Journal articles: 'Italian Early modern'

1

Grubb, James S. "Early Modern Italian Cities." Journal of Urban History 44, no. 5 (August 10, 2018): 1014–17. http://dx.doi.org/10.1177/0096144218793754.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Wolff, Larry. "The Modern Reconception of the Early Modern Venetian Adriatic." Austrian History Yearbook 42 (April 2011): 52–55. http://dx.doi.org/10.1017/s006723781100004x.

Full text

Abstract:

For Fernand Braudel, the early modern adriatic appeared, as it did on Venetian maps, as the Golfo di Venezia. Venice, ruling also over the Dalmatian coast and the Ionian Islands, controlled shipping on the Adriatic and made the Adriatic into the Venetian basis for commercial activity all over the eastern Mediterranean. Braudel also credited to Venice the establishment of an Italian cultural sphere of influence around the Adriatic: “The gulf was Venetian, of course, but in the sixteenth century it was more than this; it was the sphere of a triumphant Italian culture. The civilization of the peninsula wove a brilliant, concentrated web along the east coast of the sea.” Braudel, carrying out his research in the 1930s and publishing in 1949, might have been well aware that the Italian trans-Adriatic presence, even when triumphant—as in the case of Mussolini's occupation of Dalmatia—might not be something to celebrate as brilliant. Furthermore, reconsidering the early modern Adriatic, one might today wonder whether the term “Italian”—with its modern national meaning—should be used with caution in describing early modern cultural influence. Indeed, one might simply suggest that Venetian power on the Adriatic was the vehicle of Venetian culture—not Italian culture—on the Adriatic, an early modern imperial rather than a modern national idiom, and present even at Ragusa, which was independent of Venice.

APA, Harvard, Vancouver, ISO, and other styles

3

Litchfield, R. Burr. "Medieval and Early-Modern Italian Cities." Journal of Urban History 23, no. 2 (January 1997): 240–45. http://dx.doi.org/10.1177/009614429702300206.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Ardissino, Erminia. "Italian Sermons in Early Modern Europe." MLN 135, no. 1 (2020): 55–83. http://dx.doi.org/10.1353/mln.2020.0015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Black, Christopher. "Early Modern Italian Confraternities: Inclusion and Exclusion." Historein 2 (May 1, 2001): 65. http://dx.doi.org/10.12681/historein.113.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

NEVOLA, FABRIZIO. "Introduction: locating communities in the early modern Italian city." Urban History 37, no. 3 (November 15, 2010): 349–59. http://dx.doi.org/10.1017/s0963926810000490.

Full text

Abstract:

From late antiquity until the nineteenth century the Italian peninsula was made up of numerous states and city-states, governed as republics, or ruled by kings, dukes or popes. While diverse attempts were made to unify these disparate political entities through language and culture, or warfare and realpolitik, the dominant situation was one of intense rivalry and intermittent conflict. That uniquely Italian idea of campanilismo, or pride in one's own bell-tower, was borne of this continuous rivalry. It encapsulates an important concept, that local pride was inscribed in the physical fabric of the city, that a bell-tower could stand for a collective sense of one city's self-image and that this was expressed and calibrated in relation to neighbours, who were usually rivals. It is within this frame of references that much recent scholarship on urban image and identity has focused, teasing out the intentional distinctions that were drawn socio-politically and culturally, between the major centres of the peninsula. Such a process has significantly altered the view, dominant until quite recently, that style in art and architecture followed a single evolutionary route that passed from one place to another, as each lived a ‘golden age’ that defined a single ‘urban’ school – Siena, Venice, Florence, Rome, Bologna. In its place, a more nuanced view of how each centre fostered, reacted, responded and adopted innovation and change has come to the fore. In a generation of scholarship that followed Michael Baxandall's ground-breaking Painting and Experience, the idea that Renaissance Italians consciously fashioned urban images and identities has entered the mainstream. Scholars have put artworks and buildings back into close relation with the social contexts of their production and have asked how they worked in relation to their users and viewers.

