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Ingenuous Investigators”: Antonio Vallisneri’S Correspondents and The
Ivano Dal Prete Italian Academy for Advanced Studies in America Columbia University Fellows Seminar October 24, 2012 “Ingenuous Investigators”: Antonio Vallisneri’s Correspondents and the Making of Natural Knowledge in 18 th -century Italy 1. History of Science in the Postmodern Age In the last two centuries, science has been regarded as the most important agent of change and progress in our society. The narrative of how and why it came to be such a commanding force contributed powerfully to this perception. The rise of modern science has long been portrayed as the triumph of human reason over superstition and authority; its history, a gallery adorned with the images of heroes like Copernicus, Galileo or Darwin who upheld self-evident facts against the prejudices of their times; experimental results and the laws of nature, the only objective “truths” that human beings could attain and agree upon. This narrative still largely informs popular views of the scientific enterprise; yet, the image of science as a disinterested pursuit of truth has come increasingly under question during the last decades, to the point that mistrust of science as a source of objectivie knowledge is considered a defining feature of postmodernity. The history of science as an 1 academic discipline has long participated in this trend,1 but it was not until the 1980s that it ceased to identify with the development of ideas and theories, as formulated by the most illustrious scientists. In their influential 1985 book Leviathan and the Air Pump , Steven Shapin and Simon -
From Lady Mary to Lady Bute: an Analysis of the Letters
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1964 From Lady Mary to Lady Bute: An Analysis of the Letters Russell Atkins Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Atkins, Russell, "From Lady Mary to Lady Bute: An Analysis of the Letters" (1964). Plan B Papers. 363. https://thekeep.eiu.edu/plan_b/363 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. FROM LADY MARY TO LADY BUTE: AN ANALYSIS OF THE LETTERS (TITLE) BY Russell Atkins PLAN B PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE English 455 IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1964 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. , /~.3 b_ 'P DATE\- ADVISER DEPARTMENT HEAD , c INT.RODUCTI ON In 1739 Lady Mary Wortley :M:ontagu departed England for Italy leaving behind her fifty years of aristocratic living. The reasons for Lady Mary's self-imposed exile have been a subject of speculation for scholars from that day to the present. Thanks to the research efforts of Robert Halsband it can now be stated that the principal reason was the love affair between Lady Mary and a twenty-five-year old Italian prince, Count Francesco Algarotti. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
Frederick the Great's Sexuality – New Avenues of Approach
History in the Making, volume 8, 2021 Frederick the Great’s Sexuality – New Avenues of Approach JACKSON SHOOBERT Frederick the Great’s sexual orientation provides an interesting case study; one that dissects the nature of power, temporality, and sexuality within the confines of elite Prussian eighteenth- century society. Analysis of this subject is significantly complicated by a deep web of adolescent repression which culminated in a level of prudence that still leaves modern scholars without a conclusive definition of Frederick’s sexuality.1 The sexuality of any human forms an important portion of their personality. Ignoring this facet for the sake of a convenient narrative is detrimental to understanding historical characters and the decisions they make.2 Examining how Frederick expressed his sexuality and the inferences this renders about his character will generate a more nuanced understanding without being confined in a broad categorisation as a homosexual. For Frederick, this aspect has been neglected in no small part due to methods he undertook to hide portions of his nature from contemporaries and his legacy. A thorough investigation of the sexuality of Frederick the Great and its interrelations with his personality is therefore long overdue. Frederick the Great, one of the most eminent men of his time, was not an obviously heterosexual man. His sexuality, which has only truly become a legitimate subject for inquiry within the last 60 years, has always been an integral component of his character, permeating from his adolescence unto his death. Despite ground-breaking works by German and Anglo authors in the last decade, the research has barely scraped the surface of what can be learned from Frederick and his sexuality. -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Talking Science at the University of Padua in the Age of Antonio Vallisneri
