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1
Lem, G. A. C. van der. "J. Jansen, Brevitas. Beschouwingen over de beknoptheid van vorm en stijl in de renaissance." BMGN - Low Countries Historical Review 113, no. 2 (January 1, 1998): 221. http://dx.doi.org/10.18352/bmgn-lchr.4681.
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2
Karimi, Zamila, and M. Saleh Uddin. "A Missing Link: Thinking | making | presenting." SHS Web of Conferences 64 (2019): 02017. http://dx.doi.org/10.1051/shsconf/20196402017.
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Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure ... Michelangelo The tradition of architectural drawings and making as a means of design thinking in a constant feedback loop results in discoveries that facilitate creative thinking in an iterative process. In the digital age, notion of drawing and making by hand as a cognitive process of thinking is fading. This trend is increasingly evident in upper-level architecture students who depend strictly on digital tools for design thinking, missing many critical decisionmaking steps. Concepts of scale, diagramming, composition, materiality are missing − part of the challenge is the computer screen and the lack of tactical autonomy with physical materials − pen, pencil, brush, architectural scale, materiality, construction, assemblage. How can we as educators assert that drawings are not just architectural representations, but a means to architectural inquiry? Why is it critical for our students to use hand drawings, sketching and diagramming when exploring ideas? Can small gestural models provide notions of scale, materiality, and construction? Teaching pedagogy has always engaged new modes of design thinking and communications as a way of design inquiry − a trait essential to architects. Historically, since the Renaissance, drawings have been the catalyst to advance architectural discourse. In the 20th century, different movements such as De Stijl, Constructivism and Bauhaus used a multi-disciplinary approach combining art and technology through the lens of drawing and making that led to a new wave of design pedagogy to push their imaginations into new territories which the digital augmented as technology advanced. We believe that today’s students need to continue to develop both hand and digital skills in tandem to optimize design thinking, making and presentation techniques. In doing so, they can advance architectural pedagogy to new heights as those before did; critically in a material and physical sense: as an embodied spatial experience.
3
Wiesner-Hanks, Merry E. "A Renaissance Woman (Still) Adrift in the World." Early Modern Women: An Interdisciplinary Journal 1 (September 1, 2006): 137–57. http://dx.doi.org/10.1086/emw23541460.
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4
Geduld, Victoria Phillips. "Sahdiji, an African Ballet (1931): Queer Connections and the “Myth of the Solitary Genius”." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 95–105. http://dx.doi.org/10.1017/s204912550000056x.
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In May 1931 the ballet Sahdji premiered at the Eastman Theatre in Rochester, New York: with a libretto by Harlem Renaissance's Alain Locke and Richard Bruce Nugent, music by composer William Grant Still, the ballet by Thelma Biracree, and dedicated to the Eastman School's Howard Hanson, the work was set in Africa and performed by dancers in blackface. In 1934 the work was performed with an all-black cast in Chicago and revived in Rochester through 1950. Sahdji demonstrates that the participants shared two tenets: the desire to create high art, and the belief in African forms to achieve artistic aims. Locke and Nugent had a small shared world that included Lincoln Kirstein. Locke wrote about The Rite of Spring, and Sahdji became Locke's African answer to Spring. Sahdji begs for a reinvigoration of dance history that credits philosophical underpinnings of the American ballet to the Harlem Renaissance and its queer connections.
5
Carreiro, Amy E. "Can't Stand Still: Taylor Gordon and the Harlem Renaissance." Journal of American History 107, no. 2 (September 1, 2020): 517–18. http://dx.doi.org/10.1093/jahist/jaaa318.
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6
Fekete, Albert. "Late Renaissance Garden Art in the Carpathian Basin." Landscape & Environment 14, no. 2 (September 21, 2020): 1–19. http://dx.doi.org/10.21120/le/14/2/1.
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The aim of the article was to find, scientifically define and locate the most frequent occurrences of the Late Renaissance garden units of the Carpathian Basin. This article - as partial result of a research work entitled "Castle Garden Inventory in the Carpathian Basin" and conducted by teachers and students of the Faculty of Landscape Architecture and Urbanism of Szent István University, Budapest - aims to identify through historical research, on-site visits and assessments the current status of 148 Late Renaissance residency gardens located in seven different countries of the Carpathian Basin (Austria, Hungary, Slovakia, Ukraine, Romania, Croatia and Slovenia). Based on the archival and literary sources as well as the field studies carried out, we defined the spatial distribution of Late Renaissance residential gardens, we delineated six very characteristic Late Renaissance garden units and we defined the most typical Late Renaissance garden features for the region. At the same time, we explored and documented still existing values of garden history at some locations from the Renaissance era.
7
Cameron, Keith, John O'Brien, and Malcolm Quainton. "Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature." Modern Language Review 98, no. 2 (April 2003): 456. http://dx.doi.org/10.2307/3737852.
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8
Viljoen, L. "’n Retoriese analise van die vyf lykdigte in T.T. Cloete se Allotroop." Literator 16, no. 3 (May 2, 1995): 81–102. http://dx.doi.org/10.4102/lit.v16i3.640.
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A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.
9
Brajovic, Sasa. "The renaissance self." Theoria, Beograd 52, no. 1 (2009): 51–64. http://dx.doi.org/10.2298/theo0901051b.
