To see the other types of publications on this topic, follow the link: Italy – History – 16th century.
Journal articles on the topic 'Italy – History – 16th century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Italy – History – 16th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Rodari, Paola. "Education and science museums. Reflections in Italy and on Italy." Journal of Science Communication 07, no. 03 (September 19, 2008): R01. http://dx.doi.org/10.22323/2.07030701.
Full textAbstract:
The educational function of science museums was born with the first naturalistic collections ever, flourished in 16th-century Italy. The pedagogic thought and the educational experimentations carried out in approximately five century of history have allowed the educational mission of museums to acquire many different facets, drawing a task having an increasingly higher and complex social value. Recent publications explore these new meanings of an old role.
2
Lehmann, L. Th. "Underwater archaeology in 15th and 16th-century Italy." International Journal of Nautical Archaeology 20, no. 1 (February 1991): 9–11. http://dx.doi.org/10.1111/j.1095-9270.1991.tb00290.x.
Full text
3
Borghese, A. "THE LIPIZZANER IN ITALY." Animal Genetic Resources Information 10 (April 1992): 67–73. http://dx.doi.org/10.1017/s1014233900003308.
Full textAbstract:
SUMMARYThe Lipizzaner is one of Europe's most ancient breeds; its history goes back to the early 16th century The original stock came from the North of Italy and Spain; six male lines introduced in the second half of the 18th century and the early 19th century, from Naples, the Austro-Hungarian empire, Denmark and Arabia upgraded the breed to its actual standard. The Italian national stud of Montemaggiore is perpetrating the Lipizzaner tradition. The horses are kept under extensive grazing conditions and all six “families” (Napolitano,Conversaro, Favory, Pluto, Maestoso and Siglavy) are present.
4
Медведь, А. Н. "WOOD AND EARTH FORTIFICATIONS IN 16th-CENTURY ITALY -ESTABLISHMENT OF THE TRADITION)." Краткие сообщения Института археологии (КСИА), no. 267 (October 4, 2022): 396–409. http://dx.doi.org/10.25681/iaras.0130-2620.267.396-409.
Full textAbstract:
Статья посвящена истории развития древо-земляной фортификации в Европе второй половины XVI в. Рассматриваются два трактата, посвященные созданию древо-земляных укреплений, - Дж. Лантьери «Duo libri del modo di fare le fortificazioni di terra» (1550-е гг.) и Г. Галилея «Breve Instruzione all’architettura militare» (1590-е гг.). Анализируются особенности создания укреплений, изложенные в этих трактатах, сравниваются технологические приемы, описанные авторами. Проводится сравнение с более ранними итальянскими произведениями на аналогичную тематику. Делается вывод о том, что во второй половине XVI в. в Италии сформировалась и получила свое дальнейшее развитие технологическая традиция создания земляных фортификаций. The article is devoted to the history of the development of wooden and earth fortification in Europe in the 2nd half of the 16th century. We consider two treatises devoted to the creation of wooden and earth fortifications - G. Lantieri «Duo libri del modo di fare le fortificazioni di terra» (1550s) and G. Galileo «Breve Instruzione all’architettura militare» (1590s). We analyze the peculiarities of building fortifications described in these treatises and compare the technological methods described by the authors. A comparison is made with earlier Italian works on the same subject. The conclusion is made that in the second half of the 16th century in Italy was formed and further developed the technological tradition of building earth fortifications.
5
Медведь, А. Н. "GIOVAN BATTISTA BELLUZZI AND HIS «TREATISE ON FORTIFICATIONS OF EARTH»." Краткие сообщения Института археологии (КСИА), no. 264 (December 3, 2021): 376–87. http://dx.doi.org/10.25681/iaras.0130-2620.264.376-387.
Full textAbstract:
Статья посвящена «Трактату о земляных укреплениях» (1554 г.) итальянского фортификатора XVI в. Джамбаттисты Белуцци. Описываются разделы трактата, отмечаются особенности создания земляных укреплений в Италии XVI в. Высказывается гипотеза о связи технологий создания итальянских земляных укреплений и подобных крепостей в Московском великом княжестве. The article is devoted to the «Treatise on earth Fortifications» (1554) written by the military architect of the 16th century Giovan Battista Belluzzi. It describes sections of the treatise, and highlights distinctive features of earthwork fortifications in Italy in the 16th century. According to the hypothesis presented in the paper, there is a link between the technology of building Italian earth fortifications and that of similar fortresses in the Grand Duchy of Moscow.
6
Mann, Vivian, and Daniel Chazin. "Printing, Patronage and Prayer: Art Historical Issues in Three Responsa." IMAGES 1, no. 1 (2007): 91–97. http://dx.doi.org/10.1163/187180007782347557.
Full textAbstract:
Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.
7
LÉVY, TONY. "L'ALGÈBRE ARABE DANS LES TEXTES HÉBRAÏQUES (II). DANS L'ITALIE DES XVe ET XVIe SIÈCLES, SOURCES ARABES ET SOURCES VERNACULAIRES." Arabic Sciences and Philosophy 17, no. 1 (February 12, 2007): 81–107. http://dx.doi.org/10.1017/s0957423907000379.
Full textAbstract:
Until the end of the 14th century, the sources of Hebrew mathematical writings were almost exclusively in Arabic. This was particularly true of texts that contained elements of algebra or algebraic developments. The testimonies we present and analyze here are due to Jewish authors living in Italy, primarily in the 15th century, who made use of the most varied sources, in addition to Arabic: in Castilian, in Italian, and perhaps in Latin. These testimonies constitute both an indication, and a product, of the circulation of Arab algebraic traditions in Renaissance Italy. Simon Moṭoṭ’s book on The Calculation of Algebra stems from the Italian tradition of ‘‘treatises on the abacus’’. Mordekhay Finzi of Mantua is the author of a Hebrew version of the great work on algebra by Abū Kāmil (9th century), as well as of a version, distinct from the preceding, of the Arabic scholar’s introductory exposition. Beginning in 1473, Finzi also translated from Italian to Hebrew the important treatise on algebra by Maestro Dardi of Pisa (1344). We also indicate some 16th century continuations of Hebrew mathematical production, which contain algebraic developments.
8
OLMI, GIUSEPPE. "MOLTI AMICI IN VARIJ LUOGHI: STUDIO DELLA NATURA E RAPPORTI EPISTOLARI NEL SECOLO XVI." Nuncius 6, no. 1 (1991): 3–31. http://dx.doi.org/10.1163/182539191x00010.
