. As stated in section 340.02 of the SUNY Cortland College Handbook, cheating includes: A. Looking and/or copying from another student's paper during an examination or in-class assignment B. Allowing another student to look or copy from one's work during an examination or in-class assignment C. Possessing crib sheets, answer sheets and other information not authorized by the instructor during an examination or in-class assignment D. Writing an answer to an in-class examination or assignment and submitting it as written in class E. Taking an examination for another student F. Allowing or arranging for a second party to take an examination or other in-class assignment G. Allowing one's own work to be copied and submitted by another student H. Altering or falsifying examination or assignment results after they have been evaluated by the instructor and returned I. Possessing and using an electronic device such as a cell phone, personal digital assistant or Blackberry device not authorized by the instructor. As stated in section 340.02 of the SUNY Cortland College Handbook regarding plagiarism: Students are expected to submit and present work that is their own with proper documentation and acknowledgment when the work of others is consulted and used. Plagiarism can be intentional by deliberately presenting the work of others as one's own, or inadvertent by accidentally omitting or erroneously citing sources. Examples of plagiarism that can occur in research papers, lab reports, written reports, oral presentations as well as other assignments are: A. Failure to use quotation marks: sources quoted directly must be shown with quotation marks in the body of the project and with the appropriate citation in the references, notes or footnotes B. Undocumented paraphrasing: sources "put into one's own words" must have the source cited properly in the body of the project and in references, notes or footnotes C. Creating false documentation: purposefully presenting wrong information in references or citations or manufacturing false information used in references, notes and footnotes The following is an important excerpt from the “Statement of Academic Integrity” found in section 340.01 of the SUNY Cortland College Handbook: “The College is an academic community whose mission is to promote scholarship through the acquisition, preservation and transmission of knowledge. Fundamental to this goal is the institution's dedication to academic integrity. Providing an atmosphere that promotes honesty and the free exchange of ideas is the essence of academic integrity. In this setting all members of the institution have an obligation to uphold high intellectual and ethical standards. …students must recognize that their role in their education is active; they are responsible for their own learning. Specifically, it is the responsibility of students to protect their own work from inappropriate use by others and to protect the work of other people by providing proper citation of ideas and research findings to the appropriate source.” Accommodation of Disabilities: If you are a student with a disability and wish to request accommodations, please contact the Office of Student Disability Services located in B-1 Van Hoesen Hall or call (607) 753-2066 for an appointment. Information regarding your disability will be treated in a confidential manner. Because many accommodations require early planning, requests for accommodations should be made as early as possible. TENTATIVE SEQUENCE OF TOPICS 8/30: Introduction 9/1: Italian City-States/Age of Saint Francis/What was the Renaissance?/ Nicola Pisano 9/6: The Renewal of Christian Rome: Pietro Cavallini, Jacopo Torriti 9/8: Cimabue (Cenni di Pepi) and Duccio di Buoninsegna 9/13: Giotto di Bondone 9/15: Andrea Pisano (Giotto’s successor), Ambrogio Lorenzetti 9/20: The Plague, Orcagna 9/22: Communes and Guilds/1401 competition for the doors of the Baptistry, Florence: Lorenzo Ghiberti vs. Filippo Brunelleschi 9/27: Or San Michele 9/29: Filippo Brunelleschi 10/4: Masolino, Masaccio, Gentile da Fabriano 10/6: Donatello, Luca del Robbia PAPER TOPIC AND BIBLIOGRAPHY DUE 10/11: REVIEW CLASS 10/13: MIDTERM EXAM (FALL BREAK Fri-Sun) 10/18: Andrea del Verocchio 10/20: Fra Filippo Lippi, Fra Angelico (San Marco), Michelozzo 10/25: Paolo Uccello, Andrea del Castagno FIRST DRAFT OF PAPER DUE 10/27: Piero della Francesca, Pollaiulo brothers 11/1: Andrea Mantegna 11/3: Leon Battista Alberti 11/8: SECOND DRAFT OF PAPER DUE, PEER REVIEW 11/10: Venice, Bellini 11/15: Sandro Botticelli 11/17: PAPER PRESENTATIONS (FINAL DRAFT DUE) 11/22: PAPER PRESENTATIONS (FINAL DRAFT DUE) THANKSGIVING BREAK STARTS WED 11/29: Portraiture 12/1: Introduction to Leonardo da Vinci and Michelangelo 12/6: REVIEW CLASS FINAL EXAMS: 12/12 – 12/16 .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Boston University Capitignano IP 400 ART HISTORY Italian Medieval & Renaissance Art Summer 2008 Mark J
