DOCSLIB.ORG

The Renaissance Society of America Annual Meeting Program And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Renaissance Society of America Annual Meeting Program and Abstract Book San Diego 4–6 April 2013 Giorgione (Giorgio da Castelfranco). Portrait of a Man. Oil on panel, 1506. 11 7/8 in. by 10 1/8 in. (30.16 cm by 25.72 cm). Gift of Anne R. and Amy Putnam. The San Diego Museum of Art, 1941.100. With kind permission of The San Diego Museum of Art. Contents RSA Executive Board .......................................................................5 Acknowledgments ............................................................................. 6 Registration and Book Exhibition ...................................................10 Business Meetings........................................................................... 11 Plenaries, Awards, and Special Events .............................................12 Program Summary Thursday ................................................................................. 17 Friday ..................................................................................... 23 Saturday ................................................................................. 30 Full Program with Abstracts Thursday 8:45–10:15 ...................................................................... 37 10:30–12:00..................................................................... 68 2:00–3:30....................................................................... 101 3:45–5:15 ...................................................................... 132 Friday 8:45–10:15 .................................................................... 163 10:30–12:00................................................................... 192 2:00–3:30....................................................................... 223 3:45–5:15 ...................................................................... 254 Saturday 8:45–10:15 .................................................................... 286 10:30–12:00................................................................... 316 2:00–3:30....................................................................... 345 3:45–5:15 ...................................................................... 374 Index of Participants ....................................................................404 Index of Sponsors .........................................................................420 Index of Panel Titles .................................................................... 422 Room Charts ...............................................................................433 San Diego Sheraton Floorplan ......................................................448 The Renaissance Society of America, Executive Board Edward Muir, President Joseph Connors, Vice President Elizabeth Cropper, Past President James S. Grubb, Treasurer Ann E. Moyer, Executive Director Sheila J. Rabin, Chair, Associate Organizations and International Cooperation William J. Kennedy, Chair, Development Clare Carroll, Chair, Membership Monique E. O’Connell, Chair, Electronic Media Alison Frazier, Chair, Constitution Craig Kallendorf, Chair, Publications Nicholas Terpstra, Renaissance Quarterly, Articles Editor Sarah Covington, Renaissance Quarterly, Book Reviews Editor Michael J. B. Allen, Counselor Brian Copenhaver, Counselor Janet Cox-Rearick, Counselor Martin Elsky, Counselor David Rosand, Counselor George Labalme, Jr., Honorary Member 5 Acknowledgments We warmly acknowledge the following generous supporters of the opening reception: Pomona College Renaissance Conference of Southern California (RCSC) San Diego State University Scripps College UCLA Center for Medieval and Renaissance Studies University of California, San Diego Special thanks to the hosts of the opening reception: The San Diego Museum of Art The Timken Museum The Program Committee Peter Arnade Peter C. Herman Massimo Ciavolella Julia Reinhard Lupton Joseph Connors John A. Marino Joanne M. Ferraro Ann E. Moyer George L. Gorse Charlene Villaseñor Black Participating Associate Organizations American Cusanus Society Andrew Marvell Society Arizona Center for Medieval and Renaissance Studies (ACMRS) Association for Textual Scholarship in Art History (ATSAH) Center for Medieval and Renaissance Studies, California State University, Long Beach Center for Medieval and Renaissance Studies, Saint Louis University Centre for Reformation and Renaissance Studies, University of Toronto 6 Centre for Renaissance and Early Modern Studies (CREMS), Queen Mary Centre for the Study of the Renaissance at the University of Warwick, UK Cervantes Society of America Charles Singleton Center for the Study of Premodern Europe Chemical Heritage Foundation Duke University Center for Medieval and Renaissance Studies Early Modern Image and Text Society (EMIT) Fédération internationale