APA, Harvard, Vancouver, ISO, and other styles

7

Schleiner, Winfried, and Lee Piepho. "Holofernes' Mantuan: Italian Humanism in Early Modern England." Sixteenth Century Journal 35, no. 1 (April 1, 2004): 275. http://dx.doi.org/10.2307/20476904.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Gallagher, John. "‘Ungratefull Tuscans’: Teaching Italian in Early Modern England." Italianist 36, no. 3 (September 2016): 392–413. http://dx.doi.org/10.1080/02614340.2016.1225782.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Dell’Antonio, Andrew. "Performances of Identity in Early Modern Italian Music." I Tatti Studies in the Italian Renaissance 18, no. 1 (March 2015): 23–31. http://dx.doi.org/10.1086/680524.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Boscán, Juan, and Garcilaso de la Vega. "Three Literary Manifestos of Early Modern Spain." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 233–42. http://dx.doi.org/10.1632/pmla.2011.126.1.233.

Full text

Abstract:

The emergence of Spain as a world power in the early sixteenth century compelled a radical change in its language and literature. reflecting the country's global expansion, Spanish culture moved beyond its medieval belatedness to compete with Renaissance Italian culture, whose superiority was based on the humanist rebirth of ancient values. The cultural rivalry between Spain and Italy is documented in the prefaces that follow, written by the Catalan poet Juan Boscán (1490?–1542) and the Toledan noble Garcilaso de la Vega (1499?–1536). Through these poets' efforts, Spain became the first European nation-state not only to appropriate Italian versification and prose style but also to displace Italy from the political and literary spheres of power (King 240–41). The political and cultural significance of Boscán's and Garcilaso's revisionary poetics makes their prefaces the first literary manifestos of early modern Spain.

APA, Harvard, Vancouver, ISO, and other styles

11

Wolfthal, Diane, and Roni Weinstein. "Marriage Rituals Italian Style: A Historical Anthropological Perspective on Early Modern Italian Jews." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 505. http://dx.doi.org/10.2307/20477390.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Lazar, Lance. "Belief, Devotion, and Memory in Early Modern Italian Confraternities." Confraternitas 15, no. 1 (January 1, 2004): 3–33. http://dx.doi.org/10.33137/confrat.v15i1.12584.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Fletcher, Catherine, and Jennifer Mara DeSilva. "Italian Ambassadorial Networks in Early Modern Europe—An Introduction." Journal of Early Modern History 14, no. 6 (2010): 505–12. http://dx.doi.org/10.1163/157006510x540754.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Cavallo, Sandra, and David Gentilcore. "Spaces, objects and identities in early modern Italian medicine." Renaissance Studies 21, no. 4 (September 2007): 473–79. http://dx.doi.org/10.1111/j.1477-4658.2007.00458.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

EMBRY, BRIAN. "Truth and Truthmakers in Early Modern Scholasticism." Journal of the American Philosophical Association 1, no. 2 (2015): 196–216. http://dx.doi.org/10.1017/apa.2014.28.

Full text

Abstract:

ABSTRACT:Seventeenth-century Iberian and Italian Scholastics had a concept of a truthmaker (verificativum) similar to that found in contemporary metaphysical debates. I argue that the seventeenth-century notion of a truthmaker can be illuminated by a prevalent seventeenth-century theory of truth according to which the truth of a proposition is the mereological sum of that proposition and its intentional object. I explain this theory of truth and then spell out the account of truthmaking it entails.

APA, Harvard, Vancouver, ISO, and other styles

16

Robin, Diana. "The Canonization of Italian Women Writers in Early Modern Britain." Early Modern Women: An Interdisciplinary Journal 6 (September 1, 2011): 43–78. http://dx.doi.org/10.1086/emw23617326.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Leopardi, Liliana. "Publications in Italian in Early Modern Women's Studies, 2004–2009." Early Modern Women: An Interdisciplinary Journal 4 (September 1, 2009): 265–71. http://dx.doi.org/10.1086/emw23541590.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Petersen, D., JH Underwood, W. Burr, AA Kapusta, and CA Rickard. "Characterization of Early and Modern Wire for an Italian Harpsichord." Journal of Testing and Evaluation 20, no. 4 (1992): 312. http://dx.doi.org/10.1520/jte11727j.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

EVANGELISTI, SILVIA. "MONASTIC POVERTY AND MATERIAL CULTURE IN EARLY MODERN ITALIAN CONVENTS." Historical Journal 47, no. 1 (March 2004): 1–20. http://dx.doi.org/10.1017/s0018246x03003480.