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The scope and accomplishment of Renaissance literary and visual forms of self-expression, regardless of the mode of their interpretation today, offer proof of the idea of the Renaissance as an age of creation of the modern self. Extensive research has indicated that selfconstruction is the product of a combination of social, economic, political and intellectu-al forces. Still, can they determine the self fully or is there also something that cannot be processed? Letters, astrological and alchemical studies, drama and theatre and, in particular, Renaissance Neoplatonism, indicate that the Renaissance self, the elite self at least, is free and resistent, strongly individualized. Homo humanus is in harmony with the constructed ego ideal of his age but he is also focused on gnothi seaut?n, conscious of his own singolarita, unique and inimitable.
10
Moran, Jerome. "The R/renaissance(s), Humanists And Classics." Journal of Classics Teaching 19, no. 38 (2018): 96–98. http://dx.doi.org/10.1017/s2058631018000259.
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First, where does the Renaissance fit in chronologically with other periods of the past? There is general agreement that the Renaissance should be dated from 1300 to 1650, though some believe that a more accurate and meaningful starting date would be 1400/1450. The Middle Ages is generally taken to be the period 500 to 1500 (a considerable overlap with the Renaissance then), though some would date the start to the Arab conquests beginning about 640. A period of the Middle Ages is traditionally known as the ‘Dark Age(s)’. Those who believe that the term is still appropriate (many reject it because of its negative connotations) date this from 500/600 to 800, though some extend it to 1000. (See later for the origins of the terms ‘Renaissance’, ‘Middle Ages’ and ‘Dark Age(s)’.)
11
Di Camillo, Ottavio. "Interpretations of the Renaissance in Spanish Historical Thought." Renaissance Quarterly 48, no. 2 (1995): 352–65. http://dx.doi.org/10.2307/2863069.
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There are Several Reasons for presenting an overview of what the terms Renaissance and humanism have meant to Spanish historians and literary critics during the past one hundred fifty years. Despite the fact that these historiographical categories have not received the same attention in Spain as they have in other parts of Europe, it is still useful to identify certain recurring assumptions regarding the nature of the Spanish Renaissance and to point out how these underlying presuppositions are usually linked, directly or indirectly, to the historical development of the concept of the Renaissance elaborated elsewhere in Europe.
12
Cranz, F. Edward. "Fifty Years of the New England Renaissance Conference*." Renaissance Quarterly 42, no. 4 (1989): 749–59. http://dx.doi.org/10.2307/2862279.
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I'll begin with a couple of disclaimers. First, though it is a good many years since I had to present a birth certificate in order to get my senior citizen's discount, I was not present at the beginnings of the New England Renaissance Conference (N.E.R.C.) but was still at Harvard in the Society of Fellows with a very new Ph.D. More important, I was a card-carrying medievalist at a time when medievalists were far more detached from the Renaissance than they are now. If we regarded the Renaissance at all, it was as a kind of mopping- up operation of the Middle Ages; perhaps we remembered Gilson's remark: “The difference between the Renaissance and the Middle Ages was not a difference by addition but by subtraction.” But I slowly learned wisdom and first spoke to the N.E.R.C. in 1951. I had discovered that, contrary to Gilson, joining the Renaissance was not a subtraction but very much an addition. Nevertheless anything I say about the earliest period of the Conference is based only on information received.
13
Giza, Natalia. "Pokorna, skromna, cicha… mądra? Literatura parenetyczna dla kobiet w szesnastowiecznej Anglii." Biuletyn Historii Wychowania, no. 28 (January 1, 2019): 79–92. http://dx.doi.org/10.14746/bhw.2012.28.6.
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Renaissance in England is frequently referred to as the „Golden Age”, but despite countless innovative views and ideas, many aspects of social life did not develop simultaneously. The analysis of the 16th-century courtesy books for women enables readers to have a closer look at the Renaissance ideal of a perfect woman and the upbringing process, to which she was subjected in order to reach perfection. The most valued traits, defined mainly by men, still did not let women free themselves from stiff etiquette rules imposed on them several centuries earlier. While a man was spreading his Renaissance wings, a woman was silently staring at the ground beneath her feet.
14
Parkin, J. "Review: Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature." French Studies 56, no. 2 (April 1, 2002): 228. http://dx.doi.org/10.1093/fs/56.2.228.
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15
Karge, Henrik. "Jacob Burckhardt und die französische Interpretation der »Renaissance«: Wandlungen des Begriffs von den frühen Tessin-Studien bis zum Cicerone." Zeitschrift für Kunstgeschichte 85, no. 2 (June 1, 2022): 181–222. http://dx.doi.org/10.1515/zkg-2022-2004.
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Abstract The popularisation of the term “Renaissance” in the German-speaking world owes much to Jacob Burckhardt. Until 1840, however, the use of this period term still reflected its French origins. Burckhardt himself, as a scholar still in his twenties, applied it (albeit with some reservations about the etymology) primarily to sixteenth-century architecture and ornamentation in France and in neighbouring regions. Only a decade later did he redefine the term and associate it enthusiastically with Italian art and architecture. Burckhardt’s early use of the word “Renaissance” conveys much of the fascination that the simultaneously hybrid and opulent French art of the decades around 1500 held in nineteenth-century Europe.
16
Pabel, Hilmar M. "Reading Jerome in the Renaissance: Erasmus' Reception of the Adversus Jovinianum." Renaissance Quarterly 55, no. 2 (2002): 470–97. http://dx.doi.org/10.2307/1262316.