Full textAbstract:
Abstracttitle SUMMARY /title During the 16th century research in natural history developed also because of the strong spirit of collaboration animating various scholars. They continuously exchanged scientific informations, specimens and depictions of the three kingdoms of nature. Thus the great obstacle represented by geographic distance was at least partially overcome: whatever a scholar did not manage to see directly, could become known to him with the help of his collegues. Correspondence is with no doubt one of the main sources to help focus on and study these collaborations. In this paper a group of letters preserved in the Trew legacy of the University Library at Erlangen is examined. The major part of the letters were addressed to the German physician Joachim Camerarius, whereas the addressors were four of the most famous naturalists working in Italy during the second half of the 16th century: Francesco Calzolari, Ulisse Aldrovandi, Giuseppe Casabona (Joseph Goedenhuyze) and Ferrante Imperato. Apart from providing abundant information on the activities and on the particular interests of these scientists, these letters also give direct evidence of the intense scientific ties between Italy and Germany at that time.
9
Eamon, William. "Cannibalism and Contagion: Framing Syphilis in Counter-Reformation Italy*." Early Science and Medicine 3, no. 1 (1998): 1–31. http://dx.doi.org/10.1163/157338298x00013.
Full textAbstract:
AbstractThe outbreak of syphilis in Europe elicited a variety of responses concerning the disease's origins and cure. In this essay, I examine the theory of the origins of syphilis advanced by the 16th-century Italian surgeon Leonardo Fioravanti. According to Fioravanti, syphilis was not new but had always existed, although it was unknown to the ancients. The syphilis epidemic, he argued, was caused by cannibalism among the French and Italian armies during the siege of Naples in 1494. Fioravanti's strange and novel theory is connected with his view of disease as corruption of the body caused by eating improper foods. His theory of bodily pollution, a metaphor for the corruption of society, coincided with Counter-Reformation concepts about sin and the social order.
10
Steiris, Georgios. "History and Religion as Sources of Hellenic Identity in Late Byzantium and the Post-Byzantine Era." Genealogy 4, no. 1 (January 31, 2020): 16. http://dx.doi.org/10.3390/genealogy4010016.
Full textAbstract:
Recently, seminal publications highlighted the Romanitas of the Byzantines. However, it is not without importance that from the 12th century onwards the ethnonym Hellene (Ἓλλην) became progressively more popular. A number of influential intellectuals and political actors preferred the term Hellene to identify themselves, instead of the formal Roman (Ρωμαῖος) and the common Greek (Γραικός). While I do not intend to challenge the prevalence of the Romanitas during the long Byzantine era, I suggest that we should reevaluate the emerging importance of Hellenitas in the shaping of collective and individual identities after the 12th century. From the 13th to the 16th century, Byzantine scholars attempted to recreate a collective identity based on cultural and historical continuity and otherness. In this paper, I will seek to explore the ways Byzantine scholars of the Late Byzantine and Post Byzantine era, who lived in the territories of the Byzantine Empire and/or in Italy, perceived national identity, and to show that the shift towards Hellenitas started in the Greek-speaking East.
11
Dechert, Michael S. A. "The Military Architecture of Francesco di Giorgio in Southern Italy." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 161–80. http://dx.doi.org/10.2307/990475.
Full textAbstract:
The role of Francesco di Giorgio (1439-1501) in developing the forms of artillery fortification marking the transition from late medieval defenses to the mature bastioned forts of the 16th century is becoming clearer as additional research has enhanced our knowledge of the chronology of his interventions, the maturation of design elements, and the interlocking personal, institutional, and political factors in his work for the Aragonese Kingdom of Naples. These efforts by Francesco di Giorgio and his associates focused on Naples, Otranto, Gallipoli, Taranto, Manfredonia, Monte Sant'Angelo, Reggio Calabria, Ortona, Matera, and Brindisi. Archival sources, investigation of the sites, and surviving graphic materials contribute substantially to identifying this "school" of military architects and the evolution of design brought about by the technological challenge of gunpowder, firearms, and siege artillery.
12
Tirelli, G., S. Lugli, A. Galli, I. Hajdas, A. Lindroos, M. Martini, F. Maspero, et al. "Integrated Dating of the Construction and Restoration of the Modena Cathedral Vaults (Northern Italy): Preliminary Results." Radiocarbon 62, no. 3 (March 16, 2020): 667–77. http://dx.doi.org/10.1017/rdc.2020.10.
Full textAbstract:
ABSTRACTAfter the last damaging earthquake in 2012, an anti-seismic reinforcement project of the cathedral of Modena was designed giving us the opportunity to investigate and date the building materials. Radiocarbon (14C), optically stimulated luminescence (OSL), and thermoluminescence (TL) dating techniques were performed on the vaults with the aim to (1) clarify the construction timing, (2) define the history of the restorations, and (3) explore the possible correlation of the main restoration works to the earthquake chronology deduced from the historic catalog. Preliminary results show that medieval older bricks were reused for most of the original construction. Only lime and non-gypsum mortar was used for the original construction in the 15th century and for later repair of damage caused by earthquakes in the 16th and 17th centuries. Gypsum mortar was used for later repair in the 18th century. The results show much stronger damage due to earthquakes than previously thought.
13
Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.
Full textAbstract:
After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
14
Lemeshkin, Ilya. "Skaryna’s Оnomastic Variations." Slovene 9, no. 2 (2020): 149–69. http://dx.doi.org/10.31168/2305-6754.2020.9.2.6.
Full textAbstract:
The person of the Belarusian physician Francysk Skaryna unites the cultural-historical space of Western and Eastern Europe in the first half of the 16th century. He was the first publisher in the Grand Duchy of Lithuania, and records about his life and activities can be found in a number of archives in Italy, Poland, Lithuania, Germany, Russia etc. The focus of this study is to examine materials from Prague and Vienna, particularly looking at Skaryna’s horticultural activity (at the court of Ferdinand I in Prague) and at anthroponyms, which may help to make the search for new documents more effective.
15
Nowicka-Jeżowa, Alina. "Poeci polscy doby humanizmu wobec Rzymu / Polish Poets of the Age of Humanism and Rome." Ruch Literacki 53, no. 6 (December 1, 2012): 631–51. http://dx.doi.org/10.2478/v10273-012-0039-6.