    Boston University Capitignano IP 400 ART HISTORY Italian Medieval & Renaissance Art Summer 2008 Mark J. Aeschliman COURSE DESCRIPTION This course examines the history of painting, sculpture and architecture in Tuscany from roughly 1250 to 1564. It focuses on the master works of Italian painting, sculpture, and architecture of this period. Naturally, the focus is on works seen and experienced on the visits we make to Italian cities in the region, chiefly Florence. These works are covered in lecture format, emphasizing close visual analysis and iconographic investigation. TEXTBOOK History of Italian Renaissance Art: Painting, Sculpture, Architecture, Frederick Hartt and David Wilkins. NY: Abrams, 2003. ISBN: 0131832514 ASSIGNMENTS Students are expected to attend every class and to complete three assignments over the course of the six-week program. There is one essay assignment, one ten- minute oral presentation on an artwork of their choice, if possible, on site, and the final exam. The oral presentation may be made at any point during the course, but must be made by the end of the fifth week. Late work will be marked down one grade (A becomes A-) for every day past the deadline. Make-up exams will be administered in the case of illness. Students must notify the instructor before the exam and present a medical note or certificate when they return to class. GRADE: Attendance 10% Essay assignment 30% On-site presentation 30% Final Exam 30% WEEKLY SCHEDULE Week 1 Italy and Italian Art • In class: Introduction; Florence and its geographical, political, religious, commercial, and social background Required reading: Hartt chapters 1, 2, and 3 pp 27-103; Recommended reading: The Classical Tradition in the Middle Ages, Panofsky, in Spencer, pp 415-442; Week 2 The DUECENTO From the Byzantine Heritage to Giotto.
    [Show full text]
  • 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:
    [Show full text]
  • Italian City-States and Financial Evolution
    European Review of Economic History, 10, 257–278. C 2006 Cambridge University Press Printed in the United Kingdom doi:10.1017/S1361491606001754 Italian city-states and financial evolution MICHELE FRATIANNI† AND FRANCO SPINELLI‡ †Indiana University CIBER, Kelley School of Business, Bloomington, Indiana 47405,USAandUniversita` Politecnica delle Marche, Dipartimento di Economia, Piazza Martelli, 60121 Ancona, Italy ‡Universita` degli Studi di Brescia, Dipartimento di Economia, via San Faustino 74B, Brescia 25122, Italy The term financial revolution has been abused in the literature. Revolution connotes a sharp and unique break from the past that should stand up to careful historical scrutiny, but in fact it does not. Evolution describes financial history better than revolutions. We compare the classic ‘financial revolutions’ with the financial innovations of Genoa, Venice and Florence in the Quattrocento and Cinquecento and the upshot is that these Italian city-states – the two maritime cities more than Florence – had developed many of the features that were to be found later on in the Netherlands, England and the United States. The importance of the early financial innovators has been eclipsed by the fact that these city-states did not survive politically. Instead, the innovations were absorbed in the long chain of financial evolution and, in the process, lost the identity of their creators. 1. Introduction By ‘financial revolution’ most economic historians refer to the series of events surrounding the Glorious Revolution of 1688 in England, from the creation of a national debt to the establishment of the Bank of England (Dickson 1967). Approximately a hundred years later, the young United States went through a ‘financial revolution’ of its own, according to Sylla’s (1998) assessment.
    [Show full text]
  • Humanism and Education in Medieval and Renaissance
    Cambridge University Press 0521401925 - Humanism and Education in Medieval and Renaissance Italy: Tradition and Innovation in Latin Schools from the Twelfth to the Fifteenth Century - Robert Black Frontmatter More information HUMANISM AND EDUCATION IN MEDIEVAL AND RENAISSANCE ITALY This is the first comprehensive study of the school curriculum in medieval and Renaissance Italy. Robert Black’s analysis finds that the real innovators in the history of Latin education in Italy were the thirteenth-century schoolmasters who introducedanew methodof teaching grammar basedon logic, andtheir early fourteenth- century successors, who first began to rely on the vernacular as a tool to teach Latin grammar. Thereafter, in the later fourteenth andfor most of the fifteenth century, conservatism, not innovation, charac- terizedthe earlier stages of education. The studyof classical texts in medieval Italian schools reached a highpoint in the twelfth century but then collapsedas universities rose in importance duringthe thir- teenth century, a sharp decline only gradually reversed in the two centuries that followed. Robert Black demonstrates that the famous humanist educators did not introduce the revolution in the class- room that is usually assumed, and that humanism did not make a significant impact on school teaching until the later fifteenth century. Humanism and Education is a major contribution to Renaissance studies, to Italian history and to the history of European education, the fruit of sustained manuscript research over many years. ’ publications include Benedetto Accolti and the Florentine Renaissance (), Romance and Aretine Humanism in Sienese Comedy (with Louise George Clubb, ), Studio e Scuola in Arezzo durante il medioevo e Rinascimento () and Boethius’s Consolation of Philosophy in Italian Medieval and Renaissance Education (with Gabriella Pomaro, ).