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Scholars are now devoting more attention to the reception of the Church Fathers during the Renaissance and Reformation. While Saint Jerome's function as icon and exemplar has been the subject of substantial study, his role as an author, read and edited during the Renaissance, still awaits thorough investigation. This essay examines how Erasmus of Rotterdam, the greatest Renaissance editor of Jerome, read the Church Fathers most elaborate polemic in favor of virginity's moral and spiritual superiority to marriage, the Adversus Jovinianum. An investigation of Erasmus’ editorial apparatus for this text, especially his scholia, reveals a complex reading. Erasmus applauded Jerome's rhetorical skill but ventured cautious criticism of his scriptural exegesis without taking a firm position in the controversy over the relative merits of virginity and marriage.
17
COHEN, THOMAS V., and ELIZABETH S. COHEN. "Postscript: charismatic things and social transaction in Renaissance Italy." Urban History 37, no. 3 (November 15, 2010): 474–82. http://dx.doi.org/10.1017/s0963926810000581.
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In 1860, Jacob Burckhardt published his view, still influential today, of an artful, urban Italian Renaissance that launched Europe on its passage to modernity. A lively revisionary scholarship has challenged Burckhardt on many points, but his famous formulae still resonate: the state as work of art; the development of the individual; the discovery of the world and of man. Although we now know that Italy did not alone invent the new age, it was for many years a trendsetter, especially in the domains of cultural production at the centre of this collection of essays. Republican and princely polities alike framed these developments, but, whoever ruled, Italy's unusually intense urbanization (paired with that in another well-spring of culture in the Low Countries) fostered innovation. In Renaissance cities, people and groups invested heavily in special actions, objects and places – charismatic cultural products empowered by holiness, beauty, fame and ingenuity – that fortified solidarity and resilience in uncertain times. This essay collection addresses a conjunction of urban culture and society distinctive to Renaissance Italy: an array of encounters of artifacts with ways of living in community.
18
Bernstein, Eckhard. "What Happened to the Renaissance in the German Academy? A Report on German “Renaissance” Institutes." Renaissance Quarterly 52, no. 4 (1999): 1118–31. http://dx.doi.org/10.2307/2901838.
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Where is the research on the Renaissance being done in Germany? Is it true that “European history is still firmly divided among antiquity, the Middle Ages, and the modern era,” and that therefore “the Renaissance occupies no space of its own in the history curriculum [of German universities]” as Professor Karant-Nunn has argued? The problem, it seems, is that German historians have largely abandoned the term “Renaissance” to denote the period between the Middle Ages and the modern era, using instead the term “early modern period” (Friihe Neuzeit), a term whose perimeters are variously defined as extending from the close of the Middle Ages to the end of the seventeenth century, or to the French Revolution, or even to the end of the old Reich in 1806.
19
McMenamin, Paul. "Art and anatomy in the renaissance: are the lessons still relevant today." ANZ Journal of Surgery 92, no. 1-2 (October 12, 2021): 34–45. http://dx.doi.org/10.1111/ans.17268.
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20
Woolland, Brian. "‘A Whole New World Still to Make’: a Valedictory for Peter Barnes." New Theatre Quarterly 21, no. 1 (January 26, 2005): 23–27. http://dx.doi.org/10.1017/s0266464x04000302.
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Brian Woolland is the author of a major study of Peter Barnes's work, Dark Attractions: the Theatre of Peter Barnes, published by Methuen in the autumn of 2004 – too late to take more than brief note of the playwright's death in July. The following critical retrospective serves, then, both as a valedictory postscript to the author's full-length study and as a critical afterword to the personal tributes paid to Peter Barnes by Alan Rickman, Charles Marowitz, and Elaine Turner in NTQ80. Brian Woolland is Senior Lecturer in Drama and Theatre at the University of Reading. His research interests are in Renaissance theatre in performance, modern European theatre, and theatre in education. He also works as a playwright and as a theatre director.
21
Stork, David G. "Did Hans Memling Employ Optical Projections When Painting Flower Still-Life?" Leonardo 38, no. 2 (April 2005): 155–60. http://dx.doi.org/10.1162/0024094053722435.
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David Hockney has recently hypothesized that some early Renaissance painters employed optical devices such as concave mirrors to project images of a scene or part of a scene onto their supports, which they then traced or painted over. As one of many examples, he has claimed that Hans Memling (ca. 1440–1494) built an optical projector to create his Flower Still Life, specifically when rendering its carpet. The author's perspective analysis on the image of this carpet shows that, while there is a “break” in perspective consistent with refocusing or tipping of an optical projector, there are also other larger, more significant perspective deviations that are inconsistent with the use of a projector. After presenting a simple sensitivity analysis of these results and rebutting anticipated objections, the author concludes by rejecting the claim that optical projections were used in the creation of this still life.
22
Hinde, John R. "Jacob Burckhardt's Social and Political Thought." Canadian Journal of Political Science 39, no. 1 (March 2006): 220–21. http://dx.doi.org/10.1017/s0008423906409999.
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Jacob Burckhardt's Social and Political Thought, Richard Sigurdson, Toronto: University of Toronto Press, 2004, xii, pp. 279.Jacob Burckhardt (1818–1897) has long been recognized as one of the most important historians of the nineteenth century. His principal works, The Age of Constantine the Great (1852) and The Civilization of the Renaissance in Italy (1860), and his posthumous Greek Cultural History (1902) and Reflections on History (1905), remain in print and continue to be read and studied with profit today. Indeed, the questions raised in his study of the Italian Renaissance still define how historians interpret this field of history.
