A SCHOLARLY BOOK REPOSITORY27 start with T start with T
Teaching Race in the European Renaissance: A Classroom Guide provides both educators and students the tools they need to discuss race in the European Renaissance both in its unique historical contexts and as part of a broader continuum with racial thinking today. The volume gathers scholars of the English, French, Italian, and Iberian Renaissances to provide exercises, lesson plans, methodologies, readings, and other resources designed to bring discussions of race into a broad spectrum of classes on the early modern period, from literature to art history to the history of science. This book is designed to help educators create more diverse and inclusive syllabi and curricula that engage and address a diverse, twenty-first-century student body composed of students from a growing variety of cultural, national, ethnic, and racial backgrounds. By providing clear, concise, and diverse methodologies and analytical focuses, Teaching Race in the European Renaissance: A Classroom Guide will help educators in all areas of Renaissance Studies overcome the anxiety and fear that can come with stepping outside of their expertise to engage with the topic of race, while also providing expert scholars of race in the Renaissance with new techniques and pedagogies to enhance the classroom experience of their students.
Struever argues that the accomplishment of five major Renaissance figures—Petrarch, Nicolaus Cusanus, Lorenzo Valla, Machiavelli, and Montaigne—was to consider theory as practice and thus engage the ethics of inquiry. She notes three stages of investigation, the first represented by Petrarch, who "relocated" ethical inquiry from a theoretical realm to a familiar practice responsive to daily experience.
The Theory of German Word Order from the Renaissance to the Present was first published in 1981. Minnesota Archive Editions uses digital technology to make long unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The uniquely systematic character of German word order and sentence structure has long been recognized as an important feature of the language and of its literary uses. This book is the first comprehensive survey of the way theorists and stylists have interpreted these features through the centuries. Aldo Scaglione contends that the story of this theoretical awareness is part of the emerging cultural and literary consciousness of the German nation, as well as a testing ground for contemporary linguistic typology.
German speculation on the nature of a national language is, to Scaglione, best understood as a dialogue with the prevailing models of Latin, Italian, French, and English. His account of the debates over German word order is thus grounded in the complex historical circumstances from which they emerge: Renaissance grammarians took stock of German divergencies from the Latin cultural model, and those in the seventeenth century faced the challenges of French rationalism, nineteenth-century Romanticism and the many linguistic movements of the twentieth century have all cast new light upon the peculiarities of German sentence structure. Readers interested in historical syntax, rhetorical traditions, and the history of the German language will value both Scaglione's wide-ranging knowledge and his lively style.
Through essays on some of the world’s greatest artists and thinkers—such as Leonardo da Vinci, Luca Pacioli, Andreas Vesalius, Johann Kepler, Galileo Galilei, William Hunter, and many more—this book tells the story of how of we learned to communicate three-dimensional forms on the two-dimensional page. It features some of Leonardo da Vinci’s ground-breaking drawings now in the Royal Collections and British Library as well as extraordinary anatomical illustrations, early paper engineering such as volvelles and flaps, beautiful architectural plans, and even views of the moon. With in-depth analysis of more than forty manuscripts and books, Thinking 3D also reveals the impact that developing techniques had on artists and draftsmen throughout time and across space, culminating in the latest innovations in computer software and 3D printing.
With an average attendance of more than 400, Warburg’s lectures were a great success, and a fourth meeting, accompanied by original Leonardo drawings and photographic prints in the Hamburg Kunsthalle, had to be repeated. Marking the fifth centenary of Leonardo’s death and the 120th anniversary of Warburg’s first public lecture series, this volume contains the full translated text of Warburg’s previously unpublished lectures. This translation, which is based on the texts as they survive in Warburg’s three manuscripts located in the Warburg Institute Archive, will bring these groundbreaking lectures to a new audience.
Theirs was a world of exploration and experimentation, of movement and growth--and in this, the thinkers of the Renaissance, poets and scientists alike, followed their countrymen into uncharted territory and unthought space. A book that takes us to the very heart of the enterprise of the Renaissance, this closely focused but far-reaching work by the distinguished scholar Angus Fletcher reveals how early modern science and English poetry were in many ways components of one process: discovering and expressing the secrets of motion, whether in the language of mathematics or verse.
Throughout his book, Fletcher is concerned with one main crisis of knowledge and perception, and indeed cognition generally: the desire to find a correct theory of motion that could only end with Newton's Laws. Beginning with the achievement of Galileo--which changed the world--Time, Space, and Motion identifies the problem of motion as the central cultural issue of the time, pursued through the poetry of the age, from Marlowe and Shakespeare to Ben Jonson and Milton, negotiated through the limits and the limitless possibilities of language much as it was through the constraints of the physical world.