    [Show full text]
  • 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.
    [Show full text]
  • P U G L I1 S E , J O Se P H Anthony. STYLISTIC PHASES O F Q U a T T R O C E N T O MAIOLICA DECORATION. the Ohio State U N Iv
    M ic GO—6400 ftxarf ly <-y;r oc c-i v«..-J PUGLI1SE, Joseph Anthony. STYLISTIC PHASES OF QUATTROCENTO MAIOLICA DECORATION. The Ohio State University, Ph.D., 1060 Fine A rts. University Microfilms, Inc., Ann Arbor, Michiaan STTLISTIC PHASES OF QUATTROCENTO UAIOLICA DECORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By JOSEPH ANTHONY PUGLIESE, B.F.I., U.i. The Ohio State University I960 Approved by 6m i Department of Fine and Applied Arts PREFACE Studies of Italian maiolica decoration have been primarily concerned with the distinctive Renaissance styles which appear after 1500. The decorative styles of quattrocento maiolica have not been adequately studied, especially with regard to the development and the chronology of styles and techniques. An examination of the stylistic development in maiolica decoration between U 4.OO and 1500 reveals a consistent, although complex pattern of progress, which prepares for and develops into the High Renaissance styles of the cinquecento. This stylistic development is not a simple organic growth, but rather a compound movement composed of a number of distinct stylistic changes, or phases. Throughout these phases we can distinguish a steady continuum of technical progress which allows an increasing freedom in, and coamand of, the ceramic medium. Maiolica wares are first produced in Italy during the trecento, and the earliest stylistic developments are found in the decorated wares produced in the environs of Florence, the foremost center of quattrocento art. The developments studied in this essay culminate with the emergence of the High Renaissance mode in maio­ lica decoration which appears in the decorative styles of Faenza during the last quarter of the fifteenth century.
    [Show full text]
  • Renaissance: Quattrocento Through Seicento
    EARLY MODERN: QUATTROCENTO THROUGH SEICENTO Italian Ph.D. Reading List: Il Rinascimento Effective August 2008 exam Please note that * = complete work Il QUATTROCENTO Testi critici da consultare: Baron, Hans. The Crisis of the Early Italian Renaissance: Civic Humanism and Republican Liberty in the Age of Classicism and Tyranny. 2nd edition OR essays from In Search of Florentine Civic Humanism. Baxandall, Michael. Painting and Experience in Fifteenth-Century Italy Garin, Eugenio. L’umanesimo italiano: filosofia e vita civile nel Rinascimento Greene, Thomas. The Light in Troy: Imitation and Discovery in Renaissance Poetry. Martelli, Mario. La letteratura fiorentina del quattrocento Struever, Nancy. The Language of History in the Italian Renaissance Testi Leonardo Bruni. “On the Study of Literature”; “Laudatio of the City of Florence”, in The Humanism of Leonardo Bruni. Pico della Mirandola, De hominis dignitate (On the dignity of man) Lorenzo Valla: De voluptate (On pleasure) Giovanni Ponte, ed., Il Quattrocento: selections from Palmieri, Bracciolini, Salutati, Bruni. Leon Battista Alberti, I libri della famiglia; Della pittura Marsilio Ficino, selections from letters and De amore platonica Angelo Poliziano: Le stanze per la giostra; La favola d’Orfeo; standard anthology’s collection of the canzoni a ballo Lorenzo de’ Medici: Commento de’ miei sonetti; "La nencia di Barberino" Matteo Maria Boiardo: Orlando innamorato, focusing particularly on I: 1-3, 18, 19, and II: 15, 20 Amorum libri tres: a selection, particularly 1, 14, 33, 36, 44, 48, 61, 121, 138 Leonardo de’ Vinci, Osservazioni sulla natura e sull’arte (Il ‘paragone’) Jacopo Sannazaro, Arcadia; Latin elegies available in anthology (“Salices”, “Cuma”) Luigi Pulci, Il Morgante maggiore Sacre rappresentazioni: Belcari, Abrama e Isacco Antonia Pulci, La rappresentazione di S.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]