23
Marshall, P. J. "The White Town of Calcutta Under the Rule of the East India Company." Modern Asian Studies 34, no. 2 (April 2000): 307–31. http://dx.doi.org/10.1017/s0026749x00003346.
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Late eighteenth and early nineteenth-century Calcutta was the setting for the first sustained encounter between Asian intellectuals and the west. An Indian intelligentsia living in Calcutta responded in a most creative way to aspects of European culture that became available to them in the city. Much about this response is now contentious. If the term Bengal Renaissance is still generally applied to it, the implications of that term are disputed. It is no longer necessarily assumed that ‘modern’ India was born in early nineteenth-century Calcutta by a fusing of what was western and what was ‘traditional’. Assumptions that Indian cultures in general and that of Hindu Bengal in particular lacked a capacity to change and to develop on their own internal dynamics, whatever the input from the west, now look more than a little ‘orientalist’. Furthermore, even if the Bengal Renaissance can be shown to have had its roots in its own culture, to some recent critics it was still a movement whose impact was severely limited by the very narrow base on which it rested: an elite group enclosed in a colonial situation. Yet, however the Renaissance may be reassessed, there can still be no doubt that Calcutta under the East India Company contained Indian intellectuals of exceptional talent, who absorbed much from the west. ‘The excitement over the literature, history and philosophy of Europe as well as the less familiar scientific knowledge was deep and abiding’, Professor Raychaudhuri has recently written.
24
Weltzien, O. Alan. "Can't Stand Still: Taylor Gordon and the Harlem Renaissance by Michael K. Johnson." Western American Literature 54, no. 3 (2019): 337–39. http://dx.doi.org/10.1353/wal.2019.0055.
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25
Hage, Ingebjørg. "Renessansehagen – utforming og hagekunstneriske motiver." Nordlit 15, no. 1 (June 1, 2011): 1. http://dx.doi.org/10.7557/13.1803.
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The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries. Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth. These gardens started among the Italian aristocracy, but as the gardens and garden motifs went north they were also adopted by the less well to do classes. Still during the twentieth century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe - for example in Norway, Germany and Switzerland. Single garden motifs survived during the centuries, and they were performed in local materials, but the garden concept from the Italian Renaissance had disappeared.
26
Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. http://dx.doi.org/10.2478/lynx-2017-0010.
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We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not intended to be morphologically correct. Furthermore, during the Renaissance it was not yet realized that bats are mammals, and some of the images could actually be interpreted as either birds or bats. The bat image was somehow tied to the Medici Noble Family, the undisputed rulers of Florence throughout the Renaissance, where it may have symbolized cultural darkness or ignorance. We speculate that the bat images could also have meant happiness and prosperity, with connections to China, and protected the buildings on which they appeared. In any case, the Renaissance bat had evolved far, artistically as well as conceptually, from the bat images that personified demons or the Devil in the European medieval literature and contemporary religious artwork.
27
Ronnes, Hanneke, and Arnold Witte. "The Dutch Renaissance in a Straightjacket." Explorations in Renaissance Culture 41, no. 1 (March 16, 2015): 94–115. http://dx.doi.org/10.1163/23526963-04101005.
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During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloemaert, and architects such as De Keyser. Still, this field is overshadowed by the public attention paid to the Dutch Golden Age, and its essentialist interpretation continues to have an impact on the way the preceding period is studied. As a result, there still exists a rather fragmented idea of what ‘Renaissance’ means with respect to the arts in the Netherlands.
28
Subtelny, Maria Eva. "Socioeconomic Bases of Cultural Patronage under the Later Timurids." International Journal of Middle East Studies 20, no. 4 (November 1988): 479–505. http://dx.doi.org/10.1017/s0020743800053861.
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Periods of cultural florescence seem to coincide with times of political decline far too regularly in the history of medieval Iran and Central Asia for the link between them to be merely incidental. One of the most outstanding examples is the period of the rule of the Turko-Mongol Timurid dynasty in the 9th/15th century, which has been dubbed a “Timurid renaissance” by Western scholars. Another is the period of the political domination of the Buyid dynasty of Dailamite origin in the 4th–5th/10th–11th centuries, which Adam Mez popularized as the “renaissance of Islam.” Still another is the period of the Muzaffarid, Jalayirid, Sarbadarid, and Kartid kingdoms which arose in the 8th/14th century after the fall of the Mongol Ilkhanid empire. Although the appropriateness of the term “renaissance” as applied to the Timurid case in particular has raised reservations among scholars, it does underscore the point that his period was characterized by an extraordinary surge of activity in all areas of cultural and intellectual endeavor, something already noted by its contemporaries.
29
Schram, Frederick R. "Crustacean Phylogeny." Short Courses in Paleontology 3 (1990): 285–302. http://dx.doi.org/10.1017/s2475263000001835.
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Crustacean phylogeny, long the focus of intense speculation, has undergone a renaissance in the last decade. This has been largely propelled by the use of cladistic analyses on the part of several workers, though there are still many who prefer more subjective, evolutionary systematic approaches.
30
Deng, Puyi. "Art and Science in Renaissance Works: The Beauty of Human Anatomy in Michelangelos David." Communications in Humanities Research 3, no. 1 (May 17, 2023): 136–43. http://dx.doi.org/10.54254/2753-7064/3/20220226.