Full text

Abstract:

This article discusses the meaning of material culture in early modern Italian convents. Although nuns were required to give up private property rights and embrace religious poverty, many of them brought into the convent a vast range of material objects and goods for their personal use. These goods could also be given away, exchanged, or lent to others within the monastic community and even outside it. By exploring the circulation of objects, money, and goods, we get an interesting picture of how female monastic institutions worked internally and interacted with the city. We also gain a better understanding of the role of objects in articulating religious discipline and regulating the networks of interpersonal relations within cloistered communities.

APA, Harvard, Vancouver, ISO, and other styles

20

GILLION, MARIANNE C. E. "Editorial endeavours: plainchant revision in early modern Italian printed graduals." Plainsong and Medieval Music 29, no. 1 (April 2020): 51–80. http://dx.doi.org/10.1017/s0961137120000066.

Full text

Abstract:

ABSTRACTThe extensive melodic revision of plainchant in editions of the Graduale Romanum published in Italy from the late sixteenth century onward resulted in musically diverse repertoires that could depart widely from earlier chant traditions. The scale of the changes in these sources, both in type and in number, has obscured certain aspects of their editors’ work: their familiarity with the corpus, their aims and techniques, and their approach to the task. Previous analyses concluded that the editors worked on a chant-by-chant basis, and were either unaware of or ignored any shared melodic relationships between pieces of plainchant. An examination of the revisions to the recurrent melody used by the eight Ostende alleluias in three influential Italian printed graduals – Gardano 1591, Giunta 1596 and Medici 1614/15 – provides a different perspective. Analyses of the reshaped chants reveal that the editors possessed knowledge of the repertoire guiding aims, and favoured revision techniques. The combination of these factors, whether intentionally or not, resulted in the chants’ continued structural connection in the midst of increased melodic diversity. The individuation evident the chants did not necessarily signal the editors’ unfamiliarity with the repertoire, but could have been indicative of their intentional rejection of shared elements. Further, the revisions to the Ostende alleluias reveal that the editorial process could be flexible, with the chants approached both as individual entities and as groups. These findings demonstrate the complexity of the editorial process in early modern Italian printed graduals, and deepen our understanding of this multifaceted repertoire.

APA, Harvard, Vancouver, ISO, and other styles

21

Krohn, Deborah L. "Carving and Folding by the Book in Early Modern Europe." Journal of Early Modern History 24, no. 1 (February 20, 2020): 17–40. http://dx.doi.org/10.1163/15700658-12342663.

Full text

Abstract:

Abstract The period 1500-1800 saw the publication of a number of manuals and handbooks containing instructions for carving meat and fruit on the table, and folding napkins and other linens. These books contain information on otherwise invisible aspects of material and social life and are notable for their intriguing and often beautiful illustrations. Part of a larger category of texts that addressed courtesy, etiquette and behavior for household servants, people in charge of them, and those who aspired to this lifestyle, examples of the genre may be found in Italian, French, German, English, Dutch, Spanish and probably other languages as well. Echoes of a suite of engraved illustrations for an Italian carving manual first published in Padua in 1629 can be seen in books printed all over Europe in the seventeenth and eighteenth centuries.

APA, Harvard, Vancouver, ISO, and other styles

22

Trapp, Erich. "Greek as the receiving language in the Middle Ages and Early Modern Period." Lexicographica 33, no. 2017 (August 28, 2018): 33–68. http://dx.doi.org/10.1515/lex-2017-0006.

Full text

Abstract:

AbstractDuring its long history, the Byzantine Empire – a polity that stretched across a whole millennium – came into contact with many neighbouring cultures and languages in Europe, Asia and Africa. In addition to Latin, the most important languages that enriched the medieval Greek vocabulary were: French, Italian, Slavic, Arabic and Turkish. Loanwords occurred – to a greater or lesser extent – in the following areas: nature and landscape, household, government and administration, society, military, church and religion, law and jurisdiction, trade and traffic. Beyond that, there were certain spheres that were influenced by specific languages in particular: Italian left its mark on sailors’ language; Arabic on the natural sciences (medicine, alchemy, astrology and astronomy); and both Italian and Arabic on coins, measures, and weights.

