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Journal articles on the topic 'Narrative art, Renaissance'
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1
Johnson, Kimberly. "Linear Perspective and the Renaissance Lyric." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 280–97. http://dx.doi.org/10.1632/pmla.2019.134.2.280.
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As recent art historical scholarship has demonstrated, the techniques of linear perspective displace narrative (the artwork's content) in favor of the relations between aesthetic objects (the artwork's form). In this regard, perspectival art performs a rhetorical transaction analogous to that of its “sister art,” lyric poetry. The formal features and poetic strategies of lyric parallel the geometric effects of perspectival art: both practices differentiate the aesthetic surface from the transparentizing demands of narrative. Each art form stages the interaction of irreconcilable terms—content and form—and documents the dynamic and incommensurable relation between semantic meaning and meaninglessness. Lyric's dominance in the Renaissance, exemplified here by sonnets of Sidney and Shakespeare, reflects a wider cultural valorization of the experiential and materializing priorities of the aesthetic, an affirmation of objective, apprehensible elements whose significance is unyoked from the obligation to narrative.
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Regan, Lisa, and Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1210. http://dx.doi.org/10.2307/20477207.
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Erskine-hill, H. "Review: Renaissance Realism: Narrative Images in Literature and Art." Review of English Studies 55, no. 221 (September 1, 2004): 615–17. http://dx.doi.org/10.1093/res/55.221.615.
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Brennan, M. G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/51.4.444.
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Brennan, Michael G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/510444.
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.
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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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Mahmood, Bahaa Najem. "Narrativa in viaggio e incontro con Boccaccio." Al-Adab Journal 1, no. 132 (March 15, 2020): 1–18. http://dx.doi.org/10.31973/aj.v1i132.600.
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L’articolo focalizza l’attenzione sul concetto dell’incontro tra le letterature mondiali, soprattutto la narrativa. Gli esempi che portiamo tendono a dare una visione storica su come il genere narrativo fece il suo viaggio lungo i millenni, partendo dai semplici antichi concetti orientali per arrivare al suo traguardo all’epoca di Giovanni Boccaccio, in Italia, e ripartire nuovamente come vera e propria arte tra le più note partecipanti alla comparsa del Rinascimento europeo.
The article focuses the attention on the concept of meeting among world literatures, especially the Narrative. The examples we take tend to give us a historical look at how the narrative genre made its way through the millennia, starting from the simple ancient concepts to reach its goal at the time of Giovanni Boccaccio in Italy, and to resume again as true Art even among the important participants in the appearance of the European Renaissance
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James, Sara Nair, and Lew Andrews. "Story and Space in Renaissance Art: The Rebirth of Continuous Narrative." Sixteenth Century Journal 28, no. 1 (1997): 375. http://dx.doi.org/10.2307/2543345.
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Charnock, Ian. "Review: Alastair Fowler, Renaissance Realism: Narrative Images in Literature and Art." Art Book 11, no. 2 (March 2004): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00414.x.
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Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.
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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.
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Haughton, Ann, and Ann Haughton. "Myths of Male Same-Sex Love in the Art of the Italian Renaissance." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (September 17, 2015): 65–95. http://dx.doi.org/10.31273/eirj.v3i1.126.
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Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward sexual and social relationships between men.Particular attention is paid here to the manner in which, under the veneer of a mythological narrative, certain works of art embodied a complex set of messages that encoded issues of masculine behaviour and performance in the context of intergenerational same-sex erotic relationships. The primary case studies under investigation for these concerns of gender and sexuality in this particular context are Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524). By incorporating pictorial analysis, social history, and gender and sexuality studies, new possibilities will be offered for evaluating these artworks as visual chronicles of particular sexual and cultural mores of the period. Furthermore, this article will consider how visual representation of these mythic narratives of erotic behaviour between males conformed to the culturally defined sexual and social roles relating to the articulation of power that permeated one of the greatest milestones in art history.
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von Contzen, Eva. "“Both close and distant”: Experiments of form and the medieval in contemporary literature." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 289–303. http://dx.doi.org/10.1515/fns-2017-0019.
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AbstractThis paper argues that some postmodern experimental forms of plot and narrative structure can be thrown into sharper relief by delineating them with medieval narrative practices of plot development. Ali Smith’s 2014 novel How to be both offers an experimental plot that is shaped by the alterity and modernity of medieval and Renaissance art. Drawing on the technique of fresco painting, the novel narrativizes the experience of simultaneity created by recollections of the past in the present. The novel’s two narrative strands – one set in contemporary England, the other in fifteenth-century Italy – are linked in associative and cross-temporal ways and highlight individual experience. Bearing similarities to medieval episodic narratives, the novel maximizes an a-centric narrative design that capitalizes on the reader’s input in motivating the story. Subsequently, Tokyo cancelled (2005) by Rana Dasgupta is briefly discussed as another example of a postmodern novel reminiscent of medieval narrative practices: in this tale collection held together by a very loose framework, plot itself becomes the protagonist as an epitome of modern society’s loss of identity.