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The integration of art and science remains a popular subject until now. There are many studies on the connection between art and other scientific disciplines of the Renaissance, but there is still room to explore the relationship between art and medicine, especially with anatomy. Therefore, the paper begins with a retrospective on anatomical progress during the Renaissance and a brief introduction to Michelangelos life and his research experience in anatomy. Then, taking Michelangelos David as a critical point, several manifestations in the sculpture related to human anatomy are precisely dissected by reviewing literature and analyzing artwork. This is followed by an exploration of the reasons to the connection between art and science, ultimately illustrating the impact of this trend on modern society. The conclusions of this paper demonstrate the relationship between art and science is that art carries science, and science inspires art. The interdisciplinary convergence of the two still has a powerful vitality and profound meaning nowadays.
31
Garson, Cyrielle. "Does Verbatim Theatre Still Talk the Nation Talk?" Journal of Contemporary Drama in English 6, no. 1 (April 27, 2018): 206–19. http://dx.doi.org/10.1515/jcde-2018-0021.
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AbstractIn a post-Brexit (and perhaps even post-truth) context, the entire nation is going through an intense period of self-scrutiny, attempting to find a way forward for British culture despite a growing climate of divisive and destructive trends. As ever, verbatim theatre, spearheaded by Rufus Norris’ National Theatre, has sought to provide some answers in its relentless examination of the state of Britain. However, since the renaissance of verbatim theatre in the mid-1990s, the political situation has worsened considerably and it may appear that the typical strategies of verbatim theatre have lost their efficacy, struggling to provide a much-needed alternative. In this article, I will assess some of verbatim theatre’s latest developments in the 21st century through three main case studies, which are DV8’s To Be Straight with You (2007), Catherine Grosvenor’s Cherry Blossom (2008) and Alecky Blythe’s Little Revolution (2014). My main argument is that, notwithstanding the claims to the contrary, verbatim theatre is far from being in decline and it has continued to fluctuate, transform and exceed its familiar parameters, urging us to rethink its general aesthetic coordinates beyond the project of documentary realism and that of a national ‘shadow archive.’ More specifically and drawing from a variety of recent examples including the aforementioned case studies, I will argue that verbatim theatre in this period has a post-postmodern proclivity to make new connections across the fragments and re-construct the social.
32
Kavun, V. M. "The semantics of religious images in the art of the renaissance." Humanitarian studios: pedagogics, psychology, philosophy 3, no. 152 (December 2020): 106–13. http://dx.doi.org/10.31548/hspedagog2020.03.106.
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Purpose of research is to consider the culture and art of the Renaissance and explore the semantics of religious images of the outlined period. Methodology. The tasks posed in this work led to the use of the following research methods, namely: analysis and synthesis, generalization and systematization of theoretical material, comparison and generalization of the result obtained in the process of studying theoretical material and specialized publications covering this issue. The solution of the tasks was achieved by applying the comparative historical, descriptive, logical and systemic methods. Scientific Novelty. The semantics of biblical images in the works of Renaissance artists are revealed. Conclusions. In the Renaissance, a completely new self-consciousness of a person is formed, among spiritual values, preference is given to the nobility and personal merits of the person. The meaning of life is not laid in the salvation of the soul, but in creativity, self-knowledge, serving humanity, society and not God. God, giving man free will, gave him the right to create his own destiny and determine his place in the world. Since the church of that time still had great power, the basic ideas of artists of that time were embodied in works with a religious theme, but in their painting, there were existing contradictions between the humanistic, deep life content ant traditional religious subjects. The works of the renaissance conveyed the being of the person around whom the biblical painting took place, all this was on one plane.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (December 28, 2018): 81–104. http://dx.doi.org/10.15291/ars.2756.
Повний текст джерелаАнотація:
This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Galeotti, Monica, Simone Porcinai, Andrea Cagnini, Maria Baruffetti, Caterina Biondi, Alice Dal Fovo, and Raffaella Fontana. "Organic Patinas on Small Historical Bronzes: From Mock-Ups to Actual Artworks." Coatings 14, no. 2 (February 6, 2024): 212. http://dx.doi.org/10.3390/coatings14020212.
Повний текст джерелаАнотація:
This paper deals with the study of organic coatings (patinas) on historical bronzes, specifically those applied on small-size statues in Renaissance workshops. These coatings, often transparent and translucent, contain a mixture of organic and inorganic components and may be still preserved in hidden parts of statues in indoor displays. However, the complexity of the original varnishes, their degradation and alteration over time, and the coexistence of materials added for conservation and maintenance purposes are challenging for their characterization. The often well-preserved surface of varnished bronzes and their small size make it mandatory to make the most of using noninvasive techniques for their investigation. To this end, to simulate the actual historical coatings, we prepared a set of mock-ups following ancient recipes and using materials that were available in the Renaissance. We used the samples to assess to what extent it is possible to disclose the formulation (binders, colourants, and other additives) and the thickness of a Renaissance patina with noninvasive methods. Microprofilometry (MP), optical coherence tomography (OCT), and eddy current (EC) gauge were tested on the samples and the results were combined with reflectance Fourier transform infrared (FT-IR) spectroscopy. The analyses performed on the mock-ups set the ground for investigating a Renaissance bronze featuring reddish semi-transparent varnish layers. The achievements are discussed in this paper, along with the limitations of the use of a noninvasive approach.
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Cameron, Keith. "Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature by John O'Brien, Malcolm Quainton." Modern Language Review 98, no. 2 (2003): 456–57. http://dx.doi.org/10.1353/mlr.2003.0200.
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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.