APA, Harvard, Vancouver, ISO, and other styles

23

Trapp, Erich. "Greek as the receiving language in the Middle Ages and Early Modern Period." Lexicographica 33, no. 1 (September 1, 2018): 33–68. http://dx.doi.org/10.1515/lexi-2017-0006.

Full text

Abstract:

AbstractDuring its long history, the Byzantine Empire - a polity that stretched across a whole millennium - came into contact with many neighbouring cultures and languages in Europe, Asia and Africa. In addition to Latin, the most important languages that enriched the medieval Greek vocabulary were: French, Italian, Slavic, Arabic and Turkish. Loanwords occurred - to a greater or lesser extent - in the following areas: nature and landscape, household, government and administration, society, military, church and religion, law and jurisdiction, trade and traffic. Beyond that, there were certain spheres that were influenced by specific languages in particular: Italian left its mark on sailors’ language; Arabic on the natural sciences (medicine, alchemy, astrology and astronomy); and both Italian and Arabic on coins, measures, and weights.

APA, Harvard, Vancouver, ISO, and other styles

24

Blom, Ivo. "Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 49–65. http://dx.doi.org/10.2478/ausfm-2021-0004.

Full text

Abstract:

Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.

APA, Harvard, Vancouver, ISO, and other styles

25

Montesinos Castañeda, María. "Variación en la imagen de la Prudencia: entre la tradición y la «nueva visualidad»." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 153. http://dx.doi.org/10.7203/imago.11.15428.

Full text

Abstract:

ABSTRACT: Although Italian influences prevail in the visual tradition of Prudence, beginning in the 15th century a new iconographic type emerges as a result of a «new visuality» deriving from French art. This innovation has been considered «monstrous» and breaking with the preceding visual tradition. However, this new visual manifestation is a result of the continuation of philosophic theories about Prudence. What is more, Italian art offers a response to the «new visuality» with another new iconographic type of the Prudence. KEYWORDS Prudence; Iconography; Visual Culture; Italian Art; French Art; Early Modern Age. RESUMEN: Aunque en la tradición visual de la Prudencia imperan las influencias italianas, a partir del siglo XV surge un nuevo tipo iconográfico fruto de la «nueva visualidad» procedente del arte francés. Dicha innovación ha sido considerada «monstruosa» y rompedora con la tradición visual precedente. Sin embargo, esta nueva manifestación visual es fruto de la continuación de las teorías filosóficas sobre la Prudencia. Además, el arte italiano ofrece una respuesta a la «nueva visualidad» con otro nuevo tipo iconográfico de la Prudencia.

APA, Harvard, Vancouver, ISO, and other styles

26

BURKE, PETER. "The hybridization of languages in early modern Europe." European Review 14, no. 1 (January 3, 2006): 105–10. http://dx.doi.org/10.1017/s1062798706000093.

Full text

Abstract:

This article argues that European vernaculars were in closer contact with one another and with languages spoken outside Europe in the 16th and 17th centuries than they had been in the Middle Ages, when Latin dominated written communication. Increased contact led to borrowing, mixing and hybridization, some of it highly self-conscious (as in the case of ‘macaronic’ poetry and drama). Mixing in turn led to a ‘purist’ reaction, first in the case of Latin and then in the case of vernaculars such as Italian, French, German, Dutch and even – to a lesser extent – English.

APA, Harvard, Vancouver, ISO, and other styles

27

Kriesel, James C. "Boccaccio and the Early Modern Reception of Tragedy." Renaissance Quarterly 69, no. 2 (2016): 415–48. http://dx.doi.org/10.1086/687606.

Full text

Abstract:

AbstractFourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio’s role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid’s elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures.

APA, Harvard, Vancouver, ISO, and other styles

28

Barton, William M. "Latin and Vernacular Translation in Early Modern Natural Philosophical Literature." Scientia Poetica 20, no. 1 (December 1, 2016): 27–43. http://dx.doi.org/10.1515/scipo-2016-0103.