des sociétés et des instituts pour l’étude de la Renaissance (FISIER) Group for Early Modern Cultural Analysis (GEMCA) Historians of Netherlandish Art Institute for the Preservation of Medical Traditions Institute of Medieval and Renaissance Studies, Durham University, UK International Association for Thomas More Scholarship International Charles de Bovelles Society International Margaret Cavendish Society International Medieval Sermon Studies Society International Sidney Society International Spenser Society Italian Art Society John Donne Society Massachusetts Center for Renaissance Studies Medieval-Renaissance Colloquium at Rutgers University Newberry Library Center for Renaissance Studies Pacific Northwest Renaissance Society Princeton Renaissance Studies Program in Medieval and Early Modern Studies, University of Michigan Renaissance Conference of Southern California (RCSC) 7 Renaissance English Text Society (RETS) Renaissance Studies Certificate Program, City University of New York, The Graduate Center Roma nel Rinascimento Societas Internationalis Studiis Neolatinis Provehendis / International Association for Neo-Latin Studies Société Française d’Etude du Seizième Siècle (SFDES) Society for Confraternity Studies Society for Court Studies Society for Emblem Studies Society for Medieval and Renaissance Philosophy (SMRP) Society for the Study of Early Modern Women (EMW) Society of Fellows (SOF) of the American Academy in Rome (AAR) South Central Renaissance Conference (SCRC) Southeastern Renaissance Conference Taiwan Association of Classical, Medieval, and Renaissance Studies (TACMRS) Toronto Renaissance Reformation Colloquium (TRRC) Villa I Tatti, The Harvard University Center for Italian Renaissance Studies Yale University Renaissance Studies 8 Discipline Representatives, 2012–14 Ricardo Padrón, Americas Jessica Wolfe, Comparative Literature Mara R. Wade, Emblems Robert Miola, English Literature Karen Nelson, English Literature Deborah Shuger, English Literature Tom Conley, French Literature Ann Marie Rasmussen, Germanic Literature Bernard Dov Cooperman, Hebraica Laura R. Bass, Hispanic Literature Peter Arnade, History Kathleen M. Comerford, History Katrina Olds, History Karen-edis Barzman, History of Art and Architecture Tracy E. Cooper, History of Art and Architecture John Paoletti, History of Art and Architecture Andrew Pettegree, History of the Book, Paleography, and Manuscript Tradition Timothy Kircher, History of Classical Tradition Dennis Romano, History of Legal and Political Thought Monica Azzolini, History of Medicine and Science Irena Backus, History of Religion Margaret Meserve, Humanism Walter Stephens, Italian Literature Kate van Orden, Music Jan Papy, Neo-Latin Literature Linda Phyllis Austern, Performing Arts and Theater Lodi Nauta, Philosophy Peter Mack, Rhetoric Diana Robin, Women and Gender Studies 9 Registration Location: Sheraton Marina Tower, Bayview Foyer Badges and program books may be picked up during the following times: Wednesday, 3 April: 2:00 p.m.–5:00 p.m. Thursday, 4 April: 8:00 a.m.–5:00 p.m. Friday, 5 April: 8:30 a.m.–5:00 p.m. Saturday, 6 April: 8:30 a.m.–12:00 p.m. Walk-in registration can be paid with Visa or MasterCard: members $175, student members $125, nonmembers $300. Book Exhibition Location: Sheraton Marina Tower, Harbor Island Ballroom 2 and 3 Thursday, 4 April: 9:00 a.m.–6:00 p.m. Friday, 5 April: 9:00 a.m.–6:00 p.m. Saturday, 6 April: 9:00 a.m.–2:00 p.m. Book Exhibitors Arizona Center for Medieval and Renaissance Studies (ACMRS) Ashgate Publishing Company Brill Academic Publishers Cambridge University Press Centre for Reformation and Renaissance Studies, University of Toronto David Brown Book Company and Casemate Publishing Harvard University Press ISD Jan Johnson, Old Master and Modern Prints, Inc. Northwestern University Press The Penn State University Press Scholar’s Choice Truman State University Press University of Chicago Press University of Toronto Press Wode Psalter Project at the University of Edinburgh 10 Business Meetings Thursday, 4 April Discipline Representatives Breakfast 7:30–8:30 a.m. Meeting Location: Sheraton Bay Tower, Lobby Level, Monterey Room Renaissance Quarterly Editors and Discipline Representatives Thursday, 4 April RSA Executive Board Meeting and 6:00 p.m. Dinner Location: Sheraton Marina Tower, Lobby Level, Executive Center 3A Executive Board Members Friday, 5 April RSA Council Luncheon and Meeting 12:15–2:00 p.m. Location: Sheraton Bay Tower, Lobby Level, Fairbanks A-B Associate Group Representatives, Discipline Representatives, Executive Board Members Saturday, 6 April RSA Annual Membership Meeting 5:30–6:30 p.m. Location: Sheraton Marina Tower, Lobby Level, Grande Ballroom All RSA Members 11 Plenaries, Awards, and
Recommended publications
  • YOUR WEDDING in the VILLA SERMOLLI Edition 2022 ’22 YES, I DO Celebrate Your Wedding in the Heart Oftuscany Dear Bridal Couple