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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
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Aeilon Brooks, Andrée. "A Jewish Woman Leader of the Renaissance." European Judaism 33, no. 1 (March 1, 2000): 43–52. http://dx.doi.org/10.3167/ej.2000.330108.
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One wintry day early in 1535, merchant banker Francisco Mendes Benveniste – the George Soros of his day – lay dying in his whitewashed, tile-roofed home near the Royal Palace in Lisbon. It was a pivotal moment for his elegant wife Beatrice, later known as Doña Gracia Nasi, and for their infant daughter, Anna. Not only were they losing a husband and father. The death of Francisco had larger implications that Doña Gracia, still in her twenties, feared almost more than widowhood.
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Tao, Lin. "Research on the Notation of French Guitar and Lute in the Renaissance and Baroque Periods." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 195. http://dx.doi.org/10.32629/asc.v3i2.916.
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After the long and dark Middle Ages, Europe ushered in the Renaissance of ideological and cultural prosperity. Under the influence of humanism, secular music began to be valued and some church music also began to be secularized, and thus the guitar instrument ushered in its first heyday. With the development of instrumental music, a notation method, which is suitable for musical instruments, gradually began to appear, also known as "sign spectrum". Besides, guitar instruments use a lot of musical notation. Even in the baroque period when the staff is mature, some French lute and baroque guitar solo works still use this notation. This notation was recorded in different ways in various parts of Europe during the Renaissance and Baroque periods, but it can be roughly divided into Italian notation and French notation. This paper will focus on the analysis of French notation.
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Iversen, Martin Jes. "Measuring Chandler's Impact on European Business Studies since the 1960s." Business History Review 82, no. 2 (2008): 279–92. http://dx.doi.org/10.1017/s0007680500062772.
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Recently, a number of groups sponsored large international research projects that are concerned with business history. Harm G. Schröter's group investigated the European integration that followed the Treaty of Rome in 1957 in order to discover whether it had led to the appearance of a characteristically “European” corporation. Franco Amatori, Camilla Brautaset, and Youssef Cassis coordinated an analysis with the ambitious title “The Performance of European Business in the Twentieth Century.” The projects shared some common “Chandlerian” features: they were problem-oriented, comparative studies of the long-term development of large enterprises, and their goal was to propose illuminating generalizations. Such Chandler-inspired studies are likely to undergo a renaissance in the next couple of years. Still, as the term “renaissance” implies, Chandler's impact on European business studies has undergone upswings and downturns over the past four decades.
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Dunbabin, Jean. "Guido Vernani of Rimini's Commentary on Aristotle's ‘Politics’." Traditio 44 (1988): 373–88. http://dx.doi.org/10.1017/s0362152900007108.
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In the past three decades, the origins of Renaissance humanism have received much sensitive scholarly analysis. Although the novelty of humanism is still rightly stressed, the real contribution of medieval thinkers to its evolution has been brought into sharp focus. In no sphere has so high a claim been made for intellectual continuity as in political ideas, with Walter Ullman's assertion that Renaissance civic humanism owed its shape to its medieval antecedents. It is not my purpose to judge how far such a claim is justified. But since almost all historians would now agree that scholastic political thought made at the least a small contribution, there is a point in tracing the means by which Aristotelian ideas percolated into the schools of rhetoric, the cradles of civic humanism. It is in this context that Guido Vernani's commentary on the Politics should be examined.
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Flynn, Gabriel. "A Renaissance in Twentieth-Century Catholic Theology." Irish Theological Quarterly 76, no. 4 (September 29, 2011): 323–38. http://dx.doi.org/10.1177/0021140011416279.
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This article considers the nature and genesis of the ressourcement movement and argues that its leading exponents inspired a renaissance in twentieth-century Catholic theology that culminated in the reforms of Vatican II. It attempts to shed light on the complex question of terminology, the interpretation of which still engenders controversy in analyses of ressourcement and nouvelle théologie. It offers insights into the role of the ressourcement theologians in the struggle against Nazism and asserts that the movement possesses an enduring relevance for the Christian Churches and for modern society.
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Tracy, Charles. "The Bishop's Palace at Mirepoix (Ariege) and French Renaissance Oak Panelling in a Scottish House." Antiquaries Journal 85 (September 2005): 176–249. http://dx.doi.org/10.1017/s0003581500074394.
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The palace at Mirepoix (Ariege), erected by Bishop Philippe de Lévis in the 1520s, still stands today at the west end of the cathedral, its two-storey chapel and offices intact. With its original room layout still easily discernible, it is a unique survivor for its period, offering more information about the domestic arrangements of a bishop than can be deduced from the palaces at either Rouen or AIM. This paper proposes that a set of carved panelling, which for the past 150 years has found shelter in a Scottish baronial mansion, was almost certainly made for the gallery of the Mirepoix palace. A closely reasoned physical argument for this claim is adduced. The work is analysed and discussed in terms of its subject matter, function and style. An attempt is made to put it into the context of early Renaissance art in south-west France, the Loire valley and northern Italy. Its unique significance for the study of the early French Renaissance will become apparent. Finally, the monument's intriguing post-Revolutionary afterlife contributes important new information about the mechanisms of European and British nineteenth-century antiquarianism.
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Genet Chekol, Yayew. "Nile Hydro politics: Riparian States‟ position on Grand Ethiopian Renaissance Dam Project." Journal of Somali Studies 7, no. 2 (December 1, 2020): 49–63. http://dx.doi.org/10.31920/2056-5682/2020/7n2a3.