Full textAbstract:
Summary Based on earlier research, and especially Tadeusz Ulewicz’s landmark study Iter Romano- -Italicum Polonorum, or the Intellectual and Cultural Links between Poland and Italy in the Middle Ages and the Renaissance (1999) this article examines the influence of Rome - in its role as the Holy See and a centre of learning and the arts - on Poland’s culture in the 15th and 16th century as well as on the activities of Polish churchmen, scholars and writers who came to the Eternal City. The aim of the article is to trace the role of the emerging Humanist themes and attitudes on the shape of the cultural exchange in question. It appears that the Roman connection was a major factor in the history of Polish Humanism - its inner development, its transformations, and the ideological and artistic choices made by the successive generations of the Polish elite. In the 15th century the Roman inspirations helped to initiate the Humanist impulse in Poland, while in the 16th century they stimulated greater diversity and a search for one’s own way of development. In the post-Tridentine epoch they became a potent element of the Poland’s new cultural formation. Against the background of these generalizations, the article presents the cultural profiles of four poets, Mikołaj of Hussów, Klemens Janicjusz, Jan Kochanowski, and Mikołaj Sęp Szarzyński. They symbolize the four phases of the Polish Humanist tradition, which draw their distinctive identities from looking up to the Roman model
16
VOLOGDINA, Nataliya N., and Mikhail A. VOLODIN. "GARDEN AND PARK ENSEMBLES IN THE TOWNS’ HISTORY." Urban construction and architecture 11, no. 3 (December 15, 2021): 104–16. http://dx.doi.org/10.17673/vestnik.2021.03.15.
Full textAbstract:
The narrative motive of the study is the fact of the infl uence of the garden and park ensembles’ construction on the development of cities. The historical periods of the highest fl owering of culture, philosophy, aesthetic ideas, and the development of construction skills have been selected for the work. The authors of the article draw att ention to the theoretical works of the 20th century in Western civilization, considering the city as a natural system. Their connection with the concepts of the 16th- 19th centuries in England, France, Italy, and France is affi rmed. The idea of the city as a natural system is revealed through images and metaphors, which help to understand the place of public landscapes in the history of civilization. The article presents the garden-park complexes, the creation of which changed the urban planning paradigm, initiated the construction of new cities, promoted the replacement of obsolete or lost elements of urban structure. The author suggests the classifi cation of landscape complexes according to their role in the development of urban planning and their infl uence on the artistic culture, architecture and morphology of the city.
17
Lazzaro, Claudia. "Rustic Country House to Refined Farmhouse: The Evolution and Migration of an Architectural Form." Journal of the Society of Architectural Historians 44, no. 4 (December 1, 1985): 346–67. http://dx.doi.org/10.2307/990113.
Full textAbstract:
This study seeks to isolate a distinctive architectural tradition of the countryside in Italy through the examination of a single building type which served, over the course of its history, as both a country house for landowners and a farmhouse for tenant farmers. The hipped-roof block with central hipped-roof belvedere, apparently the invention of Vignola, appeared as a country house in Tuscany and Latium from the 1560s through the early 18th century. The sources of this building type reside in the local traditions of the countryside, castles, and farmhouses, and in the designs for country houses by several architects from the beginning of the 16th century which classicized, but still recalled, existing rural forms. The associations with both landowners and workers made it the preferred building type for the construction of new farmhouses under the land reforms of the late 18th century. This study of the development of a country house type and the characteristics of farmhouse architecture reveals that the two building traditions repeatedly interacted and that no clear distinction between monumental and vernacular architecture can be made, but rather that buildings in the countryside shared a set of symbolic forms particular to their setting.
18
Коваль, В. Ю. "SEARCHING THE «ITALIAN TRACE» IN THE WOOD AND EARTH FORTIFICATION OF THE MEDIEVAL RUSSIA." Краткие сообщения Института археологии (КСИА), no. 267 (October 4, 2022): 410–18. http://dx.doi.org/10.25681/iaras.0130-2620.267.410-418.
Full textAbstract:
Трактат итальянского архитектора первой половины XVI в. Д. Б. Белуцци, в котором изложена технология строительства земляных стен с деревянными внутренними конструкциями, демонстрирует ее принципиальные отличия от средневековой русской древо-земляной фортификации. На территории Руси имеется пока только один пример применения такой технологии при строительстве не сохранившегося до наших дней вала Китай-города в Москве в 1534 г. (да и тот - лишь в летописном тексте). Появление в Италии такой оригинальной технологии связано с противодействием огнестрельной артиллерии, а применение дерева в земляных насыпях может объясняться как отсутствием опыта использования древесины в насыпях, так и следованием рекомендациям Вегеция (V в.), предназначавшимся для строительства валов вокруг лагерей римских войск. The treatise of Giovanni Battista Belluzzi, an Italian architect of the 16th century, that describes the technology of constructing earth walls with wooden structural elements placed inside the walls, demonstrates its principal differences from the medieval Russian wood and earth fortifications. So far, only one example of this technology applied in practice has been recorded for Medieval Russia, it is a Kitai-gorod rampart in Moscow built in 1534 that has not survived (it is mentioned only in a chronicle). Appearance of this original technology in Italy was caused by a need to find protection against fire artillery, while the use of wood in earth ramparts can be explained both by a lack of experience in using wood in earth walls and recommendations of Vegetius (5th century) developed specifically for construction of ramparts around the camps of the Roman troops.
19
Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.
Full textAbstract:
The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
20
Luigina Vezzoli, Claudia Principe, and Chiara Sorbini. "The paleo-lacustrine diatomaceous deposits of Monte Amiata volcano (Tuscany, Italy) and the Ezio Tongiorgi paleontological collection in the Museum of Natural History of the University of Pisa." Annals of Geophysics 64, no. 5 (December 13, 2021): VO553. http://dx.doi.org/10.4401/ag-8634.
Full textAbstract:
At the foothillof Monte Amiata volcano (southern Tuscany, Italy), small extinct lake basins of late Pleistocene age are documented. These lake basins were characterized by the deposition of two very different types of sediment: a) derived from the authigenic precipitation of iron oxides (goethite) and exploited as earth pigments; b) biogenic siliceous sediment composed of fossil diatoms and named diatomaceous earth or diatomite. The lacustrine sediments of Mount Amiata volcano were widely exploited for various applications since ancient times. Literary documents begin in the 16th century, with the descriptions of Cesalpino, Gesner, Agricola, and Imperato. Specific references to the diatomites of Monte Amiata are quoted in the 17th century by Boccone and Bonanno. The quarrying activity was described by Micheli in 1733. During the 18th and 19th centuries, the diatomaceous earths of Monte Amiata are part of the important geological collections of Micheli, Targioni Tozzetti, Baldassarri, Campani, and Tommi. A particular significance has the collection of botanic and ichthyologic fossils collected by Ezio Tongiorgi, and now preserved in the Museum of Natural History of the University of Pisa sited at the Charterhouse of Pisa in the Calci village. These paleontological samples preserve the biological and physical testimonies of the environmental and climatic changes of the late Pleistocene and are now particularly valuable because they are the only remaining evidence of the diatomaceous lacustrine deposits of the paleo-lakes of Monte Amiata. For these reasons, they represent geological materials with a fundamental cultural value.
