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On 23 May 1498 Girolamo Savonarola, one of the most spell-binding figures of the Italian Renaissance, was publicly burned at the stake on the main piazza of Florence on trumped-up charges of heresy and sedition. Thus ended the friar's meteoric rise to power and his unprecedented influence over Florentine society. Though his ashes were unceremoniously dumped into the River Arno the moment the cinders had died away, the fire of his teachings could not be extinguished, nor could Florentines forget the rivetting preacher from Ferrara who, in four short years, had turned their city upside down. Neither could Italians nor, more generally, European reformers, for they soon turned Savonarola into a prophet of renewal and into a symbol of the struggle against corruption. Whether he was one or the other or neither, is still very much under debate. This collection of texts from Savonarola's extensive body of works seeks to provide the English reader with a variety of entry points into this controversial figure. With samples from his letters to his poems, from his sermons to his pastoral works, it more than doubles the number of Savonarola's works currently available in English. In so doing, it makes his teachings that much more accessible to wide range of scholars and students alike.
Contextualizing Michelangelo’s poetry and spirituality within the framework of the religious Zeitgeist of his era, this study investigates his poetic production to shed new light on the artist’s religious beliefs and unique language of art. Author Ambra Moroncini looks first and foremost at Michelangelo the poet and proposes a thought-provoking reading of Michelangelo’s most controversial artistic production between 1536 and c.1550: The Last Judgment, his devotional drawings made for Vittoria Colonna, and his last frescoes for the Pauline Chapel. Using theological and literary analyses which draw upon reformist and Protestant scriptural writings, as well as on Michelangelo’s own rime spirituali and Vittoria Colonna’s spiritual lyrics, Moroncini proposes a compelling argument for the impact that the Reformation had on one of the greatest minds of the Italian Renaissance. It brings to light how, in the second quarter of the sixteenth century in Italy, Michelangelo’s poetry and aesthetic conception were strongly inspired by the revived theologia crucis of evangelical spirituality, rather than by the theologia gloriae of Catholic teaching.
A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history. Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700 Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The Message: Subjects and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse Covers many topics not typically included in collections of this nature, such as Judaism and the arts, architectural treatises, the global Renaissance in arts, the new natural sciences and the arts, art and religion, and gender and sexuality Features essays on the arts of the domestic life, sexuality and gender, and the art and production of tapestries, conservation/technology, and the metaphor of theater Focuses on Western and Central Europe and that territory's interactions with neighboring civilizations and distant discoveries Includes illustrations as well as links to images not included in the book
From Pliny to Petrarch to Pope-Hennessy and beyond, many have understood the obvious connection between portraiture and commemorative practice. This book expands and nuances our understanding of Renaissance portraiture; the author shows it to be complexly generated within a discourse of male anxiety and pre-mortuary mourning. She argues that portraiture could defer memory loss or, at the very least, pictorially console the subject against his own potentially unmourned death. This book recognizes a socio-cultural anxiety - the fear not merely of death but also of being forgotten - and identifies a set of pictorial, literary and theoretical strategies consequently formulated to ensure memory. To explore this phenomenon, this interdisciplinary but fundamentally art historical project merges early modern visual culture and critical theories of the body. The author examines an extensive selection of fifteenth- and sixteenth-century male and female portraits, primarily associated with the Medici family, circle and court, in and against both historical writings and contemporary discourses, including literary and cultural theory, psychoanalysis, feminism and gender studies, and critical theories of race and disability. Re-membering Masculinity generates new ideas about both male and female portraiture in early modern Florence, raises even more questions about the experiences and representations of widowhood and mourning, and re-configures our understanding of masculinity - from the early modern male body to 'Renaissance Man' to postmodern manhood.
In Florence, in the summer of 1501, a man named Antonio Rinaldeschi was arrested and hanged after throwing horse dung at an outdoor painting of the Virgin Mary. His punishment was severe, even for the times, and the crimes with which he was formally charged, gambling, blasphemy and attempted suicide, did not normally warrant the death penalty. Sacrilege and Redemption in Renaissance Florence unveils a series of newly discovered sources concerning this striking episode. The authors show how the political and religious context of Renaissance Florence resulted both in Rinaldeschi's death sentence and in the creation by the followers of Savonarola of a new religious devotion, in the heart of the city, commemorating the event. -- Amazon.com.
Mary Magdalene was the principle witness of the death, burial and resurrection of Jesus as told in the Christian gospels: the grief-stricken scarlet woman at the foot of the cross, clutching her jar of ointment, her hair loose like that of the maenads. Yet by the sixth century, Mary, once called the Tower, had fallen into disrepute as a sinner and prostitute. Mary was never a martyr, but tradition has her exiled to a solitary cave, where she was not a threat to the established church until she emerged after the rediscovery of the heretical Gnostic texts. In these, Mary Magdalene is the beloved companion of Jesus, the disciple who "knew the all." As with her predecessor Eve, she bears the sin of desiring knowledge and is condemned for it. The question of whether Mary Magdalene can be identified with Mary of Bethany has become merely another means of reducing her authority. In the gospels, Jesus said that his anointer should be remembered for all generations, yet she remains maligned and undefended-until now.
The Study Companion is a valuable additional resource for introductory courses in church history that use Tim Dowleys popular Introduction to the History of Christianity. Packed with the essential primary readings for introductory courses in the history of Christianity, the Study Companion also provides biographical information, thematic explorations of historical themes that are important today, as well as a host of other pedagogical tools that will enrich the students experience.
This fascinating history surveys apocalyptic religion through time, setting it within a political and social context. End-Timers: Three Thousand Years of Waiting for Judgment Day examines the high and low points of millennial expectation across the centuries. It shows how and why such beliefs first developed in antiquity, and it explores how end-timers influenced events as varied as the persecutions of Hellenistic ruler Antiochus Epiphanes and Roman Emperor Nero, the Crusades, the settlement of North America, and the 20th-century debacles at Jonestown and Waco. Suggesting that anyone who wishes to understand the Middle East today needs to penetrate the background of modern fundamentalism within the three Semitic religions, the author illuminates the part played by Christian Zionists in promoting the return of the Jews to the "promised land" and the resulting formation of the state of Israel, as well as subsequent fundamentalist reactions within both Judaism and Islam. He also follows the birth of the "Christian Right" in 19th-century Britain and its development and growing influence in the United States. Finally, the book examines how religious end-timers confront the four horsemen of the 21st-century apocalypse: world population increase, depletion of natural resources, advanced weaponry, and global warming.
Girolamo Savonarola (1452–1498), the religious reformer, preacher, and Florentine civic leader, was burned at the stake as a false prophet by the order of Pope Alexander VI. Tamar Herzig here explores the networks of Savonarola’s female followers that proliferated in the two generations following his death. Drawing on sources from the fifteenth and sixteenth centuries, many never before studied, transcribed, or contextualized in Savonarolan scholarship and religious history, Herzig shows how powerful public figures and clerics continued to ally themselves with these holy women long after the prophet’s death. In their quest to stay true to their leader’s teachings, Savonarola’s female followers faced hostile superiors within their orders, local political pressures, and the deep-rooted misogynistic assumptions of the Church establishment. This unprecedented volume demonstrates how reform circles throughout the Italian peninsula each tailored Savonarola’s life and works to their particular communities’ regionally specific needs. Savonarola’s Women is an important reconstruction of women’s influence on one of the most important and controversial religious movements in premodern Europe.