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The aim of the paper was at investigating the hydro political position of Nile riparian states particularly Sudan, and Egypt on Ethiopian Grand Renaissance Dam project. On the national level, the study points out that Ethiopia needs to consolidate its traditional and modern water rules, customs and laws to codify them to provide a regulatory foundation for the nation‟s water utilization and development. The development of Grand Ethiopian Renaissance Dam (GERD) is causing political escalation of tension between Ethiopia, Egypt and Sudan based on Nile water agreement signed during Colonial period between Britain and Egypt, Egypt and Sudan. The study finds that the existing status quo in the eastern Nile basin still hangs in a delicate balance, unless a legal and institutional setup is established by all riparian states. A regional institutional setup to regulate a longer-term cooperation is a sine qua non for sustainable development.
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Schleiner, Winfried. "Le feu caché: Homosocial Bonds Between Women in a Renaissance Romance." Renaissance Quarterly 45, no. 2 (1992): 293–311. http://dx.doi.org/10.2307/2862750.
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With all the insights recent works on the history of homosexuality and culture have given us, the best, Alan Bray's Homosexuality in Renaissance England and Eve K. Sedgwick's Between Men: English Literature and Male Homosocial Desire, have also made us aware of what we do not know of earlier periods. While some areas of the tabooed subject will forever be closed to us, others are still amenable to patient labor in the vineyard of scholarship. My present focus is on the three final volumes of what in its French edition has come to be called the Amadis de Gaule, probably the most monumental (twenty-one volumes) and popular romance in the Renaissance. Strictly speaking, only the first four volumes, the ones Don Quixote's curate agreed to preserve for their literary merit, are the Amadis de Gaule; the other volumes are continuations by other hands.
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Ellis, Erik Z. D. "Dissent from Mt. Ventoux: Between Christian and Secular Humanism in Petrarch’s de Ascensu Montis Ventosi." Scripta Mediaevalia 14, no. 1 (June 29, 2021): 71–96. http://dx.doi.org/10.48162/rev.35.003.
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Petrarch’s letter de Ascensu Montis Ventosi has long served as the founding document of “renaissance humanism”. Since thebeginning of renaissance studies in the mid-nineteenth century, the letter has become almost a talisman for summoning the new, secular spirit of humanism that spontaneously arrived in Italy in the fourteenth century, took hold of the hearts and minds of Europeans in the fifteenth century, and led to cataclysmic cultural, religious, and political changes in the sixteenth, seventeenth, and eighteenth centuries. This reading, still common among non-specialists, especially in the English-speaking world, is overly simplistic and ignores Petrarch’s profound debt to classical and Christian tradition, obscuring the fundamentally religious character of the letter. This article examines how scholars came to assign the letter so much importance and offers an interpretation that stresses Petrarch’s continuity with tradition and his desire to revitalize rather than reinvent the traditions of Christian scholarship and contemplation.
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Thiessen, Joel, and Lorne L. Dawson. "Is there a "renaissance" of religion in Canada? A critical look at Bibby and beyond." Studies in Religion/Sciences Religieuses 37, no. 3-4 (September 2008): 389–415. http://dx.doi.org/10.1177/000842980803700301.
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Research suggests Canada is a largely secular nation. Yet Reginald Bibby (2002) has recently proposed, surprisingly, that Canada is experiencing a religious renaissance. While "private spirituality" abounds in Canada, Bibby says his claim rests on increased levels of involvement in "organized religion." We have our doubts about Bibby's new optimism, and there are two sources of our scepticism. First, the cumulative weight of his own evidence is still more indicative of a continued preference for the consumption of religious fragments, a notion first popularized by Bibby (1987), than a renaissance of organized religion. Second, the credibility of his proposal is undermined by some nagging problems with the way he sorts, reports and interprets his data. To grasp whether something new is happening in Canada we need more precise and relevant data, and we make four methodological suggestions for acquiring the kinds of information needed.
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Szőnyi, György E. "“Speaking Pictures”: Ways of Seeing and Reading in English Renaissance Culture." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 145–76. http://dx.doi.org/10.2478/stap-2018-0007.
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Abstract Neither in Antiquity nor in the Middle Ages could literary theory settle the debate about the primacy of inspiration or imitation, Plato or Aristotle. It was in the Renaissance that serious efforts were made to reconcile the two theories, and one of the best syntheses came from England. Philosophical and aesthetical syncretism between Plato and Aristotle makes Sidney’s Defense of Poesie a non-dogmatic and particularly inspiring foundation for English literary theory. Also, Philip Sidney’s notion of “speaking pictures” needs to be revisited, in view of the ontology and epistemology of art, as a ground-breaking model for understanding the multimediality of cultural representations. The first part of the following essay is devoted to this. Furthermore, it will be examined how Sidney’s visual poetics influenced and at the same time represented emblematic ways of seeing and thinking in Elizabethan culture. These are particularly conspicuous in the influence of emblem theory in England and in Renaissance literary practice related to that. In the final section I intend to show that Shakespeare’s intriguing, although implicit, poetics is a telling example of how Renaissance visual culture enabled a model that put equal stress on inspiration and imitation, and also on the part of the audience, whose imagination had (and still has) to work in cooperation with the author’s intention.
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Szönyi, György E. "“Contending with the Fretful Element”: Shakespeare and the (Gendered) Great Chain of Being." Gender Studies 11, no. 1 (December 1, 2012): 1–22. http://dx.doi.org/10.2478/v10320-012-0025-6.