Full text

Abstract:

Abstract The late 16th century saw the publication of two descriptions of Monte Baldo written by apothecaries working in the nearby town of Verona. Both texts were published in Latin and Italian and have come to the attention of scholars for the vibrant descriptions of the mountain they contain, as well as for the insight they allow into the European networks of natural philosophers. A more detailed examination of the circumstances that produced Latin and Italian versions of these two descriptions of the same mountain, containing the same type of scientific investigation by men engaged in the same profession and from the same town, makes for a neat case study in considering the issues surrounding translation and authorship in the natural philosophical literature of the early modern period. By setting the study’s findings into the context of the recent ›translation turn‹ in literary studies - and Neo-Latin studies in particular - the case study reveals interesting data for the use of Latin in early modern natural philosophy, as well for the dynamics of northern Italy’s scientific community in the period.

APA, Harvard, Vancouver, ISO, and other styles

29

von Hoffmann, Viktoria. "Epistemologies of Touch in Early Modern Holy Autopsies." Renaissance Quarterly 75, no. 2 (2022): 542–82. http://dx.doi.org/10.1017/rqx.2022.107.

Full text

Abstract:

This article explores the epistemic value of touch in Italian Renaissance anatomy. Using archival and printed postmortem records from canonization processes and anatomical writings, it shows that haptic expertise (Greek ἅπτομαι [haptomai]: to touch) entailed not only the acquisition of practical skills but also the ability to discern, experience, and fully describe organic substances. Looking at the practices, languages, and theories underpinning medical and holy anatomies, I propose that haptic epistemologies lay at the heart of the understanding of the body in the early modern period, a time largely recognized to have transformed people's understanding and experience of visuality in the sciences and the arts.

APA, Harvard, Vancouver, ISO, and other styles

30

Equestri, Alice. "Writers and readers in early modern Italianate verse narratives." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (August 6, 2018): 20–38. http://dx.doi.org/10.1177/0184767818788881.

Full text

Abstract:

The article considers some examples from the often overlooked genre of Elizabethan verse translations of Italian novellas, concentrating in particular on the poems where the flow of the narration is interrupted by interpolated speeches, namely letters. I consider how epistolary correspondence in these stories often brings about violent outcomes, how the rhetoric of letters can complicate the reader’s interpretation and how the poets describe the material actions of writing and reading. Paratextual epistolary material is also analysed to determine the authors’ purpose.

APA, Harvard, Vancouver, ISO, and other styles

31

Keen, Ralph, and Craig A. Monson. "Disembodied Voices: Music and Culture in an Early Modern Italian Convent." Sixteenth Century Journal 27, no. 3 (1996): 940. http://dx.doi.org/10.2307/2544112.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Bowers, Jane, and Craig A. Monson. "Disembodied Voices: Music and Culture in an Early Modern Italian Convent." Notes 53, no. 2 (December 1996): 426. http://dx.doi.org/10.2307/900112.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Martin, John. "Knowledge, Politics, and Memory in Early Modern Italy: Recent Italian Scholarship." Renaissance Quarterly 49, no. 3 (1996): 598–616. http://dx.doi.org/10.2307/2863368.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Austern, Linda Phyllis, and Craig A. Monson. "Disembodied Voices: Music and Culture in an Early Modern Italian Convent." American Historical Review 102, no. 2 (April 1997): 480. http://dx.doi.org/10.2307/2170908.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Kançal-Ferrari, Nicole, Leylya S. Seytkhalilova, and Renart V. Saranayev. "An Italian Renaissance Gate for the Khan: Visual Culture in Early Modern Crimea." Crimean Historical Review, no. 2 (2020): 124–60. http://dx.doi.org/10.22378/kio.2020.2.124-160.

Full text

Abstract:

The introduced work is a translation from English of the Turkish researcher Nicole Kançal-Ferrari`s article, which was published in Muqarnas magazine in 2017. The article is under the name: “An Italian Renaissance Gate for the Khan: Visual Culture in Early Modern Crimea”. The author gives a new interpretation of this famous Gate in the Khan`s Palace in Bakhchisarai. She considers that it was made in the Renaissance period and the author of the Gate was very famous Italian sculptor and engraver Alevisio the New (1494?–1551).

APA, Harvard, Vancouver, ISO, and other styles

36

Guerzoni, Guido. "Devotional Tattooes in Early Modern Italy = Tatuajes devocionales en la Italia de la Edad Moderna." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 119. http://dx.doi.org/10.5944/etfvii.6.2018.22922.