21
Grossutti, Javier P. "From Guild Artisans to Entrepreneurs: The Long Path of Italian Marble Mosaic and Terrazzo Craftsmen (16th c. Venice – 20th c. New York City)." International Labor and Working-Class History 100 (2021): 60–86. http://dx.doi.org/10.1017/s0147547920000253.
Full textAbstract:
AbstractMarble mosaic and terrazzo were a very common type of stone paving in Venice, Italy, especially between the sixteenth and eighteenth centuries. Throughout the period, migrant craftsmen from the nearby Alpine foothills area of Friuli (in northeastern Italy) virtually monopolized the Venetian marble mosaic and terrazzo trade. Thus, on February 9, 1583, the Venetian Council of Ten granted maestro (master) Sgualdo Sabadin from Friuli and his fellow Friulian workers of the arte dei terazzeri (art of terrazzo) the capacity to establish a school guild dedicated to St. Florian. The first chapters of the Mariegola de’ Terazzeri (Statutes of the Terrazzo Workers Guild), which set the rules for the guild of terrazzo workers, was completed three years later, in September 1586.From the 1830s onward, Friulian craftsmen began to export their skills and trade from Venice across Europe and later, at the turn of the twentieth century, overseas to several American cities. Prior to reaching America, mosaic and terrazzo workers left from their work places outside Italy, initially from Paris. Friulian mosaic and terrazzo workers were regarded as the “aristocracy” of the Italian American building workforce due to their highly specialized jobs: This contrasted with the bulk of Italians in the United States who were largely employed as unskilled. The New York marble mosaic- and terrazzo-paving trade was completely in the hands of the Italian craftsmen, who demonstrated a strong tendency to become entrepreneurs. They made use of their craftsmanship comparative advantages to build a successful network of firms that dominated the domestic market, in a similar fashion to what had already been occurring in France, Germany, the United Kingdom, and other European countries.This paper argues that immigrants can be powerful conduits for the transfer of skills and knowledge, and emphasizes the importance of studying skilled migrant artisan experiences. A closer look at ethnic migration flows reveals a variety of entrepreneurial experiences, even in groups largely considered unskilled. The Italian marble mosaic and terrazzo workers’ experience sheds new light on ethnic entrepreneurship catering for the community as a whole, it reveals a remarkable long-lasting craftsmanship experience, thus demonstrating the successful continuity in business ownership and the passing down of craftsmanship knowledge across family generations. Creativity skills and innovative productive methods adopted by firms appear as a key factor that allowed these artisans to control the trade for such a long time.
22
Szymanowicz, Adam. "Cossacks in the service of the Third Reich." Scientific Journal of the Military University of Land Forces 195, no. 1 (March 17, 2020): 87–102. http://dx.doi.org/10.5604/01.3001.0014.0263.
Full textAbstract:
The origins of Cossacs probably date back to the 15th and 16th centuries. Cossacks appeared both in the south-eastern areas under the authority of the Commonwealth and in the south-west of Moscow. They played a significant role in the history of our country, fighting together with the Crown and Lithuanian armies in the wars against the Tatars, Turks, Moscow and Sweden. However, they also caused uprisings which seriously weakened the Commonwealth. In the 16th century, Cossack troops in the service of the rulers of Moscow were formed, used for conquests made by this country. Cossacks also suppressed uprisings and rebellions against tsarist authorities. During the civil war in Russia, a significant part of them sympathized with the Whites. After the Bolshevik occupation of the Cossack territories, there was repression compared by Lenin to the Vendée genocide during the French Revolution. Persecution also took place there during the collectivization and the Great Terror. Many Cossacks emigrated. Some of them in Germany, where they later began cooperation with the Nazis, especially after the Third Reich’s aggression against the USSR. After occupying the Cossack territories, the German authorities created local Cossack self-government structures. The first Cossack formations fighting on the Wehrmacht side also began to appear. During the war, tens of thousands of Cossacks who fought in German uniforms in the USSR, occupied Poland, Yugoslavia and northern Italy. They were used primarily to conduct anti-partisan activities. At the end of the war, the Cossacks tried to avoid Soviet captivity and surrender to the Western Allies’ troops. However, as a result of the British-Soviet agreement, they were handed over to the Soviet authorities, which condemned them to a tragic fate.
23
Heller, Marvin J. "The Bath-Sheba/Moses de Medina Salonika Edition of Berakhot: An Unknown Attempt to Circumvent the Inquisition's Ban on the Printing of the Talmud in 16th-Century Italy." Jewish Quarterly Review 87, no. 1/2 (July 1996): 47. http://dx.doi.org/10.2307/1455216.
Full text
24
Seville, Adrian. "The Game of the Sphere or of the Universe — a Spiral Race Game from 17th century France." Board Game Studies Journal 10, no. 1 (September 1, 2016): 1–16. http://dx.doi.org/10.1515/bgs-2016-0001.
Full textAbstract:
Abstract Simple race games, played with dice and without choice of move, are known from antiquity. In the late 16th century, specific examples of this class of game emerged from Italy and spread rapidly into other countries of Europe. Pre-eminent was the Game of the Goose, which spawned thousands of variants over the succeeding centuries to the present day, including educational, polemical and promotional variants.1 The educational variants began as a French invention of the 17th century, the earliest of known date being a game to teach Geography, the Jeu du Monde by Pierre Duval, published in 1645. By the end of the century, games designed to teach several of the other accomplishments required of the noble cadet class had been developed: History, the Arts of War, and Heraldry being notable among them. A remarkable example of a game within this class is the astronomical game, Le Jeu de la Sphere ou de l’Univers selon Tycho Brahe, published in 1661 by E(s)tienne Vouillemont in Paris. The present paper analyses this game in detail, showing how it combines four kinds of knowledge systems: natural philosophy, based on the Ptolemaic sphere; biblical knowledge; astrology, with planetary and zodiacal influences; and classical knowledge embodied in the names of the constellations. The game not only presents all four on an equal footing but also explores links between them, indicating some acceptance of an overall knowledge-system. Despite the title, there is no evidence of the Tychonian scheme for planetary motion, nor of any Copernican or Galilean influence. This game is to be contrasted with medieval race games, based on numerology and symbolism, and with race games towards the end of the Early Modern period in which science is fully accepted.