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Landauer, Carl. "Erwin Panofsky and the Renascence of the Renaissance." Renaissance Quarterly 47, no. 2 (1994): 255–81. http://dx.doi.org/10.2307/2862914.
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It has long been understood that historians, literary critics, and art historians who write about past cultures use those cultures for present purposes, whether by turning Periclean Athens into an ideal for present-day America or the fall of the Roman empire into an ominous signal for modern empires. German humanists who sought refuge from Nazi Germany had, however, special reasons to use their cultural studies as a strategy of escape. Erich Auerbach in exile in Istanbul and Ernst Robert Curtius in “inner exile” in Bonn provided narratives of European literary history that minimized the contribution of their native culture, and in so reworking the narrative of Western literature, they were able to reshape their own identities. Their reconstructions of past cultures can thus be read as attempts at self-reconstruction. Ultimately, however, the attempt by such scholars to distance themselves from German culture often faltered on the very Germanness of their cultural reconstructions.
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Squire, Michael. "Art and Archaeology." Greece and Rome 66, no. 2 (September 19, 2019): 312–21. http://dx.doi.org/10.1017/s0017383519000123.
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Attributes are fundamental to the study of classical archaeology, just as they are to the discipline of art history at large. When it comes to identifying figures on an Attic vase – or for that matter the subject of a medieval fresco, Renaissance canvas, or Neoclassical statue – scholars regularly rely on the associative value of objects. Consider the ease with which we recognize ‘Heracles’ on the grounds of a club or lionskin; observe, too, how often a spiked wheel is understood to signal ‘St Catherine’, or a golden key to betoken ‘St Peter’. In all these scenarios, viewers have learned to ‘read’ certain objects in certain culturally conditioned sorts of ways. Despite their non-verbal medium, attributes come to function almost like textual labels: inserted within the field of visual representation, they inscribe an identity, narrative backdrop, or semantic context; they anchor the project of critical interpretation – and in doing so take on a significatory logic of their own.
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Cohen, Simona. "Ars simia naturae: The Animal as Mediator and Alter Ego of the Artist in the Renaissance." Explorations in Renaissance Culture 43, no. 2 (December 9, 2017): 202–31. http://dx.doi.org/10.1163/23526963-04302004.
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Past research on animals in Renaissance art has indicated their functions as signifiers of human characteristics. This study demonstrates stages in developments of Renaissance art that illustrate transitions from anthropocentric to theriocentric approaches in animal symbolism, where animals are perceived and valued in their own right. Traditional negative animal symbolism was not relinquished, but new types of animal depictions have testified to new attitudes. Iconography of the dog and the ape, for example, represents two issues relating to human-animal relationships in the Renaissance. Changing conceptions of the dog, its function in artistic narrative, as related to the artist, his self-image and awareness of the spectator, are examined. The ape became a metaphor of the universal artist and clever imitator of nature. While late-sixteenth- and seventeenth-century illustrations referring to artistic imitatio were harshly judicial, the idea of animals as mediators is demonstrated by the artist who tends not only to empathize with animals but also to identify with them.
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McLellan, Dugald. "Story and Space in Renaissance Art. The Rebirth of Continuous Narrative (review)." Parergon 18, no. 2 (2001): 251–52. http://dx.doi.org/10.1353/pgn.2001.0059.
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Findlen, Paula. "The 2012 Josephine Waters Bennett Lecture: The Eighteenth-Century Invention of the Renaissance: Lessons from the Uffizi*." Renaissance Quarterly 66, no. 1 (2013): 1–34. http://dx.doi.org/10.1086/670403.
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This essay explores the role that the eighteenth-century Uffizi gallery played in the invention of the Renaissance. Under the Habsburg-Lorraine rulers, and especially during the reign of Grand Duke Peter Leopold (r. 1765–90), changes to the Medici collections and the gallery’s organization transformed an early modern cabinet of curiosities, paintings, and antiquities into a space in which a historical narrative of art, inspired by rereadings of Giorgio Vasari’s Lives, became visible in a building he designed. A succession of Uffizi personnel was increasingly preoccupied with how to see renaissance, and more specifically Tuscan rinascita, in the collections. The struggles between the director Giuseppe Pelli Bencivenni and his vice-director Luigi Lanzi highlight how different understandings of the Renaissance emerged in dialogue with antiquarianism and medievalism. At the end of the eighteenth century the Uffizi would definitively become a museum of the Renaissance to inspire new forms of historical writing in the age of Michelet and Burckhardt.
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Konik, Roman. "Leonardo północy. O estetyce Albrechta Dürera." Studia Philosophica Wratislaviensia 15, no. 1 (April 15, 2020): 61–69. http://dx.doi.org/10.19195/1895-8001.15.1.5.
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Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy.
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Delis, Tina M. "“The Lord Struck Him Down by the Hand of a Female!” Baroque Artists Depicting Judith in the Renaissance." Journal of Mason Graduate Research 3, no. 3 (June 1, 2016): 143. http://dx.doi.org/10.13021/g8bs3s.
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Gender themed Research Project, using the biblical story of Judith and Holofernes to examine how Baroque artists tackled representing Judith as a female figure who openly subverts the Renaissance gender norms by defeating a male. Focusing on the artists, Michelangelo Merisi da Caravaggio, Orazio Gentileschi and Artemisia Gentileschi, the paper explores through visual analysis how each artist approached representing the gender issue within the biblical narrative in their artwork. The biblical narrative is discussed and two well-disseminated published articles about gender roles are reviewed. Additionally, how the Counter-Reformation and the Catholic Church’s assertive stance for the purpose of art effects how images of Judith are painted.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.
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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.
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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style.
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Fredborg, Karin Margareta. "The Horatian Tradition in Medieval Rhetoric: From the Twelfth-Century “Materia” Commentary to Landino 1482." Rhetorica 38, no. 1 (2020): 32–56. http://dx.doi.org/10.1525/rh.2020.38.1.32.
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Horace's Art of Poetry supplied the medieval schools with the only available classical doctrines on fiction and poetry before Aristotle's Poetics became widely studied in the fifteenth century. Horace exercized both practical and theoretical influence on literary exegesis, and shaped medieval and early Renaissance doctrines of composition by discussing the very nature of fiction, narrative techniques, authorial roles, description of character and tone, including performance and reading of a text. The anonymous commentators as well as the Dante commentator Francesco da Buti (1395) were deeply influenced by the twelfth-century “Materia” Commentary, but also by the Arabic notion of an independent art of poetics, and remained in lively dialogue with the teaching of Ciceronian rhetoric of invention, disposition, elocution, and delivery.
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LeMon, Joel M. "Recasting Genesis in Bronze: Ghiberti's Visual Exegesis in The Gates of Paradise." Biblical Interpretation 20, no. 1-2 (2012): 126–55. http://dx.doi.org/10.1163/156851512x630386.
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AbstractThe bronze doors of Lorenzo Ghiberti (1378–1455) on the east side of the Baptistery at Florence are composed of ten “Albertian Renaissance windows” that depict scenes from the Old Testament in stunning detail. From an art-historical perspective, these panels demonstrate a significant development in Renaissance art. Rather than depicting a single instant in a biblical narrative, Ghiberti's panels combine multiple scenes into one composite image that conveys critical elements of long and complex stories. In the first of these panels, Ghiberti illustrates God's creation of Adam and Eve, the act of disobedience at the tree, and the expulsion from the garden. Ghiberti's organization of these events, his rendering of the characters, and the various details he includes (and omits) provide a window into the mind of a sophisticated exegete. When modern biblical scholars peer through this window, we note that Eve emerges as the central figure, while Adam is a largely peripheral one. We also note how Ghiberti establishes the literary pericope for his visual exegesis in a way that generally accords with modern source-critical hypotheses about Genesis 1-3. Indeed, by illustrating certain elements of the creation story and excluding others, Ghiberti is practicing de facto source criticism. Furthermore, Ghiberti's portrayal of the various characters in the text presaged twentieth- and twenty-first-century feminist readings of Genesis 1-3, as well as modern literary-critical analysis and ethico-theological critiques.
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Long, Jane C. "Dangerous Women: Observations on the Feast of Herod in Florentine Art of the Early Renaissance." Renaissance Quarterly 66, no. 4 (2013): 1153–205. http://dx.doi.org/10.1086/675090.
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AbstractThis article investigates four widely studied versions of the biblical story of the Feast of Herod produced by Florentine artists in the fourteenth and fifteenth centuries: Giotto’s fresco from the Peruzzi Chapel at Santa Croce (ca. 1320), Andrea Pisano’s panels on the south doors of Florence’s baptistery (ca. 1335), Donatello’s relief for the baptismal font at Siena (ca. 1425), and Filippo Lippi’s fresco in the main chapel at the cathedral of Prato (ca. 1465). The study explores how the narrative is interpreted by each artist and suggests social messages that contemporary audiences might have drawn from each interpretation by examining the actions of the figures in light of the teachings of late medieval and early Renaissance didactic literature. Conduct literature allows one to interpret what the works reveal about the story, but also suggests that they could function didactically, in and of themselves. In such a reading, Herodias and Salome are treacherous women: dangerous not only to John the Baptist, but also to Florentine society of the period.
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Gustar, Andrew James. "The Closest Thing to Crazy: The Shocking Scarcity of Septuple Time in Western Music." Journal of the Royal Musical Association 137, no. 2 (2012): 351–400. http://dx.doi.org/10.1080/02690403.2012.717472.
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AbstractThis article considers why septuple metres are so rare in Western music, despite being common in many other cultures. The scene is set by tracing the history of the septuple-time ‘meme’ (an idea that replicates by imitation) from ancient Greece through to Western art and popular music. The following sections consider the psychological, musical and environmental factors in more detail. The scarcity of septuple time in Western music is largely attributable to the development of the time signature, as a vertical conception of music evolved during the Renaissance. Subsequent evolution of the ‘Western music memeplex’ maintained septuple time on its periphery. Analysis of this interaction permits the construction of a meme-centred narrative of aspects of the development of Western music.
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Markov, Alexander V. "GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY." PHILOLOGICAL STUDIES 18, no. 1 (2020): 170–81. http://dx.doi.org/10.17072/1857-6060-2020-18-1-170-181.
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The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.
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Collins, Mary. "Fabritio Caroso’s Balletti: “The dancer’s own language?”." Revista Música 15, no. 1 (April 26, 2015): 49. http://dx.doi.org/10.11606/rm.v15i1.114701.
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In the 16th Century, ladies and gentlemen of noble birth were taught from an early age the art of dancing, necessary to survive in the hierarchical world of the court. A Neo-Platonic perspective on dancing was at the core of Renaissance thinking (Humanism) and persisted throughout the 17th Century. In dance circles the principles of harmony and order in the cosmos, harking back to the classical world of Plato and Quintilian, were already well established in Italy by the end of the 15th Century. The balli were structures consisting of many different rhythmic sections throughout which a playful narrative of love, courtship and drama unfolded. By the second half of the 16th Century, two notable dancing masters, Fabritio Caroso and Cesare Negri, were beginning to record their teaching and advice in manuals, which serve as the first known comprehensive and detailed treatises on court dance. By the late 16th Century, the balletto still involved the theatricality of narrative and contrasting or varying emotions. It was still a performance or game for the spectators as well as for the dancers themselves, despite being performed in a social context. In this article, we take a closer look at two balli presented by Caroso: Ardente Sole and Laura Soave, showing that their structure was inspired by rhetorical principles.
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Lavin, Marilyn Aronberg. "Lew Andrews. Story and Space in Renaissance Art: The Rebirth of Continuous Narrative. Cambridge and New York: Cambridge University Press, 1995. 22b/willus.+ 188 pp. $49.50." Renaissance Quarterly 51, no. 1 (1998): 223–25. http://dx.doi.org/10.2307/2901682.
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Neuman, Robert. "Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949)." Animation 14, no. 2 (July 2019): 149–63. http://dx.doi.org/10.1177/1746847719858678.
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As the last of Disney’s package films in the troubled decade of the 1940s, The Adventures of Ichabod and Mr. Toad (1949) has acquired the reputation of an awkward ‘marriage of convenience’ of two separate stories based on well-known literary properties, one American and one British: Washington Irving’s The Legend of Sleepy Hollow and Kenneth Grahame’s The Wind in the Willows. This article, by reconstructing the gestation of the film over eight years, demonstrates the degree to which the stark contrast between the two halves was not only inevitable but deliberate. This is especially visible in the handling of the narrative – action set pieces for Toad and a full-fledged musical for Ichabod – as well as the art direction, which favors realism for Toad and stylization for Ichabod. An analysis of the marketing campaign shows that the film was presented as a facsimile of the standard double bill of the period, with an A picture and a B picture. In lauding its new cast of sympathetic Disney characters and stories that stimulate a full range of emotional responses, some film critics in Britain and the US compared Ichabod and Mr. Toad favorably to Snow White and the Seven Dwarfs, Dumbo and the Silly Symphonies, calling the film a harbinger of a Disney renaissance – a revival that would be fully realized with the premiere of Cinderella in 1950.
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.
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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).
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Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.
Full textAbstract:
The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.
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Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.
Full textAbstract:
The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.
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Karabykov, Anton V. "Evolution of the Doctrine of Signatures of Things and the Adamic Language in the Chemical Philosophy of the 16th and 17th Centuries." Russian Journal of Philosophical Sciences 63, no. 8 (December 1, 2020): 91–105. http://dx.doi.org/10.30727/0235-1188-2020-63-8-91-105.
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The aim of the paper is to investigate paths along which a transformation of the doctrine of natural signs was developed in works by Paracelsians, forming one of the main religious and philosophic currents of Late Renaissance. The modifications of the doctrine are discussed in a context of intensive speculations on the essence of the primordial language of humankind and on the possibility of its restoration, which can describe the intellectual life of that epoch. It is argued that within “chemical philosophy” the possibility of restoration of the Adamic language directly depends on mastering the art of interpreting natural signs (signatura rerum), which can give a key to correct understanding of nature. And shifts in the conceptualization of such signatures involved transformations in formulating and solving of the Adamistic problems, which did not exclude reverse causation. It is also ascertained that the most orthodox followers of Paracelsus usually appealed to the Adamistic narrative in order to reinforce legitimacy of the symbolic hermeneutics of nature, developed with chiefly medico-pharmacological purposes. Meanwhile, relatively more independent Paracelsians often paid more attention to linguo-philosophic issues. Realizing the deficiency of the doctrine of signatures for reconstruction of the primordial language, they postulated the necessity of one (or two) of the following premises: (a) supplementing the doctrine with a mystical illumination; (b) acceptance of a weaker version, according to which natural signs are just sparse reference points slightly simplifying empirical study of nature; (c) abandonment of search for the Ursprache and constructing its artificial substitute, a universal semiotic system.
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Rone, Vincent. "History and Reception in the Music of The Legend of Zelda Peritexts." Journal of Sound and Music in Games 1, no. 2 (2020): 44–67. http://dx.doi.org/10.1525/jsmg.2020.1.2.44.
Full textAbstract:
This article argues that the music of opening peritexts within two The Legend of Zelda games reflects their reception history and continuity within the series mythology. On the one hand, “The Legendary Hero” peritext of The Wind Waker mirrors the game's reception history as one of departure from a Zelda tradition established by Ocarina of Time, which caused controversy initially yet gained acceptance in the long term. The audiovisual components of “The Legendary Hero” all position gamers to consider the events of Ocarina of Time as old, submerged under the Great Sea. Textual references to “legend” and “myth,” visual cues of antique art and runes, and musical cues harkening to medieval, Renaissance, and Baroque tropes within Western music—all these serve to depart from Zelda tropes. On the other hand, the title-screen peritext of Twilight Princess restores the legacy of Ocarina of Time. Reception of the former always includes its nostalgic, intimately connected relationship to the latter. Consequently, Twilight Princess garnered immediate praise but became problematic in the long term. The audiovisual components of the title-screen peritext position gamers to reestablish continuity with Zelda tropes. Visual and musical cues reach across several previous games and as far back as the original The Legend of Zelda game, all of which orient players back to traditions from which the franchise had departed for years. Thus the music of the peritext enables players to engage in Zelda's potential for self-reference more apparently than its adoption of Western-music tropes, as in Wind Waker. The peritexts of Wind Waker and Twilight Princess complement each other and allow us to understand more critically the reception and historiography of each game, how the music can reveal a deeper understanding of narrative themes characteristic of each game, and their placement within the Zelda mythology.
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Knieža, Skirmantas. "The Intrinsic and Extrinsic. Latinitas in the Research of the Grand Duchy of Lithuania." Literatūra 62, no. 3 (December 14, 2020): 93–110. http://dx.doi.org/10.15388/litera.2020.3.6.
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This paper analyses the reception of Latin language and culture in the research of the Grand Duchy of Lithuania. It focuses on the works of various disciplines – social and cultural history, literary research, art criticism, etc. – and seeks to identify the recurring themes, symbols and topics that comprise homogenous narratives and interpretations. They consolidate the findings of different fields of study and thus allow to analyse the Latinitas of the Grand Duchy of Lithuania as an integral part of the political community’s identity.The symbols of Latin language and culture can be identified as a basis for a Shift from oral to written culture. It conveys the ideas of order and organisation, as it transforms customary law into a codified one, a natural religion into that based on Scripture, etc. It alters the society as well, mainly because writing and written culture marks a shift in identity and behaviour. Also, by focusing on social and educational aspects, the Shift marks an institutional change, which permeates the developments of the state and society as a whole.The multipolar cultural field of the Grand Duchy of Lithuania is described by four cultural models – Polish, Lithuanian, Ruthenian, and Latin. The metaphor of Interaction shows how Latin culture and language is seen as one of the four ideological alternatives that legitimize the state, dynasty and sovereignty.Thirdly, the metaphor of Tension depicts Latinitas as part of the dichotomy between Eastern and Western civilizations by expressing the symbolical content of the latter. This narrative also emphasizes the internal confessional disputes inside the Western Church, and by exploiting the specific understanding of the Renaissance humanism, it becomes a means to understand sociocultural conflicts of the Early Modern state.The interpretation of Latinitas as a communication channel is nested under the metaphor of Medium. Works in this category usually portray Latin language as an expression of a social, economic, political, etc. status quo, which differs in each European state. Latin culture thus helps to articulate national interests and identity, and enables the cultural exchange among the Western countries as well.Finally, by emphasizing the poor literacy of the society and only limited possibilities to learn Latin and acknowledge its cultural code, researchers portray Latinitas as a Secret. The speakers and writers of Latin form a hermetic group, possessing the knowledge of a cultural matrix inaccessible to others. The dignity of Latin language also strengthens the status of vernacular languages, and thus accumulates the process of identity formation.These five narratives exemplify how Latinitas is embedded within the economic, political, and cultural activities of the society. It also depicts the different ways by which it becomes an integrating principle of the identity of the intellectual and political classes in the Grand Duchy of Lithuania. It provides an account of Roman descent, sustains the claim for political sovereignty, and indicates the civilizing process. By adopting those five different narratives, researchers may further analyse Latinitas not only as a separate cultural layer, but as a part of social identity as well.
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Rajavee, Holger. "Kaks geeniust. Lomazzost Diderot'ni." Baltic Journal of Art History 11 (November 30, 2016): 67. http://dx.doi.org/10.12697/bjah.2016.11.04.
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The goal of the article is to examine the theoretical and aesthetical views related to art and concerning painters, mainly in the French tradition, from the early 17th to the mid-18th century, starting with works by Gian Paolo Lomazzo and ending with the viewpoints of Denis Diderot. Using different examples from the texts of the key authors of their day, the article’s aim is to show how, starting in the early 17th century, the type of painter who can be described as a “learned genius” starts to develop; and from the beginning of the next, 18th century, this type gradually starts to transform into the subject that can be called a “mad genius” with all the main features of a modern artist.With the introduction of the neo-Platonic Mannerist doctrine of Lomazzo and Federico Zuccari the “learned genius” is now in its embryonic stage of development, differing greatly from the Renaissance painters of an earlier era. The “painter-mystic” is a self-centred person, whose “inner eye” is directly connected through contemplation with the Divine. In the middle of the 17th century, Charles Alphonse du Fresnoy, and especially Giovanni Pietro Bellori, by synthesizing Platonic and Aristotelian ideas, introduce us to the painter who possesses genius. He is freed from Mannerist mysticism and his main goal is to improve the imperfect Nature created by God through mind and reason. And to produce the perfect version of it in art – la belle nature – to achieve the result the artist has constantly developed himself – to learn and observe. The neo-classicist doctrine gradually burdens the genius with certain strict rules to follow; a process that is referred to here as “taming the genius”. So by the end of the 17th century, it is possible to talk about the “learned (but tamed) genius” – a noble, well-taught, reasonable and aesthetically high-minded artist.At the beginning of 18th century changes start occurring in the theoretical art paradigm, starting with Jean-Baptiste Du Bos and his Reflexions critiques sur la poësie et sur la peinture, written in 1719. This marks a new beginning in the development of the painter-genius figure and undoubtedly has significant influence on the writings that will follow on same subject. Du Bos starts to depart from the “reason-centred” painter, emphasizing the moment of sensory perception as the main criteria in the art of painting. There are two main differences from earlier times. Firstly, the author is now talking about a person who already is genius rather than possessing genius, as was the understanding earlier. Secondly, the person is already born a genius, which means that this quality is no longer taught. There aren’t any strict rules to harass the individual inventiveness and creativity of the artist.In the middle of 18th century many theoreticians, such as Jean le Rond d’Alembert, Etienne de Condillac, Voltaire etc, emphasized such important and very individualistic qualities of the painter as inventiveness, imagination, originality, enthusiasm. And they started to connect these to the centuries-old Platonic idea of poetic fury – furor poeticus – a state of mind in which the artist is almost maddened, insane and fully spontaneous while creating art. Denis Diderot is the first author who says outright that a painter-genius “is mad” (qu‘il est fou) and in doing so summons up the ideas of his predecessors.One could say that the different qualities mentioned above have guided the theoretical art narrative to the point where we can talk about the “mad genius”, who is recognized as the creator of art and this is the point where the modern painter-genius, whom we know today, comes to life.
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Chaganti, Seeta. "Proleptic Steps: Rethinking Historical Period in the Fifteenth-Century Dance Manual." Dance Research Journal 44, no. 2 (2012): 29–47. http://dx.doi.org/10.1017/s0149767712000095.
Full textAbstract:
For some time now, scholarly medieval studies have been preoccupied with questions about the relationship between the modern and the premodern, and even about the very meanings of these terms. Medievalists in different fields have thoughtfully re-examined the critical paradigms that rely on a break between the medieval as premodernity, on the one hand, and the early modern as an initiation of modernity, on the other. Such new perspectives on periodization and the Middle Ages have tended to originate in studies of literature, theater, history, and art. The discipline of medieval studies has not, for the most part, considered what dance might contribute to our understanding of the constitution of historical periods such as “medieval” and “early modern.” And yet, basse danse and bassadanza, due to their placement in a fifteenth-century moment variously claimed by both the Middle Ages and the Renaissance, potentially offer much to such discussions of periodization. As a performance, this fifteenth-century dance situates itself in a dynamic transition between the medieval and the early modern, raising questions about the nature, location, and even existence of this periodization boundary. At the same time, however, the instructional and codifying techniques associated with basse danse and bassadanza reinforce a more traditional periodization dynamic, whereby a culture looks back mainly in order to look forward, organizing its ideas about time and history around the mechanism of anticipation. I shall argue in this essay that basse danse and bassadanza reveal a suggestively conflicted perspective on time through the distinction they establish between the temporality of execution and that of instruction. Furthermore, in their espousal of anticipatory strategies, the instruction manuals in particular show how representations of early dance can construct perspectives on historical periodization. Casting into relief thus an occluded narrative about how period borders form and solidify, basse danse and bassadanza additionally offer early period scholarship some new ways to reconsider and dissolve such borders.
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Wipfler, Esther Pia. "Luther im Stummfilm: Zum Wandel protestantischer Mentalität im Spiegel der Filmgeschichte bis 1930." Archiv für Reformationsgeschichte - Archive for Reformation History 98, no. 1 (December 1, 2007): 167–98. http://dx.doi.org/10.14315/arg-2007-0108.
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ABSTRACTThe “Luther film” is still a little-examined source for the Protestant self-image, despite the fact that the medium was employed since 1911 to portray the history of the Reformation. Of the four known silent films on the subject, two are preserved only as copies of a late censored version. There is a clearly recognizable paradigm shift in the portrayal of the reformer over the twenty-year span of these Luther films. Luther is transformed from the romantic aesthete of the “Wittenberger Nachtigall” in 1913 to the hero of the “deutschen Reformation” in 1927. Concerning the earliest films, made in 1911 (“Doktor Martin Luther”) and 1913 (“Wittenberger Nachtigall” renamed “Der Weg zur Sonne” in 1921), the circumstances of and grounds for production are no longer entirely clear. Most likely they were primarily concerned with commercial enterprise, but at the same time they reflected the spirit of the Luther-Renaissance in a popular way. Nevertheless the importance of the silent movie for the transfer of the patterns and images of Lutheran iconography into film cannot be underestimated. A fundamental difference from the later films is the focus of the earlier films’ biographical narrative upon Luther’s wedding. This approach would not be used again until after World War II. The influence of the church can first be demonstrated in the Luther film of 1923. The initiative for the film - in light of the meeting of the Lutheran World Assembly in Eisenach on August 21, 1923 - probably came from the Baron von den Heyden- Rynsch, who was at that time head of the Eisenach city Bureau for Art, Sport and Tourism. The highest church authorities supported the production in two ways: they offered scriptwriting advice and also eventually allowed the film to be distributed through the Evangelical Picture Association (Evangelische Bilderkammer|). However, the resulting film received mixed reviews. This was due not only to deficiencies in the acting, but also to the tentative portrayal of the film’s religious subject matter. “Luther. Ein Film der deutschen Reformation” (1926-1927) was much more professionally and lavishly produced. It completely served the national Protestant propaganda of the Evangelical League (Evangelischer Bund|), which founded the production company. The chairman of the League, the Berlin cathedral pastor and university professor Bruno Döhring, had a decisive influence on the script. The film, which would be in wide release until 1939, effectively extended the cultural conflict between the two leading churches, Catholic and Lutheran. It would finally lead to the sort of denominational conflicts that halted the tradition of Luther films in Germany. (Translation by Heather McCune Bruhn, Pennstate College)
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Nabytovych, Ihor. "BIBLE TOPICS IN THE HISTORICAL PROSE OF UKRAINIAN EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 231–42. http://dx.doi.org/10.17721/psk.2019.35.231-242.
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In the article there are summarized innovative approaches to artistic mastering of Bible topics in creative work of Ukrainian emigration writers of 1920th – 1970th: Natalena Koroleva, Leonid Mosendz and V. Domontovych (Victor Petrov). Ukrainian tradition of mastering Bible topics was interrupted by Russian occupation; it finds its bright artistic embodiment in artistic historical prose of Ukrainian emigration. This artistic experience enriches Ukrainian writing by mastering of Bible topics and motives via Bible stylizations, renaissance or creation of newly created new genre formations, contaminations of religious and historiosophical problems, searches of new narrative strategies of artistic mastering of the Holy Scripture. The article traces the way biblical stylizations become a style-forming means in the Ukrainian prose of the XX century. Historical novels Quid est Veritas?(What is the Truth?) by Natalena Koroleva and The Last Prophet by Leonid Mosendz are the basic works of fiction wherein they, playing forming roles, become an important element in poetic language and style. The way L. Mosendz uses bible stylizations in his novel The Last Prophet results in a special art amplification. The author conditionally expands his text’s sense by dint of bible stylizations and his allusive returning to the semiotic-semantic significance of the “base-text”. As the latter is the Bible (or, rather, the Old Testament), generating the said allusive amplifications, Mosendz’ novel, thus, sounds in several creative aspects. One of them is “filling up” the gaps in evangelical texts about John the Baptist’s life. Such “fillings up” occur both through the author’s fiction and his artistic reconstruction based on historical sources. The transformed and adsorbed through bible stylizations elements of neoclassicism and neo-romanticism create in the stylistic palette of novel Quid est Veritas? that unique stylistic aura, which represents Natalena Koroleva’s experimentalist attempts both in the genre field (her attempt to create a Ukrainian historical epopee representing the epoch historically very remote from the artist) and in the stylistic domain. One more specific feature of Koroleva’s novel – its epic character – is also created by help of bible stylizations. The allocation of the said stylistic macrostructures enables to present the general exhibitions of each of the author’s basic idiostyle elements.
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Slights, William W. E. "The Narrative Heart of the Renaissance." Renaissance and Reformation 38, no. 1 (January 1, 2002): 5–23. http://dx.doi.org/10.33137/rr.v38i1.8746.
Full textAbstract:
Les fictions de tels écrivains que Boccace, Dante, Shakespeare et Harvey ont été influencées par la redécouverte par les anatomistes de la Renaissance des documents de l’Antiquité sur la dissection, ainsi que par des
redéfinitions théologiques du cœur comme le site d’intériorité spirituelle. Ces représentations diverses du cœur apportent de façon paradoxale du réconfort et de la terreur à la fois, en juxtaposant l’incertitude spirituel et le corps matériel. On en obtient un aperçu de la signification de la condition humaine dans un monde de plus en plus perturbé par l’avènement de la science médicale moderne.
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Langer, Ullrich. "The Renaissance Novella as Justice*." Renaissance Quarterly 52, no. 2 (1999): 311–41. http://dx.doi.org/10.2307/2902055.
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AbstractThis essay examines short narrative (the Decameron, the Heptameion, the histoire tragique, and Till Eulenspiegel) as reflections of different models of justice within the Aristotelian-Ciceronian tradition. The exchanges among characters, and the conclusion of these exchanges, are patterned in ways that provide justice without requiring the virtuousness of any one character. The link between short narrative and justice illuminates the more general relationship between literature and more language in the Renaissance.
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HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.
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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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Starn, Randolph. "The 2006 Josephine Waters Bennett Lecture." Renaissance Quarterly 60, no. 1 (2007): 1–24. http://dx.doi.org/10.1353/ren.2007.0103.
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AbstractThe place of the Renaissance in historical narratives of modernity was problematic long before recent bouts of dismissal, denial, or indifference. However, the idea is a hardy survivor and the old phoenix is at it again. Has the Renaissance gained a new, postmodern lease on life? Plurality, discontinuity, and contingency are hallmarks of that protean, much-contested label and of current Renaissance studies, not to mention the Renaissance boom in pop culture. Is this a mirror reflecting only our own preconceptions or a window that discloses a Renaissance that was never convincingly modern in the first place? What are the implications, one way or another, for the present and future of Renaissance studies?
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de Vries, Jan. "Renaissance Cities." Renaissance Quarterly 42, no. 4 (1989): 781–93. http://dx.doi.org/10.2307/2862282.
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“What does economic history have to do with Renaissance scholarship?” This is the question I asked myself when I was asked to participate in a panel with the title “Recent Trends in Renaissance Scholarship: Economic History.” Over a generation ago economic history escaped from the confines of conventional historical periodization, in which the Renaissance functions as the keystone, with its claim to being the origin of modernity. This conventional periodization, with its inconsistent mingling of political and cultural criteria for the organization of the narrative of modern history, makes whole categories of historical questions almost impossible to ask, let alone to answer. For many economic historians—and I count myself among them—it was a liberation to abandon all this in favor of a periodizing structure determined by long trends in population, price levels, relative prices, and other phenomena associated with these.
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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.
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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact.
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Fatmawati, Desy Eka. "Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”." Rubikon : Journal of Transnational American Studies 4, no. 2 (July 19, 2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.
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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives in order to get deeper understanding of the issue. This research is under American Studies paradigm of Post-nationalist to take into account the minorities’ perspective in understanding America. The minorities’ perspective in this context is from African American’s mixed raced descents (mulattoes). As the focus of this research is historical phenomenon, this research also applies New Historicism as an approach. Based on the analysis, racial passing practice was a reaction from white’s domination through Jim Crow laws, and African Americans considered racial passing practice as a form of both “fooling the white folks” and a betrayal to their “true people”. Keywords: Racial Passing, Mulattoes, Harlem Renaissance, Jim Crow, New Historicism
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Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44 (1993): 133–66. http://dx.doi.org/10.2307/2928642.
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Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44, no. 1 (October 1993): 133–66. http://dx.doi.org/10.1525/rep.1993.44.1.99p01992.
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Grewe, Cordula. "Die Renaissance des Epos im romantischen Fresko." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 226–60. http://dx.doi.org/10.1515/zkg-2016-0019.
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Abstract If the nineteenth century is correctly seen as an age when a new and acute historical awareness reshaped the cultural sensibility, then it is no small irony that in the age of history, history painting was in crisis. One reaction to this crisis is the subject of this paper. Focusing on one of the Nazarenes’ most enchanting fresco projects, the decoration of the Casino Massimo in Rome after major epics by Dante, Tasso, and Ariosto, it traces the reworking and redefinition of history in painting by the German Nazarenes. In so doing, it examines the transformation of history painting into symbolic representation, and maps out the narrative structures, aesthetic strategies, and amalgamation of temporalities that carried this process and were produced in the process.