Full text

Abstract:

This essay seeks to analyze the production and dissemination of devotional tattoos in Early Modern times, focusing on the Italian case. It explores the details of their functions and meanings, and their intellectual reception. Nineteenth century theories stated that tattoos appeared in Europe only after the travels of Cook and Bouganville to savage Polynesia. There are many reasons to state that tattoos never disappeared in Italy though. In the Roman Empire tattoo was considered «an indelible mark of infamy», while «tattooing of the whole body», was known as the «barbarian» custom. Between the fourth and the fifth century, the world of Christianity witnessed a progressive subversion of meanings originally approved for that practice of tattoo, by externalizing the signs of pain, transforming the figure of infamy in the patent expression of faith. Despite ambiguous attitude of Catholic authorities towards tattooing, this practice was a public ritual and this publicity was continually reiterated, revealing a social belonging. Este ensayo pretende analizar la producción y difusión de los tatuajes devocionales en la Edad Moderna, con especial atención a Italia. Explora los detalles sobre sus funciones y significados, así como su recepción intelectual. Las teorías decimonónicas situaban la aparición de los tatuajes en Europa en un contexto posterior a los viajes de Cook y Bouganville a la Polinesia salvaje. Sin embargo, hay muchos motivos para creer que los tatuajes nunca desaparecieron de Italia. En tiempos del imperio romano el tatuaje fue considerado una «señal de infamia» y tatuarse el cuerpo, una práctica «bárbara». Entre los siglos IV y V, el cristianismo fue testigo de una progresiva transformación de los significados originalmente atribuidos a los tatuajes: se vivió un proceso de externalización de las señales del dolor y de transformación de la original infamia en una expresión de fe. Pese a las actitudes ambiguas que siempre mostraron las autoridades católicas hacia el tatuaje, esta práctica se convirtió en una ritual público y su visibilidad fue perpetuada, revelando un sentido identitario de pertenencia a un grupo.

APA, Harvard, Vancouver, ISO, and other styles

37

Cox, Virginia. "The Single Self: Feminist Thought and the Marriage Market in Early Modern Venice*." Renaissance Quarterly 48, no. 3 (1995): 513–81. http://dx.doi.org/10.2307/2862873.

Full text

Abstract:

The Year 1600 Witnessed A significant though little-noted event in Italian cultural history: the publication of the first substantial full-length works by Italian women writers arguing the case for women's moral and intellectual equality with men. The writers in question were two Venetians, Lucrezia Marinella and Modesta Pozzo (Moderata Fonte); their works, respectively, a polemical treatise, La nobilta et I'eccellenza delle donne, and a dialogue, Il merito delle donne. These texts, long neglected, have recently begun to attract a certain amount of critical attention: particularly Fonte's Merito, far the more accessible of the two and a work, as is now being recognized, of considerable literary merit.

APA, Harvard, Vancouver, ISO, and other styles

38

Ferraro, Joanne M. "The Power to Decide: Battered Wives in Early Modern Venice*." Renaissance Quarterly 48, no. 3 (1995): 492–512. http://dx.doi.org/10.2307/2862872.

Full text

Abstract:

Historians of the Family in Renaissance Europe have devoted much attention to its patriarchal orientation. For the northern Italian cities, intense monographic study of elite behavior has illuminated the guiding principles behind strategies that preserved and enhanced family status. Those principles also occupy a prominent position in the prescriptive writings of contemporary jurists, humanists, and moralists; from them historians have argued that women's powers of decision in the urban environment of Renaissance Italy were severely limited. Similar conclusions have been reached for the Reformation period.

APA, Harvard, Vancouver, ISO, and other styles

39

Zoppelli, Luca. "‘Stage music’ in early nineteenth-century Italian opera." Cambridge Opera Journal 2, no. 1 (March 1990): 29–39. http://dx.doi.org/10.1017/s0954586700003098.

Full text

Abstract:

It has become commonplace to assume that language and style in Italian opera are not a unified phenomenon, easily comparable with the language and style of a purely musical work. Rather they constitute the various elements of a plurilinguistic interplay in which the opposite pole from ‘the author’ is the characters: those figures whose personality, function and social condition command an individual musical language. Musical expression is determined by an interaction of the author's discourse with the fictive discourse of characters; even when one or the other seems to dominate, there remains an important, implicitly dialogic element, one that can sometimes be inferred solely from a sense of discordant context. In many instances, therefore, operatic discourse suggests analogies with the ‘dialogic’ nature of the modern novel posited by the Russian critic Mikhail Bakhtin.