Ranging widely across Titian’s long career and varied works, Titian and the End of the Venetian Renaissance outlines his radical innovations to the traditional Venetian altarpiece; his transformation of portraits into artistic creations; and his meteoric breakout from the confines of artistic culture in Venice. Nichols explores how Titian challenged the city’s communal values with his competitive professional identity, contending that his intensely personalized way of painting resulted in a departure that effectively brought an end to the Renaissance tradition of painting. Packed with 170 illustrations, this groundbreaking book will change the way people look at Titian and Venetian art history.
Titian was one of the most famous, successful, and long-lived of the Renaissance painters. Much of his output was for rulers or institutions whose archives have been largely preserved, and many of his family papers have also survived. Titian: Sources and Documents includes all known documents relating to Titian and his work dating from his lifetime, along with all known references to Titian in contemporaneous publications. The relevant section of each text is transcribed in full, preceded by a short summary in English, with extensive annotation and, where necessary, a commentary. The collection also includes all biographical material published before 1700 and all other texts that could realistically be thought to reflect first- or second-hand anecdotal information about him. The particular strengths and limitations of the principal early printed sources and the circumstances in which they were produced are discussed in a substantial introduction, which also includes an overview of the main archival collections consulted in the preparation of the book.
Titian’s art, Maria H. Loh argues in this exquisitely illustrated book, was and is a synesthetic experience. To see is at once to hear, to smell, to taste, and to touch. But while Titian was fully attached to the world around him, he also held the universe in his hands. Like a magician, he could conjure appearances out of thin air. Like a philosopher, his exploration into the very nature of things channelled and challenged the controversial ideas of his day. But as a painter, he created the world anew. Dogs, babies, rubies, and pearls. Falcons, flowers, gloves, and stone. Shepherds, mothers, gods, and men. Paint, canvas, blood, sweat, and tears. In a series of close visual investigations, Loh guides us through the lush, vibrant world of Titian’s touch.
Despite seeming to function as signs for what is outside the social—the alien, the exotic, the other—Amazons in sixteenth- and seventeenth-century texts were often represented in conventionally domestic roles, as mothers and lovers, wives and queens, Schwarz demonstrates. She traces this pattern in works by Shakespeare, Spenser, Sidney, Raleigh, and Jonson, as well as in such materials as conduct manuals, explorers’ accounts, court spectacles, and political tracts. Through readings of these texts, Schwarz shows that the Amazon myth provided a language both for setting forth and for challenging the terms of social logic. In representations of Amazon encounters, she argues, homosocial bonds became indistinguishable from heterosexual desires, masculine agency attached itself as logically to women as it did to men, and sexual difference was made nearly impossible to sustain or define. Schwarz’s analysis unveils the Amazon as a theoretical term, one that illuminates the tensions and paradoxes through which ideologies of the domestic take shape.
Tough Love contributes to the ongoing discussion of gendered identity and sexual desire in the early modern period. It will interest students of queer theory, cultural studies, early modern history, feminism, and literature.
April 1542 saw a massacre of epic proportions in the Luberon, in southeastern France, of its Waldensian population, who had been peacefully living there after they settled in a few centuries before. This massacre foreshadowed the wars of religion, which tore apart the kingdom for almost forty years. The Tragédie du Sac de Cabrières is the only play devoted to these events. This is a critical edition and English translation of the French play. Three critical editions of the play have been published in 1927, 1928, and 1998, and this new edition complements the previous works. This is the first English translation of the play and makes it available to an international audience of scholars and students of the early modern period.
This edition “translates” the moment of the play's creation, the representation of the event, and its importance in the narrative of religious persecutions in sixteenth-century France. It explains how history is dramatized through the creation of the scenic story and scenic play of Cabrières. and how the specific retelling of the events of Cabrières makes this a tool of historical narration, thus allowing the audience to participate in the unfolding of history before their eyes. Therefore, they become part of history, because it is played before their eyes so that they can not only witness it but also propagate the glory of the martyrs for future generations. This is not only a translation and a work of literary scholarship, it is an analysis of the literary, political, and religious production of this period, and a multidisciplinary analysis of Waldensianism in southeastern France.
This book proposes that in a number of French Renaissance texts, produced in varying contexts and genres, we observe a shift in thinking about memory and forgetting. Focusing on a corpus of texts by Marguerite de Navarre, Pierre de Ronsard, and Michel de Montaigne, it explores several parallel transformations of and challenges to traditional discourses on the human faculty of memory.
Throughout Classical Antiquity and the Middle Ages, a number of influential authors described memory as a powerful tool used to engage important human concerns such as spirituality, knowledge, politics, and ethics. This tradition had great esteem for memory and made great efforts to cultivate it in their pedagogical programs. In the early sixteenth century, this attitude toward memory started to be widely questioned. The invention of the printing press and the early stages of the scientific revolution changed the intellectual landscape in ways that would make memory less important in intellectual endeavors. Sixteenth-century writers began to question the reliability and stability of memory. They became wary of this mental faculty, which they portrayed as stubbornly independent, mysterious, unruly, and uncontrollable–an attitude that became the norm in modern Western thought as is illustrated by the works of Descartes, Locke, Freud, Proust, Foucault, and Nora, for example.