25
Adler, Kraig. "The Development of Systematic Reviews of the Turtles of the World." Vertebrate Zoology 57, no. 2 (October 31, 2007): 139–48. http://dx.doi.org/10.3897/vz.57.e30894.
Full textAbstract:
Turtles are one of nature’s most immediately recognizable life forms. They are an ancient group of vertebrateswith a rich fossil history whose natural limits have long been recognized by naturalists. Indeed, the monophylyof this order has never been seriously questioned. The use of turtles and their eggs as food and for medicinaland ceremonial purposes has made them of importance to mankind since prehistoric times. As such, cheloniansfigured prominently in the earliest museum collections, all of them privately owned, including that of the Ital-ian physician and encyclopedist of nature, Ulisse Aldrovandi of Bologna, in the late 16th century and the collec-tions amassed in Amsterdam by the wealthy pharmacist and amateur naturalist, Albertus Seba, early in the 18thcentury. The first books devoted exclusively to turtles were on their anatomy. Giovanni Caldesi, physician tothe last grand duke of Tuscany, and Christoph Gottwald, a physician and collector of natural history curiositiesin Danzig, published their treatises on chelonian morphology in 1687 and 1781, respectively, the latter beingissued eight decades after Gottwald’s death. Neither author, however, provided a comprehensive review of theworld’s turtles.
26
Pandžić, Zvonko. "Von Coimbra nach Tobol’sk." Historiographia Linguistica 44, no. 1 (July 21, 2017): 72–134. http://dx.doi.org/10.1075/hl.44.1.03pan.
Full textAbstract:
Summary Worldwide missionary activities from the 16th century onward were not limited to the New World and overseas in general, but also in East Central Europe in the wake of sectarian struggles following the Reformation. Soon after the Tridentine Council (1545–1563), the Jesuits spread their activities to all countries between the Baltic and Adriatic Seas. Not only Catholic but also Lutheran and Calvinist missionaries went to Poland-Lithuania, Hungary, Slovenia, and other countries. The first Polish grammar (Statorius 1568) was published principally for the Calvinist mission in Poland, while the first Slovenian grammar was printed in Wittenberg (Bochorizh 1584) for the use of Lutheran missionaries in the predominantly Catholic Slovenia. This article examines the missionary background and the vernacular character of two further missionary grammars of the Slavic languages. The first Croatian grammar by Bartul Kašić (1575–1650) was printed in Rome for the use of Catholic Jesuit missionaries from Italy working in Illyricum (Kašić 1604). Kašić’s choice of the što-dialect to be the literary norm in missionary publications substantially determined the further standardization history of the Croatian language. Almost a hundred years later H. W. Ludolf (1696) succeeded in printing the first Russian grammar for the Lutheran-Pietistic mission in Muscovy, a milestone on the way to the “refinement” of the Russian vernacular intended by Ludolf to make it the literary language of the Russian Empire. The first grammars of the Slavic vernacular languages can, therefore, be rightly called missionary grammars. This designation also applies to the first grammars of the non-Slavic languages in the Baltic States and Hungary (and, beyond Europe, in the largely Eastern Orthodox Armenia and Ethiopia). Whatever their sect, the authors of these missionary grammars were motivated by rivalry with other Christian denominations in Slavic and non-Slavic speaking countries of the Christian East.
27
González-Peñas, Vettorazzi, Lizarraga, Azqueta, and López de Cerain. "Report of the IVth Workshop of the Spanish National Network on Mycotoxins and Toxigenic Fungi and Their Decontamination Processes (MICOFOOD), Held in Pamplona, Spain, 29–31 May 2019." Toxins 11, no. 7 (July 16, 2019): 415. http://dx.doi.org/10.3390/toxins11070415.
Full textAbstract:
The present publication collects the communications presented in the IV Workshop of the Spanish National Network on Mycotoxins and Toxigenic Fungi and their Decontamination Processes (MICOFOOD), held in the School of Pharmacy and Nutrition of the Universidad de Navarra (Pamplona, Spain) from the 29 to the 31 May 2019. More than 70 professionals from academia, the industry and public services have participated. The scientific program included: five sessions: sponsors (presentation and services), toxigenic fungi, toxicology, analysis and control, and reduction and prevention strategies. In total, 18 oral communications and 24 posters were presented. It is worth mentioning the high participation and quality of the communications from PhD students. The invited conference, entitled: “Mycotoxins within the framework of exposure assessment: past present and future”, was given by Dr. Barbara de Santis (Istituto Superiore di Sanità, Rome, Italy). The meeting ended with the roundtable: “From feed to fork: safe food without mycotoxins”, where representatives of feed and agrofood companies and public administrations discussed about the current situation and problems related with mycotoxins. Different prizes were awarded for the best oral presentation (Effect of Staphylococcus xylosus on the growth of toxigenic moulds in meat substrates, by E. Cebrian et al., University of Extremadura), and the best posters (Combined toxicity of aflatoxins and ochratoxin A: A systematic review by M. Alonso-Jaúregui et al., Universidad de Navarra; and Application of natamycin in products affected by toxigenic fungi by Torrijos et al., Universitat de València). The participants had the opportunity to learn about the history and gastronomy of Pamplona. Situated in the north of Spain, Pamplona is a city of Roman origin featuring a large gothic cathedral complex and a Vauban citadel of the 16th century.
28
Combes, Liz. "16th- and 17th-Century Italy." Musical Times 136, no. 1826 (April 1995): 194. http://dx.doi.org/10.2307/1004173.
Full text
29
Huzain, Muh. "PENGARUH PERADABAN ISLAM TERHADAP DUNIA BARAT." Tasamuh: Jurnal Studi Islam 10, no. 2 (November 7, 2018): 355–77. http://dx.doi.org/10.32489/tasamuh.41.
Full textAbstract:
The emergence of Islam influenced the revolution and made a wave of culture toward a new world when experiencing an era of darkness. The progress of Greek civilization in the West could not be continued by the Roman empire and Roman domination in the classical era until the middle ages; which was then the rise of the West in the era of renaissance in the 14-16th century. This paper will reveal the influence of Islam on the development of the Western world, since the emergence of contact between Islam with the West in the Classical era until the middle ages. There are different opinions among historians about who and when the first contact between Islam and the West took place. The first contact, however, occurred when the areas of East Roman government (Byzantium), Syria (638) and Egypt (640) fell into the hands of the Islamic government during the reign of Caliph 'Umar bin Khaţţāb. The Second contact, at the beginning of the eighth and ninth centuries occurred when the kings of Islam were able to rule Spain (711-1472), Portugal (716-1147), and important Mediterranean islands such as Sardinia (740-1050), Cicilia (827-1091), Malta (870-1090) as well as several small areas in Southern Italy and French Southern France. The third contact, took place in Eastern Europe from the fourteenth to early twentieth century when the Ottoman empire ruled the Balkan peninsula (Eastern Europe) and Southern Russia. The Ottoman empire's powers in Europe covered Yunāni, Bulgaria, Albania, Romania, Yugoslavia, Hungary, parts of Rhode, Cyprus, Austria and parts of Russia. Of the three periods of contact, the greatest influence was in the second contact period, where the decline of Western science in the dark era, while in the Islamic world developed advanced and produces scientists, thinkers and intellectuals in various sciences. This influence can be seen from the sending of students studying to the university of Islamic area, the establishment of the university, the translation and copying of various scientific literature such as natural science (Science of astronomy, Mathematics, Chemistry, Pharmacy, medicine, architecture etc) and Social Science history, philosophy, politics, economics, earth sciences, sociology, law, culture, language, literature, art, etc.). The Historians recognize that the influence of Islamic civilization is very great on the development of the West, which culminated in the renaissance or rise of Western civilization in Europe after the dark era.
30
Nesterova, Tamara. "TIGINA CASTLE IN BENDERY FORTRESS." Current Issues in Research, Conservation and Restoration of Historic Fortifications 17, no. 2022 (2022): 114–32. http://dx.doi.org/10.23939/fortifications2022.17.114.
Full textAbstract:
The Bender fortress - the largest fortification in Moldova, consisting of a castle and a stone-earth fortress, was used by the 14th Army of the Russian Federation until 2008. Therefore for a long time, it was inaccessible for field studies, which soon revealed the contradiction between the accepted history and architecture. Two historical documents - the history of Sultan Suleiman about the construction of the fortress in 1538 and the memoirs of a traveler of the 17th century. Evlia Celebi determined the official record of the foundation of the stone fortress called Benders, closing the topic of the fortress's history before the Ottoman rejection, previously known in the sources as Tighina. A study of the castle's architecture and its comparison with graphic materials and historical photographs revealed that the current state had preserved enough details and traces of structures dating back to its construction before the use of artillery in defense. Among them: traces of the upper battle on the towers, adaptations for the mosque of the second tier of the entrance tower, the absence of walls facing the courtyard of the prismatic towers, a filled-in ditch near the walls of the castle - all these features indicate that, according to one of the most likely versions, the builders of the castle Tighina were Genoese. An analysis of graphic images and photographs of the castle, made before the architectural degradation of the structure, revealed the missing details that indicate features characteristic of the period before the probable construction of 1538. The castle's architecture was two centuries older than it is currently dated based on historical research, corresponding to a time before the use of firearms and artillery. This is evidenced by the loss of the first moat arranged near the walls of the castle, the wooden galleries on the top of the towers, from which the exit openings to the galleries and sockets from the consoles have been preserved, the missing walls of the prismatic towers facing the courtyard, similar to fortresses in northern Italy. The arrangement of the mosque in the second tier of the entrance tower was carried out later, for which it was necessary to dismantle the stone vault of the entrance passage, replacing it 2.0 m lower with a flat ceiling, and to arrange the entrance to the mosque several steps below the fighting passage, etc. Round artillery loopholes replaced vertical embrasures for bow and arrow defense. The Tighinsky castle was not made of wood and earth; a stone made by Turkish builders did not replace it - it is the same castle mentioned in 1408 as a guardhouse and customs house, and the details indicate a specific time and architectural and cultural region of influence. During the Turkish period, the Upper Fortress and a second moat were built at a distance from the castle, along the inner edge of which, on three sides, bastions for artillery, characteristic of the 16th century, were arranged, from which a tower with a drawbridge was preserved - it seems that this is all that was preserved from Mimar Sinan's contribution to the strengthening of the Bender Castle.
31
Zuhaidi, Nurshuhadah, and Hakim Zainal. "Sejarah Perkembangan Tatabahasa Arab di Dunia Barat oleh Orientalis Pada Kurun 16M-19M." ‘Abqari Journal 25, no. 1 (September 27, 2021): 63–79. http://dx.doi.org/10.33102/abqari.vol24no2.361.
Full textAbstract:
Abstract
The clash of Islamic civilization and the Western world has led to the transfer of Islamic sciences by Western orientalists. The sciences have been translated by orientalists into various languages such as Spanish, Latin, Italian and German. Among the sciences that have been translated is the knowledge of Arabic grammar. This knowledge of Arabic grammar is not only translated but also processed and adapted to the society in the Western world by seven orientalists of Arabic grammar. Accordingly, this writing aims to describe the history of the development of Arabic grammar in the Western world by seven orientalists in the period 16M-19M. The methodology of this study is qualitative which focuses on the framework of historical research methodology that is through the process of heuristics, criticism, interpretation and synthesis of sources. The results of the study found that the emergence of the discipline of Arabic grammar in the West began in the 16th century and was developed by seven orientalists in stages through their work.
Keywords: History of Arabic grammar, orientalists, Arabic grammarians, nahw al-cArabiy.
Abstrak
Pertembungan tamadun Islam dan dunia Barat telah membawa kepada perpindahan ilmu-ilmu Islam oleh orientalis. Ilmu-ilmu telah diterjemahkan oleh orientalis ke dalam pelbagai bahasa seperti Sepanyol, Latin, Itali dan Jerman. Antara ilmu-ilmu yang telah diterjemahkan ialah ilmu tatabahasa Arab. Ilmu tatabahasa Arab ini bukan hanya diterjemahkan malah turut diolah dan disesuaikan dengan masyarakat di dunia Barat oleh tujuh orang orientalis tatabahasa Arab. Sehubungan itu, penulisan ini bertujuan untuk menghuraikan sejarah perkembangan tatabahasa Arab di dunia Barat oleh tujuh orang orientalis pada kurun 16M-19M. Metodologi kajian ini bercirikan kualitatif yang berfokus kepada kerangka metodologi penyelidikan sejarah iaitu melalui proses heuristik, kritik, tafsiran dan sintesis sumber. Hasil kajian mendapati bahawa kemunculan disiplin ilmu tatabahasa Arab di Barat telah bermula pada kurun ke-16M dan dikembangkan oleh tujuh orang orientalis secara berperingkat menerusi karya mereka.
Kata kunci: sejarah tatabahasa Arab, orientalis, sarjana tatabahasa Arab, nahw al-cArabiy
32
Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
Full textAbstract:
In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
33
Huzain, Muh. "Pengaruh Peradaban Islam Terhadap Dunia Barat." TASAMUH: Jurnal Studi Islam 10, no. 2 (September 3, 2018): 355–77. http://dx.doi.org/10.47945/tasamuh.v10i2.77.
Full textAbstract:
The emergence of Islam influenced the revolution and made a wave of culture toward a new world when experiencing an era of darkness. The progress of Greek civilization in the Westcould not be continued by the Roman empire and Roman domination in the classical era until the middle ages; which was then therise of the West in the era of renaissance in the 14-16th century.This paper will reveal the influence of Islam on the development of the Western world, since the emergence of contact between Islam with the West in the Classical era until the middle ages. There are different opinions among historians about who and when the first contact between Islam and the West took place. The first contact, however, occurred when the areas of East Roman government (Byzantium), Syria (638) and Egypt (640) fell into the hands of the Islamic government during the reign of Caliph 'Umar bin Khaţţāb. The Second contact, at the beginning of the eighth and ninth centuries occurred when the kings of Islam were able to rule Spain (711-1472), Portugal (716-1147), and important Mediterranean islands such as Sardinia (740-1050), Cicilia (827-1091), Malta (870-1090) as well as several small areas in Southern Italy and French Southern France. The third contact, took place in Eastern Europe from the fourteenth to early twentieth century when the Ottoman empire ruled the Balkan peninsula (Eastern Europe) and Southern Russia. The Ottoman empire's powers in Europe covered Yunāni, Bulgaria, Albania, Romania, Yugoslavia, Hungary, parts of Rhode, Cyprus, Austria and parts of Russia. Of the three periods of contact, the greatest influence was in the second contact period, where the decline of Western science in the dark era, while in the Islamic world developed advanced and produces scientists, thinkers and intellectuals in various sciences. This influence can be seen from the sending of students studying to the university of Islamic area, the establishment of the university, the translation and copying of various scientific literature such as natural science (Science of astronomy, Mathematics, Chemistry, Pharmacy, medicine, architecture etc) and Social Science history, philosophy, politics, economics, earth sciences, sociology, law, culture, language, literature, art, etc.). The Historians recognize that the influence of Islamic civilization is very great on the development of the West, which culminated in the renaissance or rise of Western civilization in Europe after the dark era.
34
Rizzo, Mario. "The hub of the system. Discussions and perceptions regarding the geopolitical role of Milan in the 16th century." Pedralbes. Revista d'Història Moderna 41 (December 21, 2021): 39–89. http://dx.doi.org/10.1344/pedralbes2021.41.2.
Full textAbstract:
The article studies the geopolitical role of the State of Milan during the 16th century, as it was perceived and discussed by both members of the Habsburg ruling class as well as Italian writers, politicians and diplomats who did not belong to those circles nor were under their influences. The analysis starts with the early years of the century and subsequently covers the period of the Wars of Italy and then the second half of the century, when the new international context created by the peace of Cateau Cambrésis gave rise to a complex interplay between continuity and change.
Keywords: geopolitics, 16th-century Italy, Milan, Habsburg Empire.
35
Liugaitė-Černiauskienė, Modesta. "Ballads in Oral and Written Tradition: Retrospective Research Survey." Tautosakos darbai 55 (June 25, 2018): 13–35. http://dx.doi.org/10.51554/td.2018.28497.
Full textAbstract:
The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ballads used to be popular in Great Britain, the Netherlands, France, Italy, Spain, Germany, and subsequently in America. However, although spread and promoted by the press, the ballads hardly ascended the field of interest of the educated elite, remaining instead in the “lower” spheres of the popular culture.The first collectors of ballads from the 18th century (the “antiquarian period”) paid little attention to the sources of their material, being instead very keen on improving and elaborating of the ballad texts, and presenting them as creative manifestations of the “original bard” or the “national muse”. After the collections by Thomas Percy and Walter Scott appeared, William Motherwell turned back to the still thriving ballad tradition. This Scottish scholar, followed by his Danish colleague Svend Grundtvig and the American Francis James Child founded the modern ballad folklore research, since their collections represented the oral folk tradition rather than engaging in search for the “original” folk ballads. The subsequent researchers, influenced by the Child’s ballad scholarship (Phillips Barry, Cecil J. Sharp, Olive D. Campbell, Louise Pound, Henry M. Belden, etc.), continued investigating the American ballad legacy. However, while collecting and encouraging to further collect the surviving ballads they increasingly realized the huge distance between their endeavors and the Child’s collection. The heterogeneous and fragmented nature of the ballads from the oral tradition was increasingly recognized and acknowledged, along with unavoidable impact of the written and printed sources.Barre J. Toelkien, the scholar belonging to even later generation, attempted methodical indexing of the oral ballads belonging to the Child’s collection. Dianne M. Dugaw in turn suggested that assuming the non-written songs, those from the oral tradition, being inherently different from the printed ones had largely affected the way in which folklore researchers perceived and interpreted folksongs. She concluded that differences devised between the written and non-written, between commercial and non-commercial forms were frequently just illusive, since commercial dissemination constituted an integral part of the folksongs development.In view of the confluence of the oral and written traditions surveyed in this article, it is reasonable to conclude that written culture, or rather the popular press, constituted a significant factor affecting the existence of folk ballads in the West; because of obvious reasons, such culture was absent in old-time Lithuania. Contrary to Lithuania, the ballad tradition of the West was nurtured by the written and printed sources. Therefore, the Lithuanian case could present a kind of thought experiment to the folklore researcher, vividly illustrating the plausible ballad tradition development in the West, if it could be unaffected by such phenomena as printed texts in native languages, readily available to the common people.
36
Augelli, Francesco, Valentina Nicola, Floriana Petracco, and Letizia Clementina Ronchi. "The Structural Concept of the 16th Century Floors of the Ducal Palace in Sabbioneta (Mantua, Italy)." Advanced Materials Research 778 (September 2013): 857–64. http://dx.doi.org/10.4028/www.scientific.net/amr.778.857.
Full text
37
Baruchson, Shifra Z. "Jewish Libraries: Culture and Reading Interests in 16th Century Italy." Library History 10, no. 1 (January 1994): 19–26. http://dx.doi.org/10.1179/lib.1994.10.1.19.
Full text
38
Baldini, Riccardo M., Giovanni Cristofolini, and Carlos Aedo. "The extant herbaria from the Sixteenth Century: a synopsis." Webbia 77, no. 1 (April 20, 2022): 23–33. http://dx.doi.org/10.36253/jopt-13038.
Full textAbstract:
A synthetic synopsis of the herbaria of the 16th century is provided. The list is in chronological order and resumes the general information on the earliest herbaria from the XVI century facilitating the access by the scientific community to this important source of historical information. Fifteen herbaria are listed, of which the oldest date back to the first half of the 16th century. Nine originated in Italy, three in Switzerland, two in Germany and one in France. For each herbarium, data are provided on chronology, geographical origin, format and extent, current place of conservation, and information on cataloguing and digital accessibility when available.
39
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
40
Bernstein, J. A. "Publish or perish? Palestrina and print culture in 16th-century Italy." Early Music 35, no. 2 (May 1, 2007): 225–36. http://dx.doi.org/10.1093/em/cam028.
Full text
41
Lehner, Peter, and Annemarie Julen. "A man's bones with 16th-century weapons and coins in a glacier near Zermatt, Switzerland." Antiquity 65, no. 247 (June 1991): 269–73. http://dx.doi.org/10.1017/s0003598x00079722.
Full text
42
Joost-Gaugier, Christiane L., Colin Rowe, and Leon Satkowski. "Italian Architecture of the 16th Century." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 605. http://dx.doi.org/10.2307/20477014.
Full text
43
Konstam, R. A. "16th century naval tactics and gunnery." International Journal of Nautical Archaeology 17, no. 1 (February 1988): 17–23. http://dx.doi.org/10.1111/j.1095-9270.1988.tb00619.x.
Full text
44
Kulbaka, Jacek. "From the history of disabilities (16th-19th century)." Biuletyn Historii Wychowania, no. 38 (October 11, 2019): 19–37. http://dx.doi.org/10.14746/bhw.2018.38.2.
Full textAbstract:
The article presents various circumstances (social, legal, philosophical and scientific) connected with the care, upbringing and education of people with disabilities from the early modern era to the beginning of the 20th century. Particular attention was to the history of people with disabilities in the Polish lands. The author tried to recall the activity of leading educational activists, pedagogues and scientists – animators of special education in Poland, Europe and the world. The text also contains information related to the activities of educational and upbringing institutions (institutional, organisational, methodological and other aspects).
45
Pisano, Raffaele, and Paolo Bussotti. "ON POPULARIZATION OF SCIENTIFIC EDUCATION IN ITALY BETWEEN 12TH AND 16TH CENTURY." Problems of Education in the 21st Century 57, no. 1 (December 25, 2013): 90–101. http://dx.doi.org/10.33225/pec/13.57.90.
Full textAbstract:
Mathematics education is also a social phenomenon because it is influenced both by the needs of the labour market and by the basic knowledge of mathematics necessary for every person to be able to face some operations indispensable in the social and economic daily life. Therefore the way in which mathematics education is framed changes according to modifications of the social environment and know–how. For example, until the end of the 20th century, in the Italian faculties of engineering the teaching of mathematical analysis was profound: there were two complex examinations in which the theory was as important as the ability in solving exercises. Now the situation is different. In some universities there is only a proof of mathematical analysis; in others there are two proves, but they are sixth–month and not annual proves. The theoretical requirements have been drastically reduced and the exercises themselves are often far easier than those proposed in the recent past. With some modifications, the situation is similar for the teaching of other modern mathematical disciplines: many operations needing of calculations and mathematical reasoning are developed by the computers or other intelligent machines and hence an engineer needs less theoretical mathematics than in the past. The problem has historical roots. In this research an analysis of the phenomenon of “scientific education” (teaching geometry, arithmetic, mathematics only) with respect the methods used from the late Middle Ages by “maestri d’abaco” to the Renaissance humanists, and with respect to mathematics education nowadays is discussed. Particularly the ways through which mathematical knowledge was spread in Italy between late Middle ages and early Modern age is shown. At that time, the term “scientific education” corresponded to “teaching of mathematics, physics”; hence something different from what nowadays is called science education, NoS, etc. Moreover, the relationships between mathematics education and civilization in Italy between the 12th and the 16th century is also popularized within the Abacus schools and Niccolò Tartaglia. These are significant cases because the events connected to them are strictly interrelated. The knowledge of such significant relationships between society, mathematics education, advanced mathematics and scientific knowledge can be useful for the scholars who are nowadays engaged in mathematics education research. Key words: Abacus schools, mathematics education, science & society, scientific education, Tartaglia
46
Borzacconi, Angela. "Technological Aspects of 16th Century Ceramics Production in Castelnovo del Friuli, Italy." Materials and Manufacturing Processes 24, no. 9 (July 24, 2009): 1041–47. http://dx.doi.org/10.1080/10426910902987390.
Full text
47
Cacciotti, Riccardo, Veronika Petráňová, and Dita Frankeová. "Understanding the 16th century coastal watchtowers: Material characterisation of Torre Gregoriana (Italy)." Construction and Building Materials 93 (September 2015): 608–19. http://dx.doi.org/10.1016/j.conbuildmat.2015.06.013.
Full text
48
Giuffra, V., R. Bianucci, M. Milanese, and G. Fornaciari. "A probable case of non-syndromic brachycephaly from 16th century Sardinia (Italy)." International Journal of Paleopathology 3, no. 2 (June 2013): 134–37. http://dx.doi.org/10.1016/j.ijpp.2013.05.005.
Full text
49
Waddell, Peter J. A. "The disassembly of a 16th century galleon." International Journal of Nautical Archaeology 15, no. 2 (May 1986): 137–48. http://dx.doi.org/10.1111/j.1095-9270.1986.tb00562.x.
Full text
50
Bellusci, David. "Gasparo Contarini: From Scholasticism to Renaissance Humanism." Études maritainiennes / Maritain Studies 26 (2010): 55–67. http://dx.doi.org/10.5840/maritain2010263.
Full textAbstract:
This paper examines the shift from Scholasticism to Renaissance humanism by focussing on the Italian humanist, Gasparo Contarini (1483-1542). The politico-religious climate of 15th-16th century Italy represents the arena in which Contarini developed his philosophy. His studies at the University of Padova where Padovan Aristotelianism dominated reflected the basis of his intellectual formation. The Platonic revival of Renaissance Italy also made its way into Contarini’s humanist philosophy.