APA, Harvard, Vancouver, ISO, and other styles

40

Pietrzak-Thébault, Joanna. "Fortune and Misfortune od Italian Chivalric Literature in the Early Modern Poland." Załącznik Kulturoznawczy, no. 1 (2014): 430–48. http://dx.doi.org/10.21697/zk.2014.1.19.

Full text

Abstract:

Two masterpieces of the chivalric epic literature, Orlando Furioso of Lodovico Ariosto and Gerusalemme Liberata of Torquato Tasso have had their Polish versions of rare beauty and value thanks to the translator of genius, Piotr Kochanowski. The fate of their reception is, however, very different. The reasons of the absence of Orlando Furioso remain still inexplicable, while the number and diversity of the editions of its original version in Polish libraries could prove the contrary. Anyway, only detailed provenance research would establish the real origin of these books. The evolution of the reception of the Gerusalemme Liberata during the whole 17th c. is an interesting example of a fusion of both foreign and domestic motifs, and of an attractiveness of the Renaissance patterns in the new times.

APA, Harvard, Vancouver, ISO, and other styles

41

Cavallo, Sandra. "Health, Air and Material Culture in the Early Modern Italian Domestic Environment." Social History of Medicine 29, no. 4 (May 7, 2016): 695–716. http://dx.doi.org/10.1093/shm/hkw029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Savoia, Paolo. "Skills, Knowledge, and Status: The Career of an Early Modern Italian Surgeon." Bulletin of the History of Medicine 93, no. 1 (2019): 27–54. http://dx.doi.org/10.1353/bhm.2019.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Andall, Jacqueline, Charles Burdett, and Derek Duncan. "Introduction." Modern Italy 8, no. 1 (May 2003): 5–7. http://dx.doi.org/10.1080/1353294032000074043.

Full text

Abstract:

The articles in this special issue were first presented at the 2001 ASMI conference on ‘Italian Colonialism and Post-Colonial Legacies’. This collection of papers is the first in a series of publications planned on different aspects of Italian colonialism. A second collection, offering new historical interpretations of Italian colonialism, will be published in the Journal of Modern Italian Studies later this year. A third group of essays on the legacy and memory of Italian colonialism will be published by Peter Lang in early 2004.

APA, Harvard, Vancouver, ISO, and other styles

44

SLUHOVSKY, MOSHE. "AUTHORITY AND POWER IN EARLY MODERN ITALY: RECENT ITALIAN HISTORIOGRAPHY Fonti ecclesiastiche per la storia sociale e religiosa d'Europa: XV–XVIII secolo. Edited by Cecilia Nubola and Angelo Turchini. Bologna: Società editrice il Mulino, Annali dell'Istituto storico italo-germanico in Trento, 50, 1999. Pp. 563. ISBN 88-15-07070-2. Benandanti e inquisitori nel Friuli del Seicento. By Franco Nardon. Foreword by Andrea Del Col. Trieste: Editioni Università di Trieste, 1999. Pp. 254. ISBN 88-8303-022-2. Tempi e spazi di vita femminile tra medioevo ed età moderna. Edited by Silvana Seidel Menchi, Anne Jacobson Schutte, and Thomans Kuehn. Bologna: Società editrice il Mulino, Annali dell'Istituto storico italo-germanico in Trento, 51, 1999. Pp. 577. ISBN 88-15-07234-9. Partial translation: Time, space, and women's lives in early modern Europe. Kirksville, MS: Truman State University Press, Sixteenth Century Essays and Studies, no. 57, 2001. Pp. 336. ISBN 0-943549-82-5 (hb). ISBN 0-943549-90-6 (pb). Church, censorship and culture in early modern Italy. Edited by Gigliola Fragnito. Translated by Adrian Belton. Cambridge: Cambridge University Press, 2001. Pp. 264. ISBN 0-521-66172-2. Court and politics in papal Rome, 1492–1700. Edited by Gianvittorio Signorotto and Maria Antonietta Visceglia. Cambridge: Cambridge University Press, 2002. Pp. 257. ISBN 0-521-64146-2." Historical Journal 47, no. 2 (May 24, 2004): 501–10. http://dx.doi.org/10.1017/s0018246x04233817.