Feingold run04.tex V1 - 07/20/2009 4:10pm Page 117 Talking Science at the University of Padua in the Age of Antonio Vallisneri Brendan Dooley Even for an accomplished scholar like Antonio Vallisneri, it was no simple matter to declaim extemporaneously in Latin before a public possibly demanding the best from a setting where Vesalius and Fabricius had once changed medical education forever in the West. Therefore successful completion of the inaugural lecture was a cause for celebration, so he wrote to the Tuscan grand ducal librarian Antonio Magliabechi in 1700: ‘Today is a holy day for me, since I made my solemn entrance into the university favoured by the applause of all the learned, the podesta` [of Padua] and the captain of the city’. The difficulty of the task was underscored by the special requirements of this setting: ‘I was able to speak for a whole hour with total clarity of memory and self-possession, such that I was myself surprised at my weak nature rendered so daring on this magnificently terrible occasion’. He recalled the unfortunate case of a law professor who failed at the same task ‘and died of woe a few days later’.1 But his work was far from done; and already as the school year began, he considered the daunting task before him: ‘I find the job particularly difficult, moreover, having to learn so many lessons by heart, which arrive at the number of eighty or more’2 As first professor of practical medicine, he was supposed to deliver a given number of lessons over portions of the period between September and June when classes were in session; and following a well-established custom, he walked into class each time without notes. -
Europe (In Theory)
EUROPE (IN THEORY) ∫ 2007 Duke University Press All rights reserved Printed in the United States of America on acid-free paper $ Designed by C. H. Westmoreland Typeset in Minion with Univers display by Keystone Typesetting, Inc. Library of Congress Cataloging-in- Publication Data appear on the last printed page of this book. There is a damaging and self-defeating assumption that theory is necessarily the elite language of the socially and culturally privileged. It is said that the place of the academic critic is inevitably within the Eurocentric archives of an imperialist or neo-colonial West. —HOMI K. BHABHA, The Location of Culture Contents Acknowledgments ix Introduction: A pigs Eye View of Europe 1 1 The Discovery of Europe: Some Critical Points 11 2 Montesquieu’s North and South: History as a Theory of Europe 52 3 Republics of Letters: What Is European Literature? 87 4 Mme de Staël to Hegel: The End of French Europe 134 5 Orientalism, Mediterranean Style: The Limits of History at the Margins of Europe 172 Notes 219 Works Cited 239 Index 267 Acknowledgments I want to thank for their suggestions, time, and support all the people who have heard, read, and commented on parts of this book: Albert Ascoli, David Bell, Joe Buttigieg, miriam cooke, Sergio Ferrarese, Ro- berto Ferrera, Mia Fuller, Edna Goldstaub, Margaret Greer, Michele Longino, Walter Mignolo, Marc Scachter, Helen Solterer, Barbara Spack- man, Philip Stewart, Carlotta Surini, Eric Zakim, and Robert Zimmer- man. Also invaluable has been the help o√ered by the Ethical Cosmopol- itanism group and the Franklin Humanities Seminar at Duke University; by the Program in Comparative Literature at Notre Dame; by the Khan Institute Colloquium at Smith College; by the Mediterranean Studies groups of both Duke and New York University; and by European studies and the Italian studies program at the University of North Carolina at Chapel Hill. -
Télécharger Le Document Définitif En
BIBLIO TECA CAPITOLARE UNIVERSITÀ DEGLI STUDI DI BERGAMO VERONA DIPARTIMENTO DI LINGUE, UNIVERSITÀ DEGLI STUDI DI VERONA LETTERATURE E CULTURE COMPARATE DIPARTIMENTO DI ROMANISTICA Le carte vive Epistolari e carteggi nel Settecento Convegno Internazionale di Studi Centro di Ricerca sugli Epistolari del Settecento Verona, Biblioteca Capitolare, Piazza Duomo, 21 4-5-6 dicembre 2008 Giovedì 4 dicembre, ore 10.00 Saluto delle autorità Mons. ALBERTO PIAZZI (Prefetto della Biblioteca Capitolare) FRANCO PIVA (Direttore del Dipartimento di Romanistica) GIAN PAOLO MARCHI (Preside della Facoltà di Lingue e Letterature Straniere) ALBERTO POSTIGLIOLA (Società italiana di studi sul secolo XVIII - Centro per lo Studio e l’Edizione dei Testi) Relazioni Presiede GIUSEPPE NICOLETTI (Università di Firenze) · ARMANDO PETRUCCI (Scuola Normale Superiore di Pisa) Il Settecento: secolo dell’epistolarità borghese · GIAN PAOLO ROMAGNANI (Università di Verona) Epistolari e carteggi nella storiografia italiana ed europea sul Settecento · SABINE SCHWARZE (Universität Augsburg) La scrittura epistolare come genere divulgativo scientifico nel Settecento italiano · GIAN PAOLO MARCHI (Università di Verona) Problemi di storia dell’architettura nel carteggio Maffei-Poleni Giovedì 4 dicembre, ore 14.30 Comunicazioni Presiede FRANCO ARATO (Università di Genova) · BRUNO CAPACI (Università di Bologna) Lettere e vapeurs negli epistolari flemmatici di Caterina Dolfin e Gasparo Gozzi · DANIEL-ODON HUREL (Université de Rouen) Dom Jean Mabillon et ses correspondants italiens: vie -
9789004272989.Pdf
