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In late sixteenth-century Venice, nearly 60 percent of all patrician women joined convents, and only a minority of these women did so voluntarily. In trying to explain why unprecedented numbers of patrician women did not marry, historians have claimed that dowries became too expensive. However, Jutta Gisela Sperling debunks this myth and argues that the rise of forced vocations happened within the context of aristocratic culture and society. Sperling explains how women were not allowed to marry beneath their social status while men could, especially if their brides were wealthy. Faced with a shortage of suitable partners, patrician women were forced to offer themselves as "a gift not only to God, but to their fatherland," as Patriarch Giovanni Tiepolo told the Senate of Venice in 1619. Noting the declining birth rate among patrician women, Sperling explores the paradox of a marriage system that preserved the nobility at the price of its physical extinction. And on a more individual level, she tells the fascinating stories of these women. Some became scholars or advocates of women's rights, some took lovers, and others escaped only to survive as servants, prostitutes, or thieves.
This well-illustrated and innovative book analyses convent culture in sixteenth-century Italy through the medium of three unpublished nuns' chronicles. It uses a comparative methodology of 'connected differences' to examine the intellectual and imaginative achievement of these nuns, and to investigate how they fashioned and preserved individual and convent identities by writing chronicles. The chronicles themselves reveal many examples of nuns' agency, especially with regard to cultural creativity, and show that convent traditions determined cultural priorities and specialisms, and dictated the contours of convent ceremonial life.
Between 1600 and 1800 around 4,000 Catholic women left England for a life of exile in the convents of France, Flanders, Portugal and America. These closed communities offered religious contemplation and safety, but also provided an environment of concentrated female intellectualism. The nuns’ writings from this time form a unique resource.
Dana E. Katz examines the Jewish ghetto of Venice as a paradox of urban space. In 1516, the Senate established the ghetto on the periphery of the city and legislated nocturnal curfews to reduce the Jews' visibility in Venice. Katz argues that it was precisely this practice of marginalization that put the ghetto on display for Christian and Jewish eyes. According to her research, early modern Venetians grounded their conceptions of the ghetto in discourses of sight. Katz's unique approach demonstrates how Venice's Jewish ghetto engaged the sensory imagination of its inhabitants in complex and contradictory ways that both shaped urban space and reshaped Christian-Jewish relations.
This book is a study of convent theatre in Italy, an all-female tradition. Widespread in the early modern period, but virtually forgotten today, this activity produced a number of talented dramatists and works worthy of remembrance. Convent authors, actresses and audiences, especially in Tuscan houses, the plays written and produced, and what these reveal about the lives of convent women, are the focus of this book. Beginning with the earliest known performances of miracle and mystery plays (sacre rappresentazioni) in the late fifteenth century, the book follows the development in the convents at the turn of the sixteenth century of spiritual comedy and of a variety of dramatic forms in the seventeenth century. Convent theatre both reflected the high level of literacy among convent women and contributed to it, and it attested to the continuing close contact between the secular world and the convents - even in the Post Tridentine period.
The World of St. Francis of Assisi: Essays in Honor of William R. Cook seeks to enrich our collective understanding of the world in which Francis lived and the ways in which Francis, together with his followers, has shaped the world ever since. Composed of thirteen essays by scholars from diverse academic disciplines, The World of St. Francis of Assisi considers Francis’s legacy in art, literature, and spirituality, and many of the contributions to the volume focus on the perennial application of Francis’s insights to the ills of contemporary society. Contributors are Greg Ahlquist, William R. Cook, Alexandra Dodson, John K. Downey, Bradley R. Franco, John Hart, Ronald Herzman, Weston L. Kennison, Mary R. McHugh, Beth A. Mulvaney, Sara Ritchey and Daniel J. Schultz.
Popular Politics in an Aristocratic Republic explores the different aspects of political actions and experiences in late medieval and early modern Venice. The book challenges the idea that the city of Venice knew no political conflict and social contestation during the medieval and early modern periods. By examining popular politics in Venice as a range of acts of contestation and of constructive popular political participation, it contributes to the broader debate about premodern politics. The volume begins in the late fourteenth century, when the demographical and social changes resulting from the Black Death facilitated popular challenges to the ruling class’s power, and finishes in the late eighteenth century, when the French invasion brought an end to the Venetian Republic. It innovates Venetian studies by considering how ordinary Venetians were involved in politics, and how popular politics and contestation manifested themselves in this densely populated and diverse city. Together the chapters propose a more nuanced notion of political interactions and highlight the role that ordinary people played in shaping the city’s political configuration, as well as how the authorities monitored and punished contestation. Popular Politics in an Aristocratic Republic combines recent historiographical approaches to classic themes from political, social, economic, and religious Venetian history with contributions on gender, migration, and urban space. The volume will be essential reading for students of Venetian history, medieval and early modern Italy and Europe, political and social history.
Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world. The thirteen essays in Judaism and Christian Art reveal that Christian art has always defined itself through the figures of Judaism that it produces. From its beginnings, Christianity confronted a host of questions about visual representation. Should Christians make art, or does attention to the beautiful works of human hands constitute a misplaced emphasis on the things of this world or, worse, a form of idolatry ("Thou shalt make no graven image")? And if art is allowed, upon what styles, motifs, and symbols should it draw? Christian artists, theologians, and philosophers answered these questions and many others by thinking about and representing the relationship of Christianity to Judaism. This volume is the first dedicated to the long history, from the catacombs to colonialism but with special emphasis on the Middle Ages and the Renaissance, of the ways in which Christian art deployed cohorts of "Jews"—more figurative than real—in order to conquer, defend, and explore its own territory.
This timely study analyses the seventeenth-century revival of monasticism by English women who founded convents in France and the Low Countries. Examining the nuns' membership of both the English Catholic community and the continental Catholic Church, it argues that despite strict monastic enclosure and exile, they nevertheless engaged actively in the spiritual and political controversies of their day. The book will add much to our understanding of women's power in early modern Europe, and offer an insight into a previously ignored section of English society.