    YOUR WEDDING in the VILLA SERMOLLI Edition 2022 ’22 YES, I DO Celebrate Your Wedding in the Heart Oftuscany Dear Bridal Couple

    YOUR WEDDING IN THE VILLA SERMOLLI Edition 2022 ’22 YES, I DO Celebrate your wedding in the heart ofTuscany Dear bridal couple, We are happy that you are interested in our Villa Sermolli to celebrate this unique day. For the wedding of your dreams we are glad to help with words and deeds. On the following pages we compiled some information about getting married in our villa. But as each wedding is as individual as the bridal couple itself, these are only examples, of course. Planning your wedding together, we will happily cater to your personal likings. Please don't hesitate to contact us for any questions and wishes. From Tuscany with love, Martin Pleiner Phone: +39 392 6944 777 E-mail: [email protected] WELCOME TO THE VILLA SERMOLLI The Villa Sermolli is situated in the middle of the magical Tuscan countryside, not far from the cities of Lucca and Florence. We are happy to offer a free The airports of Pisa and Florence are shuttle to and from the train each 45 min. away from the Villa. station Borgo a Buggiano. The Villa is a former count’s estate from the 16th century. Different antique elements are a reminder of that time even today. With its tastefully decorated rooms and apartments, the Villa offers comfortable accommodations for a restful stay in Tuscany. Most rooms face South and offer an expansive view over the Tuscan countryside. OVERVIEW: THE WEDDING WEEKEND FRIDAY ~ 3 pm Individual arrival ~ 6pm Welcome drink ~ 7.30 pm Pizza night all you can eat SATURDAY 8-10.30 am Individual breakfast ~5 pm Ceremony ~6 pm Aperitif & Antipasti buffet ~7.30 pm Wedding dinner ~ 10.30 pm Wedding cake & wedding dance ~ 11.30 pm After party SUNDAY 8-11 am Individual breakfast up to 11 am Check-out THE HOTEL HTTPS://WWW.VILLA-SERMOLLI.COM/ INDIVIDUAL ROOMS AND APARTMENTS WITH HISTORICAL MEMORIES The categories: 1 suite 1 junior suite 3 deluxe doubles 9 superior doubles 3 classic doubles 7 apartments The Villa accommodates up to 70 guests.
  • 'It Existed Indeed … It Was All Over the Papers': Memories of Film

    'It Existed Indeed … It Was All Over the Papers': Memories of Film

    . Volume 14, Issue 1 May 2017 ‘It existed indeed … it was all over the papers’: memories of film censorship in 1950s Italy Daniela Treveri Gennari, Oxford Brookes University, UK Silvia Dibeltulo, Oxford Brookes University, UK Abstract: Film censorship in post-war Italy has been widely researched by scholars from the perspective of governmental and religious interventions in the attempt to control the film industry and moralise its audiences. However, cinema audiences’ experiences of this practice have been virtually neglected. The Italian Cinema Audiences project – funded by the AHRC – has investigated how cinema figures in the memories of people’s daily lives throughout the 1950s, a time in which cinema-going was the most popular national pastime, representing at its peak 70% of leisure expenditure. The project unveiled how Italian audiences chose films, what genres and stars they preferred, and how region, location, gender, and class influenced their choices. One of the key questions explored in our study is how film spectators remember censorship. This article presents the findings of the analysis of video-interviews conducted across the country focussing on audiences’ memories and perceptions of film censorship in the period under scrutiny. Our analysis will investigate not only the actual recollections, but also how these individual narratives have been shaped by ‘inherited templates that individuals can use to interpret’ those experiences (Rigney, 2015: 67). Our oral history data will be presented against State and Catholic Church’s archival documents which will allow us to highlight the points of contacts and conflicts between official discourses and audience’s personal memories. Keywords: Film censorship, State, Church, collective memory, post-war Italy Page 235 Volume 14, Issue 1 May 2017 Introduction Film censorship in post-war Italy has been widely researched by film historians from the perspective of both governmental and religious interventions.
  • Iclab: a Global, Longitudinal Internet Censorship Measurement Platform

    Iclab: a Global, Longitudinal Internet Censorship Measurement Platform

    ICLab: A Global, Longitudinal Internet Censorship Measurement Platform Arian Akhavan Niaki∗y Shinyoung Cho∗yz Zachary Weinberg∗x Nguyen Phong Hoangz Abbas Razaghpanahz Nicolas Christinx Phillipa Gilly yUniversity of Massachusetts, Amherst zStony Brook University xCarnegie Mellon University {arian, shicho, phillipa}@cs.umass.edu {shicho, nghoang, arazaghpanah}@cs.stonybrook.edu {zackw, nicolasc}@cmu.edu Abstract—Researchers have studied Internet censorship for remains elusive. We highlight three key challenges that must nearly as long as attempts to censor contents have taken place. be addressed to make progress in this space: Most studies have however been limited to a short period of time and/or a few countries; the few exceptions have traded off detail Challenge 1: Access to Vantage Points. With few ex- for breadth of coverage. Collecting enough data for a compre- ceptions,1 measuring Internet censorship requires access to hensive, global, longitudinal perspective remains challenging. “vantage point” hosts within the region of interest. In this work, we present ICLab, an Internet measurement The simplest way to obtain vantage points is to recruit platform specialized for censorship research. It achieves a new balance between breadth of coverage and detail of measurements, volunteers [37], [43], [73], [80]. Volunteers can run software by using commercial VPNs as vantage points distributed around that performs arbitrary network measurements from each the world. ICLab has been operated continuously since late vantage point, but recruiting more than a few volunteers per 2016. It can currently detect DNS manipulation and TCP packet country and retaining them for long periods is difficult. Further, injection, and overt “block pages” however they are delivered.
  • Distributism Debate

    Distributism Debate

    The Distributism Debate The Distributism Debate Dane J. Weber Donald P. Goodman III Eds. GP Goretti Publications Dozenal numeration is a system of thinking of numbers in twelves, rather than tens. Twelve is much more versatile, having four even divisors—2, 3, 4, and 6—as opposed to only two for ten. This means that such hatefulness as “0.333. ” for 1/3 and “0.1666. ” for 1/6 are things of the past, replaced by easy “0;4” (four twelfths) and “0;2” (two twelfths). In dozenal, counting goes “one, two, three, four, five, six, seven, eight, nine, ten, elv, dozen; dozen one, dozen two, dozen three, dozen four, dozen five, dozen six, dozen seven, dozen eight, dozen nine, dozen ten, dozen elv, two dozen, two dozen one. ” It’s written as such: 1, 2, 3, 4, 5, 6, 7, 8, 9, X, E, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 1X, 1E, 20, 21... Dozenal counting is at once much more efficient and much easier than decimal counting, and takes only a little bit of time to get used to. Further information can be had from the dozenal societies (http:// www.dozenal.org), as well as in many other places on the Internet. © 2006 (11E2) Dane J. Weber and Donald P. Goodman III, Version 3.0. All rights reserved. This document may be copied and distributed freely, provided that it is done in its entirety, including this copyright page, and is not modified in any way. Goretti Publications http://gorpub.freeshell.org [email protected] No copyright on this work is intended to in any way derogate from the copyright holders of any individual part of this work.
  • A New Vision of the Senses in the Work of Galileo Galilei

    A New Vision of the Senses in the Work of Galileo Galilei

    Perception, 2008, volume 37, pages 1312 ^ 1340 doi:10.1068/p6011 Galileo's eye: A new vision of the senses in the work of Galileo Galilei Marco Piccolino Dipartimento di Biologia, Universita© di Ferrara, I 44100 Ferrara, Italy; e-mail: [email protected] Nicholas J Wade University of Dundee, Dundee DD1 4HN, Scotland, UK Received 4 December 2007 Abstract. Reflections on the senses, and particularly on vision, permeate the writings of Galileo Galilei, one of the main protagonists of the scientific revolution. This aspect of his work has received scant attention by historians, in spite of its importance for his achievements in astron- omy, and also for the significance in the innovative scientific methodology he fostered. Galileo's vision pursued a different path from the main stream of the then contemporary studies in the field; these were concerned with the dioptrics and anatomy of the eye, as elaborated mainly by Johannes Kepler and Christoph Scheiner. Galileo was more concerned with the phenomenology rather than with the mechanisms of the visual process. His general interest in the senses was psychological and philosophical; it reflected the fallacies and limits of the senses and the ways in which scientific knowledge of the world could be gathered from potentially deceptive appearances. Galileo's innovative conception of the relation between the senses and external reality contrasted with the classical tradition dominated by Aristotle; it paved the way for the modern understanding of sensory processing, culminating two centuries later in Johannes Mu« ller's elaboration of the doctrine of specific nerve energies and in Helmholtz's general theory of perception.
  • Galileo in Early Modern Denmark, 1600-1650

    Galileo in Early Modern Denmark, 1600-1650

    1 Galileo in early modern Denmark, 1600-1650 Helge Kragh Abstract: The scientific revolution in the first half of the seventeenth century, pioneered by figures such as Harvey, Galileo, Gassendi, Kepler and Descartes, was disseminated to the northernmost countries in Europe with considerable delay. In this essay I examine how and when Galileo’s new ideas in physics and astronomy became known in Denmark, and I compare the reception with the one in Sweden. It turns out that Galileo was almost exclusively known for his sensational use of the telescope to unravel the secrets of the heavens, meaning that he was predominantly seen as an astronomical innovator and advocate of the Copernican world system. Danish astronomy at the time was however based on Tycho Brahe’s view of the universe and therefore hostile to Copernican and, by implication, Galilean cosmology. Although Galileo’s telescope attracted much attention, it took about thirty years until a Danish astronomer actually used the instrument for observations. By the 1640s Galileo was generally admired for his astronomical discoveries, but no one in Denmark drew the consequence that the dogma of the central Earth, a fundamental feature of the Tychonian world picture, was therefore incorrect. 1. Introduction In the early 1940s the Swedish scholar Henrik Sandblad (1912-1992), later a professor of history of science and ideas at the University of Gothenburg, published a series of works in which he examined in detail the reception of Copernicanism in Sweden [Sandblad 1943; Sandblad 1944-1945]. Apart from a later summary account [Sandblad 1972], this investigation was published in Swedish and hence not accessible to most readers outside Scandinavia.
  • The Apogee of the Hispano-Genoese Bond, 1576-1627

    The Apogee of the Hispano-Genoese Bond, 1576-1627

    Hispania, LXV/1, num. 219 (2005) THE APOGEE OF THE HISPANO-GENOESE BOND, 1576-1627 por THOMAS KIRK New York University in Florence (Italy) RESUMEN: El periodo entre 1576 y 1627 se caracteriza por ser un momento de intensa coopera­ ción entre España y la república de Genova. Iniciado con una guerra civil en Genova simultánea a una suspensión de pagos en Madrid, concluye con el estallido de un con­ flicto bélico en el norte de Italia y con una nueva bancarrota. Los dramáticos aconteci­ mientos con los que se inicia nuestro periodo de estudio facilitaron la estabilidad inter­ na de la república y sirvieron para fortalecer los vínculos con España. El mecanismo de simbiosis —-dependencia española de la capacidad financiera de Genova y dependencia de la república de la protección de la Corona— no impidió momentos de tensión entre ambos aliados. Aun así, los fuertes intereses comunes, sin mencionar la superioridad militar española y el carácter asimétrico de la relación, explican que dichas tensiones se manifestaran en una dimensión simbólica. Sin embargo, es evidente que esta relación no podía durar siempre, por lo que en el momento culminante de la presencia del capital genovés en España y de dependencia de la protección militar de la corona, se produce una ruptura del equilibrio que madurará algunas décadas después. PALABRAS CLAVE: Genova. Monarquía Hispánica. Sistema financiero. Galeras. Revuelta de 1575. ABSTRACT: The half century between 1576 and 1627 witnessed the most intense relations between the Republic of Genoa and Spain. This period, clearly demarcated at both its beginning and ending points, was ushered in by a brief war in Genoa accompanied by royal insolvency in Spain, and brought to a close by fighting in northern Italy and another quiebra in Spain.
  • Valle Dei Segni Un Festival Lungo Un Anno Pag

    Valle Dei Segni Un Festival Lungo Un Anno Pag

    Indice Benvenuti in Valle Camonica: Come arrivare in Valle Camonica pag. 2 la Valle dei Segni Un festival lungo un anno pag. 4 1 I segni della natura pag. 5 2 I segni della storia pag. 11 La Valle Camonica è da Valle Camonica sia che siete 3 I segni della fede pag. 19 sempre sinonimo di Natura, amanti di facili pedalate fra 4 I segni dell’arte pag. 23 Arte e Storia. Conosciuto i boschi oppure eccitati fan 5 I segni della tradizione pag. 27 in tutto il mondo per le di spericolati percorsi per 6 I segni della memoria pag. 31 incisioni rupestri dichiarate mountain bike o se vorrete patrimonio mondiale ripercorrere antichi sentieri 7 I segni del gusto pag. 35 dell’Unesco, il nostro di collegamento a cavallo, 8 I segni del benessere pag. 39 territorio è ricco di segni che proprio come facevano i 9 I segni dello sport pag. 43 testimoniano la presenza nostri avi. E cosa c’è di 10 I segni di una valle sostenibile pag. 49 dell’uomo sin dall’alba dei meglio se non concludere la 11 Informazioni e servizi locali pag. 53 tempi. vacanza con un po’ di relax? Ai numerosi parchi che nostre tradizioni e il nostro per lo snowboard e dove i Provate le nostre stazioni illustrano e proteggono passato. numerosi sentieri montani, termali dove potrete godervi l’arte rupestre si affiancano Ma la Valle Camonica non è ricoperti di neve, diventano una vacanza rigenerante per l’inestimabile patrimonio solo questo! Venire in Valle terreno ideale per chi voglia il corpo e la mente.
  • Testi Su Borno E Altopiano Del Sole [Sa]

    Testi Su Borno E Altopiano Del Sole [Sa]

    Testi su Borno e altopiano del sole [s.a.], Regolamento sull'uso dei beni comunali di Borno, Tipografia Apollonio, Brescia, 1913. AA. VV., L'altopiano del Sole. Borno, Ossimo, Lozio, Malegno, Piancogno, Grafo, Brescia, 2006. Goldaniga G., Toponomastica dell'altipiano di Borno: 643 toponimi antichi e moderni, con cenni storici, artistici e folklorici, Lineagrafica, Darfo Boario Terme, 2006. Lino p. da Mesero, P. Giacobbe da Borno, Di terra in terra nel nome di Dio. Le missioni dei Cappuccini italiani oggi, Milano, 1966. [s.a.], Affreschi del Romanino in una chiesetta di Borno, "Giornale di Brescia", 6 agosto 1953, p. 4. [s.a.], Il concorso fotografico a colori promosso dalla pro loco di Borno. Fotografando l'altopiano, "Giornale di Brescia", 3 agosto 1986, p. 11. [s.a.], Il muro romano di Borno: la costruzione sarà consolidata e conservata in sito, verrà ricomposta una delle due are funerarie ivi rinvenute, "Giornale di Brescia", 18 marzo 1958, p. 6. [s.a.], La funicolare di Borno, "La sentinella bresciana", LVI, 1914, (204), p. 3. [s.a.][Purelli R.], Borno e le sue strade, "Illustrazione Camuna", IV, 1908 (15), p. 6. [s.a], Giuseppe Bonafini, "Commentari dell'Ateneo di Brescia per l'anno 1964", Brescia, 1965, pp. 309-322. a.g., L'altipiano di Borno dalle origini ad oggi, "La Valcamonica", XXX, 1953, (38), p. 4. AA. VV., "AB: atlante bresciano", 2005, (85). AA. VV., Borno e il suo altopiano. Escursioni, Tradizioni, Curiosità, Amministrazione Comunale di Borno, 2003. AA. VV., Molto reverendo sacerdote don Domenico Moreschi Arciprete Vicario Foraneo di Borno, Tipografia Opera Pavoniana, Brescia, 1952.
  • Thomas Merton on Racial Justice

    Thomas Merton on Racial Justice

    God’s Messenger: Thomas Merton on Racial Justice Paul R. Dekar This article considers Thomas Merton’s correspondence during the 1960s with three African American civil rights activists: a priest, August Thompson (1926-2019), the musician Robert Lawrence Williams and the novelist James Baldwin (1924–1987).1 It also summarizes several articles by Merton on racial justice,2 highlighting the contribution by Merton to racism awareness work that scholars of social movements of the 1960s have tended to ignore.3 This relative lacuna contrasts with greater attention given other issues Merton addressed such as ecumenism, environmental justice, technology and the threat of nuclear war.4 1. Research for this presentation was funded by a 2018 Shannon Fellowship at the Thomas Merton Center, Bellarmine University, Louisville, KY, where Mark Meade and Paul Pearson gave invaluable help; Nancy Dekar, Allan McMillan and Ron Morissey read a draft of this paper, presented at the Sixteenth General Meeting of the International Thomas Merton Society at Santa Clara University in June 2019. 2. Original texts of relevant essays are found in Thomas Merton, Seeds of Destruction (New York: Farrar, Straus & Giroux, 1964) (subsequent references will be cited as “SD” parenthetically in the text) and Thomas Merton, Faith and Violence: Christian Teaching and Christian Practice (Notre Dame, IN: University of Notre Dame Press, 1968) (sub- sequent references will be cited as “FV” parenthetically in the text); they are also found in Thomas Merton, Passion for Peace: The Social Essays, ed. William H. Shannon (New York: Crossroad, 1995). 3. See Todd Gitlin, The Sixties: Years of Hope, Days of Rage (New York: Bantam, 1987); Jo Freeman and Victoria Johnson, eds., Waves of Protest: Social Movements since the Sixties (Lanham, MD: Rowman & Littlefield, 1999); Barry Miles, Peace: 50 Years of Protest (Pleasantville, NY: Readers Digest, 2008).
  • Trident and Oar in Bronzino's Portrait of Andrea Doria