Full text

Abstract:

The five books under review represent some of the recent achievements of Italian historiography of the early modern period. The gradual opening of Inquisitional archives in the 1990s and the growing sophistication of historical analysis of Inquisitorial documents have expanded dramatically our knowledge of and familiarity with the institutional and legal histories of the Inquisition and of the operation of justice in the Italian peninsula. One result of this is that the earlier and innovative work of Carlo Ginzburg in Inquisitorial archives has come under scrutiny. The books under review present a new view of the functioning of the Italian Inquisition, and by so doing shed new light on issues of authority and power in early modern Italy. Implicitly, the books under review also posit themselves against microstoria and address the larger working of power over long periods of time.

APA, Harvard, Vancouver, ISO, and other styles

45

Robinson, Michele Nicole. "Dirty Laundry: Caring for Clothing in Early Modern Italy." Costume 55, no. 1 (March 2021): 3–23. http://dx.doi.org/10.3366/cost.2021.0180.

Full text

Abstract:

Personal linens were key components of early modern health regimens. When they were visibly clean and bright white, linen shirtsleeves, collars and cuffs communicated the cleanliness of the wearer's body, as well as the state of their mind, morals and spirit. These functional garments and accessories could also be fashionable, especially when decorated with ruffles, lace and embroidery. Linens thus communicated hygienic, social, moral and financial information, which was generated by and reliant upon processes of laundry. This article explores some of these processes, especially as they pertain to linen shirts, cuffs and ruffs owned by non-elite people living in northern Italian cities. It brings archival, visual and material sources together with evidence generated through the re-creation of early modern processes of caring for clothing to show how ‘doing the laundry’ imparted linens with social and financial meanings and values.

APA, Harvard, Vancouver, ISO, and other styles

46

Cox, Virginia. "An Unknown Early Modern New World Epic: Girolamo Vecchietti’sDelle prodezze di Ferrante Cortese(1587–88)." Renaissance Quarterly 71, no. 4 (2018): 1351–90. http://dx.doi.org/10.1086/700860.

Full text

Abstract:

AbstractThis article discusses an unpublished vernacular Italian New World epic of the 1580s, which narrates the Spanish conquest of Mexico. The work was authored by the traveler, diplomat, and Orientalist Girolamo Vecchietti, and it is dedicated to Ferdinando I de’ Medici, grand duke of Tuscany. Vecchietti’s poem is striking as a rare epic in terza rima, and as the sole surviving early modern Italian epic to center on the deeds of Cortés, rather than Columbus or Vespucci. It is also intriguing for its ambivalent attitude toward the Spanish colonizing enterprise, portrayed initially as a heroic evangelizing mission, but later shown in a more compromised light.

APA, Harvard, Vancouver, ISO, and other styles

47

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.

Full text

Abstract:

Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.

APA, Harvard, Vancouver, ISO, and other styles

48

Gallagher, John. "The Italian London of John North: Cultural Contact and Linguistic Encounter in Early Modern England." Renaissance Quarterly 70, no. 1 (2017): 88–131. http://dx.doi.org/10.1086/691831.

Full text

Abstract:

AbstractThis article takes as its subject the remarkable diary kept by a young English gentleman named John North from 1575 to 1579. On his journey home from Italy in 1575–77, North changed the language of his diary from English to Italian. On his return to London, he continued to keep a record of his everyday life in Italian. This article uses North’s diary as a starting point from which to reconstruct the social and sensory worlds of a returned traveler and Italianate gentleman. In doing so, it offers a way of bridging the gap between individual experiences and personal networks on the one hand, and the wider processes of cultural encounter and linguistic contact on the other.

APA, Harvard, Vancouver, ISO, and other styles

49

Armstrong, Guyda, and Jason Lawrence. "'Who the Devil Taught Thee so Much Italian?': Italian Language Learning and Literary Imitation in Early Modern England." Modern Language Review 102, no. 3 (July 1, 2007): 820. http://dx.doi.org/10.2307/20467445.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Meens, Floris. "Connecting the peninsula and beyond: Italian intellectual networks of the early modern and modern period. An introduction." Incontri. Rivista europea di studi italiani 34, no. 1 (September 15, 2019): 5. http://dx.doi.org/10.18352/incontri.10282.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Italian Early modern'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles