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Artículos de revistas sobre el tema "Renaissance"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Kholikova, Rakhbar E., Dusmurat T. Narkulov, Urol M. Abilov, Azamat B. Khudoykulov, Nodir R. Karimov, Sherzod A. Iskandarov, Asomiddin K. Khudayberdiev y Nilufar Sh Niyozova. "Impact of Renaissances in The History of Uzbekistan And Causative Factors of The Third Renaissance". Journal of Law and Sustainable Development 11, n.º 12 (14 de diciembre de 2023): e2518. http://dx.doi.org/10.55908/sdgs.v11i12.2518.

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Objectives: The primary objective of this article is to explore the historical renaissances in Uzbekistan, with a specific focus on the factors contributing to the third renaissance. While the European Renaissance serves as a historical reference point, the article aims to delineate the unique aspects of Uzbekistan's cultural development and exchange, investigating the influences that have shaped its cultural identity and worldview. Methods: To achieve the stated objectives, the study employs a methodological approach that involves examining historical, religious, and artistic traditions in Uzbekistan. The analysis includes a comparison with the European Renaissance to highlight divergent yet impactful cultural and intellectual developments. By utilizing a comparative and historical lens, the article seeks to unravel the factors that have contributed to the distinctive renaissances in Uzbekistan. Results: The results of this study provide insights into the unique historical renaissances in Uzbekistan, emphasizing the factors that characterize the third renaissance. The article delves into the cultural, religious, and artistic influences that have shaped Uzbekistan's identity, distinct from the European experience. The results underscore the transformative impact of these renaissances on the cultural and intellectual landscape of the region. Conclusion: In conclusion, the article synthesizes the findings by highlighting the pivotal role of renaissances in shaping Uzbekistan's history and cultural identity. It emphasizes the distinctiveness of the third renaissance and its contribution to the worldview of Uzbekistan. The conclusion acknowledges the influences from both internal and external sources, shaping a unique cultural tapestry. Ultimately, the article contributes to a deeper understanding of the historical and cultural dynamics that have defined Uzbekistan's renaissances and their enduring impact.

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2

Zhou, Gang. "The Chinese Renaissance: A Transcultural Reading". PMLA/Publications of the Modern Language Association of America 120, n.º 3 (mayo de 2005): 783–95. http://dx.doi.org/10.1632/003081205x63859a.

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This paper examines the ways in which the idea of renaissance was understood and appropriated by Chinese intellectuals in the early twentieth century. My discussion foregrounds Hu Shi, one of the most important intellectual leaders in modern China and the main architect of the Chinese vernacular movement. I analyze his rewriting and reinvention of the European Renaissance as well as his declaration and presentation of the Chinese Renaissance in various contexts. Hu's creative uses of the Italian Renaissance and passionate claims for a Chinese Renaissance reveal the performative magic of the word renaissance and prompt us to ask what a renaissance is. The Chinese Renaissance and the fact that various non-European countries have declared and promoted their own renaissances invite a scholarly reconsideration of “renaissance” as a trans-cultural phenomenon rather than as a critical category originated and therefore owned by a certain culture.

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3

Johnson, Bob. "Globalizing the Harlem Renaissance: Irish, Mexican, and ‘Negro’ renaissances in The Survey, 1919–1929". Journal of Global History 1, n.º 2 (julio de 2006): 155–75. http://dx.doi.org/10.1017/s1740022806000118.

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This essay situates the Harlem Renaissance in a world-historical context by building on the global perspective offered by the architect of that renaissance, Alain Locke. It demonstrates that contemporaries like Locke saw the Harlem Renaissance to be a local episode in a broader phenomenon of racial and national renaissance that included post-war developments in Ireland and Mexico. The core argument is that American progressives found in these renaissances three distinct models for defining the proper relationship between race and nation: in the Irish case, a racially homogeneous nation-state premised on a repudiation of the colonizer and his culture; in the Mexican case, a syncretic nation-state based on the cultural and biological fusion of the colonizer and colonized; and in the Harlem case, a pluralist nationstate that held in balance otherwise relatively autonomous races.

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4

Abensour, Gérard. "Renaissance et architecture". Modernités Russes 12, n.º 1 (2011): 51–55. http://dx.doi.org/10.3406/modru.2011.949.

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La Russie a toujours oscillé entre stagnation et renaissance. L’Église du Christ Sauveur de Moscou en témoigne. 1813 : Manifeste d’Alexandre 1er ordonnant l’édification d’une église pour célébrer la victoire sur Napoléon. Église de style renaissance, ouverte à tous les cultes chrétiens. 1825 : Nicolas Ier fait arrêter les travaux et ordonne la construction d’un nouvel édifice de style néo-byzantin, voué exclusivement au culte orthodoxe. La cathédrale de Jésus Sauveur est dédicacée en 1883 sous le règne d’Alexandre III. En 1931 destruction de fond en comble d’une église considérée comme symbole d’obscurantisme. En 1994 la cathédrale est reconstruite à l’identique, par les effets conjugués du patriarche et du maire de Moscou. Il n’a pas été question de revenir à l’esprit oecuménique et renaissant du projet originel d’Alexandre Ier.

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5

Sadullaev, Denis Bakhtiyorovich. "Renaissance And Renaissance Philosophical Texts Through The Prism Of Historical Approach". American Journal of Social Science and Education Innovations 03, n.º 05 (31 de mayo de 2021): 364–71. http://dx.doi.org/10.37547/tajssei/volume03issue05-67.

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The article is devoted to some aspects of the functional specificity of lexical borrowings - neologisms - that have found their vivid reflection in the works and philosophical thought of the European era and, in particular, the English Renaissance, represented by its brightest representatives such as Thomas More, Francis Bacon, John Donne, Shakespeare and others. The authors consider this problem in a synchronous-diachronous cut and in the light of the new socio-political situations of the century of the English Renaissance and in the light of the evolutionary process of the formation of the English nation and the norms of the literary English language, which continued intensively in the 11th century, which led to the further growth and spread of both oral, and written national literary language.

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6

WITHINGTON, PHILIP. "TWO RENAISSANCES: URBAN POLITICAL CULTURE IN POST-REFORMATION ENGLAND RECONSIDERED". Historical Journal 44, n.º 1 (marzo de 2001): 239–67. http://dx.doi.org/10.1017/s0018246x01001546.

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This review reconsiders the place and importance of urban political culture in England between c. 1550 and c. 1750. Relating recent work on urban political culture to trends in political, social, and cultural historiography, it argues that England's towns and boroughs underwent two ‘renaissances’ over the course of the period: a ‘civic renaissance’ and the better-known ‘urban renaissance’. The former was fashioned in the sixteenth century; however, its legacy continued to inform political thought and practice over 150 years later. Similarly, although the latter is generally associated with ‘the long eighteenth century’, its attributes can be traced to at least the Elizabethan era. While central to broader transitions in post-Reformation political culture, these ‘renaissances’ were crucial in restructuring the social relations and social identity of townsmen and women. They also constituted an important but generally neglected dynamic of England's seventeenth-century ‘troubles’.

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7

Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa". Modernités Russes 12, n.º 1 (2011): 109–23. http://dx.doi.org/10.3406/modru.2011.955.

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Viacheslav Ivanov’s interest in Italian Renaissance painting is well known, and it has been analyzed more than once. For the most part, however, such investigations have treated poems of his with elements of ekphrasis or with mentions of artists and their paintings, or articles of his that refer to painting. In our opinion much remains to be said about this matter, and we offer some new materials relating to it. Among them are letters to Ivanov from members of his immediate circle (and, to a lesser, degree his own letters), which note his interest in Renaissance masters ; the reproductions of works of art that he wanted to have before his eyes throughout his life ; the advice that he gave to his friend and housekeeper M. M. Zamjatnina, who heard lectures on the subject and wrote about Renaissane painting ; finally, the books Zamjatnina checked out from the Geneva Library, volumes that could not have escaped Ivanov’s attention. These new materials demonstrate, firstly, that we should pay attention not only to paintings of the Italian Renaissance, but to those of the Northern Renaissance as well (German and Flemish artists above all). Secondly, we should pay much greater attention than previously to Ivanov’s attitude towards Botticelli. And, finally, we should examine the broad historical context in which he perceived Renaissance painting.

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8

Poel, Marc van der. "Renaissance-Rhetorik, Renaissance Rhetoric". Rhetorica 13, n.º 2 (1995): 213–17. http://dx.doi.org/10.1525/rh.1995.13.2.213.

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9

Colacurcio, Michael J. y F. O. Matthiessen. "The American-Renaissance Renaissance". New England Quarterly 64, n.º 3 (septiembre de 1991): 445. http://dx.doi.org/10.2307/366352.

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10

Drinan, Robert F. y Richard Marius. "Renaissance Lawyer, Renaissance Man". Harvard Law Review 99, n.º 2 (diciembre de 1985): 499. http://dx.doi.org/10.2307/1341133.

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11

Chao, Yemin. "Two Renaissance Lives: Benvenuto Cellini and Teresa of Jesus". Renaissance and Reformation 35, n.º 2 (1 de abril de 1999): 29–44. http://dx.doi.org/10.33137/rr.v35i2.10722.

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Le présent article examine les autobiographies de deux personnages renaissants, le premier un artiste séculaire, le second une religieuse contemplative. À travers les images dont chacun se sert pour se façonner, on peut apercevoir un engagement commun avec certains thèmes humanistes et religieux qui définissent l'époque. Bien que la Renaissance soit généralement abordée comme l'âge d'un classicisme revivifié et des tendances humanistes suscitées par ce dernier, il faut peut-être également considérer la lutte avec son héritage chrétien comme l'élément qui prête à la Renaissance son caractère distinct et particulièrement profond.

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12

Mastroianni, Michele. "La Renaissance? Des Renaissances? (viiie-xvie siècles), présenta". Studi Francesi, n.º 165 (LV | III) (1 de diciembre de 2011): 627. http://dx.doi.org/10.4000/studifrancesi.4947.

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13

Eskhult, Josef. "Vulgar Latin as an emergent concept in the Italian Renaissance (1435–1601): its ancient and medieval prehistory and its emergence and development in Renaissance linguistic thought". Journal of Latin Linguistics 17, n.º 2 (30 de noviembre de 2018): 191–230. http://dx.doi.org/10.1515/joll-2018-0006.

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Abstract This article explores the formation of Vulgar Latin as a metalinguistic concept in the Italian Renaissance (1435–1601) considering its continued, although criticized, use as a concept and term in modern Romance and Latin linguistics (1826 until the present). The choice of this topic is justified in view of the divergent previous modern historiography and because of the lack of a coherent historical investigation. The present study is based on a broad selection of primary sources, in particular from classical antiquity and the Italian Renaissance. Firstly, this article traces and clarifies the prehistory of the concept of Vulgar Latin in ancient and medieval linguistic thought. Section 2 demonstrates that the concept of Vulgar Latin as a low social variety does not exist in pre-Renaissance linguistic thought. Secondly, this article describes and analyzes how, why and when the concept of Vulgar Latin emerged and developed in the linguistic thought of the Italian Renaissance. Section 3 surveys the historical intellectual contexts of the debates in which this concept was formed, namely questione della lingua in the Latin and Vernacular Italian Renaissances. Section 4 demonstrates how the ancient concept and term of sermo vulgaris as a diaphasic variety was revived, but also modified, in the Latin Renaissance of the fifteenth century, when the leading humanists developed new ideas on the history, nature and variability of ancient Latin. Section 5 demonstrates how a diglossic concept of Vulgar Latin was formed in the vernacular Italian Renaissance of the sixteenth century, when Italian philologists more carefully approached the topic of the historical origin and emergence of Italian. Thirdly, Section 6 presents a synthesis of the historiographical results that are attained and revises modern historiography on some important points.

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14

Hurlburt, Holly S. "A Renaissance for Renaissance Women?" Journal of Women's History 19, n.º 2 (2007): 193–201. http://dx.doi.org/10.1353/jowh.2007.0039.

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15

Wang, Yushan. "A Study on Leonardo Da Vincis Renaissance and the Influence on His Way of Painting". Communications in Humanities Research 3, n.º 1 (17 de mayo de 2023): 429–34. http://dx.doi.org/10.54254/2753-7064/3/20220379.

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In the fourteenth century, the era of Medieval governance came to an end. The exploration of ancient Roman and Greek literature and art inspired artists to replicate those glories. By no means a mere reproduction, this advanced the Renaissance by deepening the artists' awareness of the world and their all-encompassing humanistic appreciation of the leading personalities of the day. Among the most influential Renaissance leaders was Leonardo di ser Piero da Vinci. The High Renaissances Italian polymath Leonardo was an architect, sculptor, theorist, scientist, engineer, draftsman, and painter. Along with his recognition as a famous painter, he also made his name due to his manuscripts, where he made notes and drawings on various subjects, such as paleontology, painting, cartography, botany, astronomy, and anatomy. Leonardo is normally considered as an intellectual individual, who personified the humanist ideal of the Renaissance, and his collective pieces have inspired artists of the later generations. This study analyses Leonardo di ser Piero da Vinci and his influence on his way of painting.

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16

Zhang, Shuhan. "Revival of the Material Cultural Relics of the Renaissance by Modern Technology". Lecture Notes in Education Psychology and Public Media 8, n.º 1 (14 de septiembre de 2023): 368–72. http://dx.doi.org/10.54254/2753-7048/8/20230217.

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European art, culture, science and philosophy underwent substantial progress during the Renaissance, leaving behind rich material cultural relics that have inspired and mesmerized people for ages. Due to their fragility and the passage of time, these priceless artifacts are vulnerable to theft, loss, and damage. This paper expresses the impact of modern technology, which has proven to be a helpful ally in maintaining and renewing the material cultural relics of the Renaissance in order to address these concerns. The impact of contemporary technology on the Renaissance's material cultural relics is examined in this article, as is how it can efficiently preserve, transmit, and disseminate these priceless relics. The difficulties that Renaissance cultural artifacts encounter as a result of historical developments and the passage of time are covered in the study. These priceless cultural artifacts are fragile, which makes them more susceptible to theft, loss, and destruction. The paper makes the case that leveraging contemporary technologies can more successfully preserve, transmit, and spread Renaissance cultural heritage. Examples include virtual reality, artistic creativity, and social media. For instance, augmented reality (AR) can be used to see how the Last Supper frescoes in the Convent of Santa Maria de Milano originally appeared. The essay also looks at how preserving and passing on Renaissance cultural history inspires and enhances the present and future while fostering cultural variety, innovation, and tolerance. Finally, the report emphasizes the significance of considering the potential negative effects of technology, including the possible harm that immersive experiences may cause to people's physical health.

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17

Asy'ari, Hasyim. "Renaisans Eropa dan Transmisi Keilmuan Islam ke Eropa". JUSPI (Jurnal Sejarah Peradaban Islam) 2, n.º 1 (31 de julio de 2018): 1. http://dx.doi.org/10.30829/j.v2i1.1792.

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<p><em>Renaissance are so important and considered historians as the starting point for the development of European civilization. First, European people succeed many achievement in various sector, namely: art, philosophy, literature, science, politics, education, religion, trade and others. Second, Renaissanse has revived the ideals, the realm of thought, the philosophy of life which then structures the standards of the modern world such as optimism, hedonism, naturalism and individualism. Third, the Ancient Greeks and Rome legacies need to revived. Fourth, the incorporation of secular humanism that shifts the human thinking orientation from the theocentric to the anthropocentric. Science had the transmission, dissemination, and proliferation to the Western world that supports the epoch of the Renaissance in Europe. Through the Islamic World, the Western world gained access to deepen and modernized science.</em></p><p><strong>Keywords:</strong> <em>Renaissance,</em><strong> </strong><em>scientific transmission</em>, <em>Islam in Europe</em>.<strong></strong></p>

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18

Com, Alexandra. "Renaissance". Empan 86, n.º 2 (2012): 129. http://dx.doi.org/10.3917/empa.086.0129.

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Schmid-Kitsikis, Elsa. "Renaissance." Revue française de psychanalyse 71, n.º 1 (2007): 183. http://dx.doi.org/10.3917/rfp.711.0183.

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20

Stoesz, David. "Renaissance". Families in Society: The Journal of Contemporary Social Services 81, n.º 6 (diciembre de 2000): 621–28. http://dx.doi.org/10.1606/1044-3894.1074.

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21

Brown, Julie y John McCluskey. "Renaissance?" African American Review 26, n.º 3 (1992): 524. http://dx.doi.org/10.2307/3041925.

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22

Howe, Eunice D. y Andrew Graham-Dixon. "Renaissance". Sixteenth Century Journal 32, n.º 2 (2001): 593. http://dx.doi.org/10.2307/2671833.

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23

Auer, James E. "Renaissance?" Asia Policy 24, n.º 1 (2017): 185–88. http://dx.doi.org/10.1353/asp.2017.0033.

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24

Forbes, Tom H. "Renaissance". Current Surgery 59, n.º 2 (marzo de 2002): 211–12. http://dx.doi.org/10.1016/s0149-7944(01)00645-6.

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25

Sears, Derek. "Renaissance". Meteoritics & Planetary Science 36, n.º 1 (enero de 2001): 3. http://dx.doi.org/10.1111/j.1945-5100.2001.tb01801.x.

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26

Sasser, Jane. "Renaissance". Appalachian Heritage 36, n.º 1 (2008): 124. http://dx.doi.org/10.1353/aph.2008.0028.

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27

Regitz, Hartmut. "renaissance". tanz 14, n.º 6 (2023): 6–11. http://dx.doi.org/10.5771/1869-7720-2023-6-006.

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Sie ist der Inbegriff der Ballettromantik und erlebt derzeit eine Wiederauferstehung auf zahlreichen Bühnen: Über «Giselle»-Inszenierungen in Eisenach, Coburg, Hagen, München und Straßburg berichtet Hartmut Regitz

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28

Cole, Daniel H. y Mark Brzezinski. "From Renaissance Poland to Poland's Renaissance". Michigan Law Review 97, n.º 6 (mayo de 1999): 2062. http://dx.doi.org/10.2307/1290243.

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29

Dunlop, Anne. "Did the Renaissance have a Renaissance?" Art History 21, n.º 3 (septiembre de 1998): 440–45. http://dx.doi.org/10.1111/1467-8365.00119.

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30

Nederman, Cary J. "The renaissance of a renaissance man". European Legacy 4, n.º 5 (octubre de 1999): 102–5. http://dx.doi.org/10.1080/10848779908579999.

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31

Kanoh, Tokio. "Striving for Nuclear Power Renaissance". Proceedings of the International Conference on Nuclear Engineering (ICONE) 2007.15 (2007): B1—B18. http://dx.doi.org/10.1299/jsmeicone.2007.15.b1.

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Frick, Julia. "Renaissance eines antiken Klassikers". Zeitschrift für deutsches Altertum und deutsche Literatur 146, n.º 3 (2017): 351–68. http://dx.doi.org/10.3813/zfda-2017-0015.

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33

Fayzieva, Muyassarzoda y Mariya Bekimbetova. "The progress of science in Uzbekistan-the foundation of the third renaissance". Общество и инновации 2, n.º 8/S (15 de septiembre de 2021): 102–10. http://dx.doi.org/10.47689/2181-1415-vol2-iss8/s-pp102-110.

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This research paper is devoted to the issue of applying science in building the foundation of the Third Renaissance in Uzbekistan with a focus on developed science fields in Central Asia during the First and Second Renaissances. In this research, the recent legislative and scientific activities in Uzbekistan were studied and the previous work performed in the field of science in the past years was summarized as a basis for writing this paper.

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Mayorova, Ekaterina. "Leonardo Da Vinci. The Apology of Eye". Ideas and Ideals 12, n.º 4-2 (23 de diciembre de 2020): 412–28. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-412-428.

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The article is devoted to Leonardo da Vinci’s “eye is less deceived than any other sense” maxima. Leonardo’s belief about painting being the most perfect instrument for one’s ontology and epistemology is shown. Based on Leonardo da Vinci’s “Treatise on Painting”, a compilation of Leonardo’s works, the author explores how visual arts (and painting in particular) had come up to the forefront of the Italian Renaissance. Moreover, it is shown how painting takes a leading cultural role in Europe even to this day following the Renaissance. The article reveals why Leonardo da Vinci viewed painting to be better than science, mechanical arts and other liberal arts. The article considers the possibility of transforming personal experience into the universal experience of mankind. It also considers the focus on experience, direct comprehension of reality and varietà concept. The article is dedicated to the peculiarity of Leonardo’s art style, including its unique sfumato technique and chiaroscuro. The article also deals with the idea of Leonardo being the personification of the Renaissance’s creativity. As a result, he was the one who encapsulated the Renaissance period and simultaneously laid the foundation for further development of the arts for several centuries.

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Morrow, S. Rex. "Thompson, Ed., The Renaissance". Teaching History: A Journal of Methods 28, n.º 1 (1 de abril de 2003): 43–44. http://dx.doi.org/10.33043/th.28.1.43-44.

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In The Renaissance, Stephen P. Thompson has compiled 21 articles divided into five chapters: The Origins of the Renaissance, Political and Social Contexts of the Renaissance, Renaissance Discoveries and Transformations, Achievements and Developments of the Later Renaissance, and The Significance of the Renaissance. This organization provides the reader with an essential overview of the full historical period that is the European Renaissance. Not only does Thompson provide the breadth of Italian, Northern European, and Western European Renaissance civilization, but he also touches upon the critical elements of Renaissance art, philosophy, the Reformation, and the Counter-Reformation periods.

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Kinney (book editor), Arthur F., Dan S. Collins (book editor) y D. R. Woolf (review author). "Renaissance Historicism: Selections from English Literary Renaissance". Renaissance and Reformation 27, n.º 4 (1 de febrero de 2009): 315–19. http://dx.doi.org/10.33137/rr.v27i4.11815.

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37

Chen, Yijin. "Integration of Renaissance Arts and Hermeticism: Artful Tarot and Astrology". Journal of Education, Humanities and Social Sciences 11 (20 de abril de 2023): 226–30. http://dx.doi.org/10.54097/ehss.v11i.7631.

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It has long been recognized that Renaissance arts can interact with some Occultism concepts, as many artists during the Renaissance could also be alchemists and mystics. Many studies based on Western Occultism nowadays are trying to explore the relationship between ethos during the Renaissance and concepts in Hermeticism, which is one of the streams of occultism. The author believed that the ethos and the concepts can be seen in some artworks during Renaissance. Consequently, this paper focuses on the relationship between Renaissance arts and Hermeticism. To demonstrate how Hermeticism impact the Renaissance arts and how Renaissance in turn developed Hermeticism. This paper applies a case study and mainly analyzes two artworks by Albrecht Dürer. The result shows that many Renaissance arts manifested Hermeticism and the impact of humanism during the Renaissance can be found in Modern Hermeticism. This paper is of great significance in the occultism study combined with art history.

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38

Shukla, Dr Shikha. "The Renaissance-An Age of Enlightenment". International Journal of Psychosocial Rehabilitation 24, n.º 4 (30 de abril de 2020): 5901–6. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020396.

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Snitkova, Irina I. "Anton Webern and the Renaissance Tradition". Contemporary Musicology, n.º 3 (2023): 26–39. http://dx.doi.org/10.56620/2587-9731-2023-3-026-039.

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The composers of the postwar avant-garde trend in music perceived Anton Webern’s music primarily as a brilliant expression of a break with tradition. Nonetheless, what was perceived upon first glance as a manifestation of innovatory radicalism, upon more careful examination revealed to a greater degree its obvious historical genesis. Entirely different ideas and values disclosed themselves beyond Webern’s serial precepts — a profound symbolism permeated with mysticism and elements of developed Medieval and Renaissance traditions of ‘‘parametric’’ musical thinking. This article demonstrates in a thesis manner observations tracing out the lines of connection between the new elements of structural compositional logic of certain oeuvres by Webern and the traditional ideas of the polyphonic works by the Renaissance composers, primarily the ‘‘Great Flemish Masters,’’ the most sophisticated artists of counterpoint, giving special attention in their musical compositions to the architectonic organization of form, in whose music Webern experienced an indelibly profound interest during the course of his entire life. In the opinion of many researchers, certain aspects of Webern’s music become more visible, if they become connected to his profound knowledge of and fondness for such composers from the Netherlands as Dufay, Josquin, Ockeghem, Isaac, etc. The concept of tradition in the context of this article is not exhausted by the technological aspects of polyphony, but also presumes a mystical philosophical constituent connected with a particular system of symbolic encoding which plays a substantial role in both cases.

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40

Eisenbichler (book editor), Konrad y Mary Watt (review author). "Renaissance Medievalisms". Quaderni d'italianistica 32, n.º 1 (6 de diciembre de 2011): 137–38. http://dx.doi.org/10.33137/q.i..v32i1.15939.

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Fontaine, Dominique, Françoise Labaune-Jean y Gaétan Le Cloirec. "Renaissance musicale". Archéologie médiévale, n.º 49 (20 de diciembre de 2019): 171–76. http://dx.doi.org/10.4000/archeomed.24758.

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Smith (book editor), Helen, Louise Wilson (book editor) y Margaret Schotte (review author). "Renaissance Paratexts". Renaissance and Reformation 38, n.º 2 (5 de octubre de 2015): 196–98. http://dx.doi.org/10.33137/rr.v38i2.25643.

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Campana (book editor), Joseph, Scott Maisano (book editor) y Timothy Kircher (review author). "Renaissance Posthumanism". Renaissance and Reformation 40, n.º 2 (5 de octubre de 2017): 182–84. http://dx.doi.org/10.33137/rr.v40i2.28514.

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Wallace, William A., Brian P. Copenhaver y Charles B. Schmitt. "Renaissance Philosophy." Sixteenth Century Journal 24, n.º 4 (1993): 1056. http://dx.doi.org/10.2307/2541711.

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Mehl, James V. y Donald R. Kelley. "Renaissance Humanism." Sixteenth Century Journal 24, n.º 2 (1993): 476. http://dx.doi.org/10.2307/2541982.

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Fideler, Paul A., Arthur F. Kinney y Dan S. Collins. "Renaissance Historicism." Sixteenth Century Journal 22, n.º 1 (1991): 129. http://dx.doi.org/10.2307/2542031.

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Monfasani, John y Donald R. Kelley. "Renaissance Humanism." American Historical Review 97, n.º 5 (diciembre de 1992): 1510. http://dx.doi.org/10.2307/2165980.

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Esim, Garifolla. "Renaissance pálsapa". BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 126, n.º 1 (2019): 70–76. http://dx.doi.org/10.32523/2616-7255-2019-126-1-70-76.

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Joy, Lynn S., Brian P. Copenhaver y Charles B. Schmitt. "Renaissance Philosophy." Philosophical Quarterly 43, n.º 173 (octubre de 1993): 537. http://dx.doi.org/10.2307/2219999.

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Lerner, Jesse. "Urban Renaissance". Afterimage 27, n.º 5 (marzo de 2000): 14. http://dx.doi.org/10.1525/aft.2000.27.5.14.

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