Writing in this new intellectual landscape, Marguerite de Navarre, Ronsard, and Montaigne describe memory not as a powerful tool of the intellect but rather as an uncontrollable mental faculty that mirrored the uncertainty of human life. Their characterization of memory emerges from an engagement with a number of traditional ideas about memory. Notwithstanding the great many differences in concerns of these writers and in the nature of their texts, they react against or transform their classical and medieval models in similar ways. They focus on memory’s unruly side, the ways that memory functions independently of the will. They associate memory with the fluctuations of the body (the organic soul) rather than the stability of the mind (the intellectual soul). In their descriptions of memory, these authors both reflect and contribute to a modern understanding of and attitude towards this mental faculty.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
A revealing account of the lives and work of Ethiopian Orthodox pilgrims in sixteenth-century Rome, examining how this African diasporic community navigated the challenges of religious pluralism in the capital of Latin Christianity.
Tucked behind the apse of Saint Peter’s Basilica in Rome is the ancient church of Santo Stefano. During the sixteenth century, Santo Stefano hosted an unusual community: a group of Ethiopian Orthodox pilgrims whose faith and culture were both like and unlike those of Latin Europe. The pilgrims of Santo Stefano were the only African community in premodern Europe to leave extensive documents in their own language (Gǝʿǝz). They also frequently collaborated with Latin Christians to disseminate their expert knowledge of Ethiopia and Ethiopian Christianity, negotiating the era’s heated debates over the boundaries of religious belonging.
Translating Faith is the first book-length study of this community in nearly a century. Drawing on Gǝʿǝz and European-language sources, Samantha Kelly documents how pilgrims maintained Ethiopian Orthodox practices while adapting to a society increasingly committed to Catholic conformity. Focusing especially on the pilgrims’ scholarly collaborations, Kelly shows how they came to produce and share Ethiopian knowledge—as well as how Latin Christian assumptions and priorities transformed that knowledge in unexpected ways. The ambivalent legacies of these exchanges linger today in the European tradition of Ethiopian Studies, which Santo Stefano is credited with founding.
Kelly’s account of the Santo Stefano pilgrim community is a rich tale about the possibilities and pitfalls of ecumenical dialogue, as well as a timely history in our own age marked by intensive and often violent negotiations of religious and racial difference.
Principe, the leading authority on the subject, recounts how Homberg’s radical vision promoted chymistry as the most powerful and reliable means of understanding the natural world. Homberg’s work at the Académie and in collaboration with the future regent, Philippe II d’Orléans, as revealed by a wealth of newly uncovered documents, provides surprising new insights into the broader changes chymistry underwent during, and immediately after, Homberg. A human, disciplinary, and institutional biography, The Transmutations of Chymistry significantly revises what was previously known about the contours of chymistry and scientific institutions in the early eighteenth century.
Winner of the American Association for Italian Studies Book Prize
A new history explores how one of Renaissance Italy’s leading cities maintained its influence in an era of global exploration, trade, and empire.
The Grand Duchy of Tuscany was not an imperial power, but it did harbor global ambitions. After abortive attempts at overseas colonization and direct commercial expansion, as Brian Brege shows, Tuscany followed a different path, one that allowed it to participate in Europe’s new age of empire without establishing an empire of its own. The first history of its kind, Tuscany in the Age of Empire offers a fresh appraisal of one of the foremost cities of the Italian Renaissance, as it sought knowledge, fortune, and power throughout Asia, the Americas, and beyond.
How did Tuscany, which could not compete directly with the growing empires of other European states, establish a global presence? First, Brege shows, Tuscany partnered with larger European powers. The duchy sought to obtain trade rights within their empires and even manage portions of other states’ overseas territories. Second, Tuscans invested in cultural, intellectual, and commercial institutions at home, which attracted the knowledge and wealth generated by Europe’s imperial expansions. Finally, Tuscans built effective coalitions with other regional powers in the Mediterranean and the Islamic world, which secured the duchy’s access to global products and empowered the Tuscan monarchy in foreign affairs.
These strategies allowed Tuscany to punch well above its weight in a world where power was equated with the sort of imperial possessions it lacked. By finding areas of common interest with stronger neighbors and forming alliances with other marginal polities, a small state was able to protect its own security while carving out a space as a diplomatic and intellectual hub in a globalizing Europe.
The English writers studied in The Two-Soul’d Animal place two prevailing interpretations of the soul’s faculties—one rhetorical on the plane of aesthetics, the other theological on the plane of ethics—into contact as a way to construct a new mode of Christian agency.
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