Hermann Samuel Reimarus (1694–1768) Brill’s Studies in Intellectual History General Editor Han van Ruler (Erasmus University Rotterdam) Founded by Arjo Vanderjagt Editorial Board C.S. Celenza ( Johns Hopkins University, Baltimore) M. Colish (Yale University) J.I. Israel (Institute for Advanced Study, Princeton) A. Koba (University of Tokyo) M. Mugnai (Scuola Normale Superiore, Pisa) W. Otten (University of Chicago) VOLUME 237 The titles published in this series are listed at brill.com/bsih Hermann Samuel Reimarus (1694–1768) Classicist, Hebraist, Enlightenment Radical in Disguise By Ulrich Groetsch LEIDEN | BOSTON Cover illustration and frontispiece: Portrait of Hermann Samuel Reimarus (1694–1768) by Gerloff Hiddinga, 1749. Private collection. Photo by Sascha Fuis, Cologne 2004. Courtesy of Hinrich Sieveking, Munich. Library of Congress Cataloging-in-Publication Data Groetsch, Ulrich. Hermann Samuel Reimarus (1694–1768) : classicist, hebraist, enlightenment radical in disguise / by Ulrich Groetsch. pages cm. — (Brill’s studies in intellectual history, ISSN 0920-8607 ; VOLUME 237) Includes bibliographical references and index. ISBN 978-90-04-27299-6 (hardback : alk. paper) — ISBN 978-90-04-27298-9 (e-book) 1. Reimarus, Hermann Samuel, 1694–1768. I. Title. B2699.R44G76 2015 193—dc23 2014048585 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. issn 0920-8607 isbn 978-90-04-27299-6 (hardback) isbn 978-90-04-27298-9 (e-book) Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. -
Ulisse Aldrovandi and Antonio Vallisneri: the Italian Contribution to Knowledge of Neuropterous Insects Between the 16Th and the Early 18Th Centuries*
Ann. Mus. civ. St. nat. Ferrara Vol. 8 2005 [2007] pp.9-26 ISSN 1127-4476 Ulisse Aldrovandi and Antonio Vallisneri: the Italian contribution to knowledge of Neuropterous Insects between the 16th and the early 18th centuries* Rinaldo Nicoli Aldini 1, 2 1) Istituto di Entomologia e Patologia vegetale, Facolta di Agraria, Universita Cattolica del Sacro Cuore, Via E milia Parmense 84,1-29100 Piacenza (Italy); 2) Scienze degli Alimenti, Polo Scientifico-Didattico di Cesena del Ia Facolta di Agraria, Alma Mater Studiorum, Universita degli Studi di Bologna, Piazza Goidanich 60, 1-47023 Cesena (Italy). e-mail: rinaldo.nicoli@unicatUt The oldest evidence of neuropterous insects in Italian scientific literature dates back at least to the 15th-16th centuries and regards antlions. Documents concerning antiions and green lacewings are present in the outstanding corpus of watercolour illustrations of insects built up in the 16th cen tury by the great naturalist from Bologna, Ulisse Aldrovandi (1522-1605), and then reproduced in his work De animalibus insectis (1602). His illustrations of some adult antlions and a green lace wing are among the earliest to be found in printed works. Between the 16th and the early 18th cen turies, other Italian authors mention or deal with lacewings, mainly the outstanding scientist from Reggio, Antonio Vallisneri (1661-1730), who published bionomical and behavioural observations on anti ions and green lacewings; he was the first to publish the life cycle of an antlion and to describe and illustrate the stalked eggs of green lacewings. Key words - entomology, neuropterology, history, Italy, anti ions, green lacewings, early authors. -
Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA. -
Palazzo Querini Stampalia Portego
Palazzo Querini Stampalia Museum Portego entrance Giovanni Mythology Bellini room room The earliest documents concerning the construction of the palace are from 1513-14 and point to Nicolò Querini as commissioner of the works. Grandson Francesco continued the works of enlargement and restoration in various stages throughout the first half of the century. From this period archival documents note nothing of importance until the acquisitions of the following century: in 1614 the building which is now the east wing of the palace and in 1653 part of the house between the canal and the church in Campo Santa Maria Formosa. The last radical transformation of Ca’ Querini was between 1789 and 1797 for the occasion of the marriage in 1790 between Alvise, son of Zuanne, and Maria Teresa Lippomano. In addition to the elevation of the third floor, completed after 1795, there was a large scale restructuring of the interiors with the reduction of the length of the portego and the evolution of the decorative scheme on which worked Jacopo Guarana, Davide Rossi, ornamentalist Giuseppe Bernardino Bison, gilder Domenico Sartori and brothers and stucco workers Giuseppe and Pietro Castelli. The museum is presented in such a way as to recall a patrician residence of the eighteenth century with the display of all of the collections of the family: furnishings, porcelain, sculpture, fabrics, chandeliers, globes, as well as paintings, in order to bring to life the spaces once truly inhabited by the Querini. A rich theatre where every detail plays an important role, from the fabrics in some rooms woven according to original patterns, to the curtains and the pelmets which adorn the windows to the original chandeliers.