    Trident and Oar in Bronzino's Portrait of Andrea Doria

    Trident and Oar in Bronzino’s Portrait of Andrea Doria JOSEPH ELIAV, Tel Aviv University / University of Haifa Previously unpublished X-ray images prove that in the portrait commissioned for Giovio’s museum, Bronzino painted Andrea Doria holding an oar, not a trident. The article interprets the portrait in its original form. Examination of the portrait together with the eulogy Giovio attached to it shows that Doria is painted as Odysseus, not as Neptune, and explains the incongruous oar. Erotic insin- uations in the portrait suggest that, like Bronzino’s burlesque poetry, it has a hidden meaning. Further analysis in the context of Giovio’s historiography and a precise dating unveil a meaning that criticizes Doria’s incompetence in a recent crucial naval battle. INTRODUCTION IN THE ALLEGORICAL portrait of Andrea Doria (1466–1560) by Agnolo di Cosimo, known as Bronzino (1503–72), the Genovese admiral is standing in the nude onboard a ship holding a trident; he is obviously in the guise of the god of the sea and therefore the painting, now in the Pinacoteca di Brera in Milan, is appropriately known as Portrait of Andrea Doria as Neptune (fig. 1). However, according to a hypothesis accepted with no contention in the research literature, Bronzino painted Doria holding an oar and the trident is a modification effected at a later time;1 and yet, interpretations of the portrait refer mainly to its present form, whereas attempts to understand it in the original form, with the oar, are tentative and inconclusive. The oar hypothesis has, up until now, rested on indirect evidence that is plausible but open to doubt and based on the report of a visual observation that will be shown here to be a simple mistake; and yet the hypothesis is correct in spite of the weak evidence.
  • GLAREANUS's CHRONOLOGIA the Bibliothèque Nationale De France

    GLAREANUS's CHRONOLOGIA the Bibliothèque Nationale De France

    GLAREANUS’S CHRONOLOGIA The Bibliothèque Nationale de France in Paris, the he married his rst wife, Ursula Ofenburg, and Firestone Library of Princeton University and the directed a student hostel. Later travels took him to Zentralbibliothek Solothurn (Switzerland) possess Pavia in 1515 and then to Paris, where he remained annotated copies of the 1540 edition of Henricus from 1517 to 1522. Then he returned to Basel. Like Glareanus’s chronology. For pages at a time, the his intellectual model, Erasmus, Glareanus took a marginal notes in the books are nearly identical, critical view of the Reformation. In 1529, accordingly, but when the copy in Solothurn was restored, both humanists moved from Basel to Freiburg im its pages were chemically washed, so that only a Breisgau. As in Paris he managed hostels in both few handwritten annotations can be deciphered.2 cities, where he held private lectures for his students Taken together, the other two copies yield the (Fig. 1). In 1541 Glareanus married his second wife, original text of Glareanus’s commentary on his Barbara Speyer, and until 1560 he taught poetics, own chronology. More important, they shed a new history and geography at the University of Freiburg. light on his methods as a humanistic scholar, his Glareanus was a renowned and skillful scholar: practices as a teacher, and his ways of using and Erasmus chose him as one of the dream team of recon guring printed books to make them serve experienced correctors assigned to supervise the very speci c scholarly and pedagogical purposes. posthumous edition of his works, and he edited and Like Glareanus’s working copy of Livy in Munich, commented on many ancient authors.5 He took a in which detailed notes and vivid drawings clearly particular interest in the ancient historians of Rome, reveal the processes by which he worked up his Livy and Dionysius of Halicarnassus, and drew up notes on and chronology of Livy, the later notes in commentaries on both authors.