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Abstract E. M. W. Tillyard’s short but seminal book, The Elizabethan World Picture made its appearance as a ground-breaking work in the mid-1940s. It successfully adapted Arthur O. Lovejoy’s discovery of the Great Chain of Being as the central idea and metaphor of the premodern world picture for English Renaissance culture and literature, offering a key to understanding the often unfamiliar and obscure natural philosophy and metaphysics behind its works of art and literature. The concept of the Great Chain also led to Shakespeare being seen as a supporter of a conservative order in which religious, moral, philosophical, and scientific notions corresponded with each other in a strict hierarchy. The poststructuralist turn unleashed a severe attack on Tillyard and his legacy. As Ewan Fernie in a recent book on the Renaissance has diagnosed: “Now, after the theoretical overhaul, the notion of an ultimately authoritarian Renaissance has been thoroughly revised. In place of Tillyard’s full-fledged and secured physical, social and cosmological system, more recent critics tend to posit a conflicted and constantly negotiated culture with no essential pattern”. But what has happened to the idea of the Great Chain of Being, which, without doubt, played a major role in the Renaissance world picture and provided a basic knowledge about the elements? In my paper I am going to revisit some aspects of this world picture and examine how Shakespeare related to this (more often than not) in a subversive way, while still remaining within the boundaries of this organic and proto-modern system. Since the concept of the elements had gender aspects, too, I will also focus on the question of how proto-modern natural philosophy theorised about the dichotomy, antagonism, and the cooperation of male and female principles.
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Maystrenko-Vakulenko, Yuliya. "MATHEMATICAL KNOWLEDGE OF THE RENAISSANCE ERA AND ESTABLISHMENT OF DRAWING AS AN INDEPENDENT FORM OF ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 109–15. http://dx.doi.org/10.33838/naoma.28.2019.109-115.
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This research makes it possible to better understand the reasons why the artistic mindset for world perception and reproduction has drastically changed during a relatively short transition from the Medieval times to the Renaissance, as well as the factors that accelerated the birth of drawing as an independent form of art and prompted the artists of those times to search for ways to picture the tridimensionality of space.Drawing originated as a tool to research the relations between an object and space, as it’s the definition of space that became perceived and imagined on a basis completely different from that of the Medieval times, thanks to scientific discoveries. The crucial change in the art of the Renaissance era: reproduction of the illusion of 3D space and depth was performed through using new mathematical knowledge. Thanks to the research of M. Kuzansky, M. Kopernik, as well as L. B. Alberti, F. Brunelleschi and other scientists, the philosophic thought of the XV century has redeemed the definition of movement, bringing it to the level of eternity: while earlier, in the Medieval tradition, movement was imagined as a sign of earthly imperfection, transience and impermanence. A person’s own view of the world gained its value. It’s exactly this energy of potential movement of the Universe that we can see all the way through drawings by artists of the High Renaissance. The Renaissance space, that has now gained tridimensionality, is imagined as cosmic and immense, with the objects in it being clusters of an energy field. This Renaissance mindset has kickstarted the birth of art academies in Western Europe, where academic drawing was essential in art education. But today requires an update to the principles of teaching. Recognition of the immediate connection between scientific discoveries and direction of development for the art of drawing (both as an independent art form and an academic subject) will make it possible to define ways for its further progression, and avoid stagnation and obsolescence of educational models. Today, drawing is still a tool of world awareness that also allows exploration of its new properties discovered by A. Einstein at the beginning of the XX century. It is also a modern science with more complex, n-dimensional capabilities.
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Norden, Larisa L., and Valeria S. Miller. "THE IRISH RENAISSANCE IN FACES." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 133–41. http://dx.doi.org/10.47026/1810-1909-2021-2-133-141.
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The end of the XIX – beginning of the XX centuries is the efflorescence period of national culture in Ireland. In historiography, this time was named the Irish Renaissance. Its bright representatives and organizations promoted national ideas, tried to restrain verbal aggression from the English language, to revive self-consciousness of their compatriots, developed sports, literature, theater, musical culture, and opposed the British way of life.
The Irish Renaissance was not homogeneous. Some of its representatives tried to be politically neutral, tried to show their non-involvement in the existing political situation. The other held positions of active cultural nationalism. They believed that the Irish should revive their culture, cultivate their national identity, using a solid language base. They promoted the advantages of the Gaelic lifestyle as opposed to the English one. Still others proceeded from realistic attitudes, they saw narrow-mindedness of the Irish society, they were not afraid to point out its vices, and convinced in the need to include their homeland in the cultural space of the West. In addition to the multiplicity of options, the Irish Renaissance was an elitist phenomenon, since most of the society lived in poverty, did not have the opportunity to get a good education, and cared more about «daily bread». The most vivid appeals to the spiritual Revival of the nation were made in the theater and literature, the flourishing of which is associated with the names of W.B. Yeats, Lady Augusta Gregory, D. Joyce, D.M. Sing and others. To a large extent, the Irish Renaissance was a kind of reaction to modernism. It is quite possible to say that in Ireland there was a strong confrontation between the archaic and the modern. The important features of cultural Irish Renaissance were its anti-British orientation, the desire to emphasize national identity. The Hiberno-English version of English had similarities to Irish in some grammatical idioms, the inhabitants of the Emerald Isle, perhaps subconsciously, used the grammatical structures of their native language when speaking English. This linguistic tradition also influenced the Irish literature, which differed in various ways from the English literature.