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Traditionally, relations between Europe and Asia have been studied in a hegemonic perspective, with Europe as the dominant political and economic centre. This book focuses on cultural exchange between different European and Asian civilizations, with the r
In The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourse’s goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole. Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.
This 1955 work is the classic history of the development of modern diplomacy in Renaissance Europe. Sometime after the year 1400, the diplomatic traditions of civilized cultures-which have existed as far back as the records of human history extend-took a sharp turn that was the result of new power relations in the newly modern world. Mattingly believed these could be illustrative of how nations and traditions change...and that we might apply those lessons to our own rapidly changing global culture. Discover: [ the legal framework of Medieval diplomacy [ diplomatic practices in the 15th century [ the Italian beginnings of modern diplomacy [ precedents for resident embassies [ the dynastic power relations of European nations in the 16th century [ French diplomacy and the breaking-up of Christendom [ the Habsburg system [ early modern diplomacy [ and more. American scholar of European history GARRETT MATTINGLY (1900-1962) is also the author of Catherine of Aragon (1941) and the bestselling The Armada (1959), for which he won a Pulitzer Prize.
Celebrations of literary fictions as autonomous worlds appeared first in the Renaissance and were occasioned, paradoxically, by their power to remedy the ills of history. Robert E. Stillman explores this paradox in relation to Philip Sidney's Defence of Poesy, the first Renaissance text to argue for the preeminence of poetry as an autonomous form of knowledge in the public domain. Offering a fresh interpretation of Sidney's celebration of fiction-making, Stillman locates the origins of his poetics inside a neglected historical community: the intellectual elite associated with Philip Melanchthon (leader of the German Reformation after Luther), the so-called Philippists. As a challenge to traditional Anglo-centric scholarship, his study demonstrates how Sidney's education by Continental Philippists enabled him to dignify fiction-making as a compelling form of public discourse-compelling because of its promotion of powerful new concepts about reading and writing, its ecumenical piety, and its political ambition to secure through natural law (from universal 'Ideas') freedom from the tyranny of confessional warfare. Intellectually ambitious and wide-ranging, this study draws together various elements of contemporary scholarship in literary, religious, and political history in order to afford a broader understanding of the Defence and the cultural context inside which Sidney produced both his poetry and his poetics.
This book is the culmination of 15 years of research and travels that have taken the author completely around the world twice, as well as on other travels in the Mediterranean, the Baltic, and around the Pacific rim. Its purpose has been to try to understand the role of cultural differences within nations and between nations, today and over centuries of history, in shaping the economic and social fates of peoples and of whole civilizations. Focusing on four major cultural areas(that of the British, the Africans (including the African diaspora), the Slavs of Eastern Europe, and the indigenous peoples of the Western Hemisphere--Conquests and Cultures reveals patterns that encompass not only these peoples but others and help explain the role of cultural evolution in economic, social, and political development.
Studying texts by Lorenzo Valla, Erasmus, Saint Jerome, George Gascoigne, and Fulke Greville, this volume explores authorial character as an instrument of textual analysis in the scholarship of early Renaissance literature.
The Logical Renaissance: Literature, Cognition, and Argument, 1479-1630 is the first substantial account of early modern English literature's deep but uncharted relationship with logic. The nature and functions of logic have been largely misunderstood in literary criticism of the period, where it is often seen as sterile and formalistic: either an overcomplex remnant of Medieval philosophy superseded by rhetoric, or part of a Ramist pedagogy so stripped back that it had little to offer in the way of creative inspiration. Katrin Ettenhuber shows instead that early modern writers encountered in their study of logic a vibrantly practical art of argument and reasoning, which provided rich opportunities for imaginative engagement and artistic appropriation. The book opens with a clear and accessible introduction to the logical terms and concepts that will guide the discussion. It charts changes in logic education between the late fifteenth and early seventeenth centuries, before presenting a series of case studies that illustrate the creative applications of logic across a wide range of genres, including epic and lyric poetry, drama, and religious prose. The Logical Renaissance demonstrates, for the first time, logic's central role in the literary culture of early modern England.
Edmund Spenser's innovative poetic works have a central place in the canon of English literature. Yet he is remembered as a morally flawed, self-interested sycophant; complicit in England's ruthless colonisation of Ireland; in Karl Marx's words, 'Elizabeth's arse-kissing poet'-- a man on the make who aspired to be at court and who was prepared to exploit the Irish to get what he wanted. In his vibrant and vivid book, the first biography of the poet for 60 years, Andrew Hadfield finds a more complex and subtle Spenser. How did a man who seemed destined to become a priest or a don become embroiled in politics? If he was intent on social climbing, why was he so astonishingly rude to the good and the great - Lord Burghley, the earl of Leicester, Sir Walter Ralegh, Elizabeth I and James VI? Why was he more at home with 'the middling sort' -- writers, publishers and printers, bureaucrats, soldiers, academics, secretaries, and clergymen -- than with the mighty and the powerful? How did the appalling slaughter he witnessed in Ireland impact on his imaginative powers? How did his marriage and family life shape his work? Spenser's brilliant writing has always challenged our preconceptions. So too, Hadfield shows, does the contradictory relationship between his between life and his art.
"The sixteenth century in Europe was a period of vigorous economic expansion that led to social, political, religious, and cultural transformations and established the early modern age. This resource explores the emergence of monarchial nation-states and early Western capitalism during this period. Also examined in depth are the Protestant Reformation and the Counter-Reformation, which exacerbated tensions between states and contributed to the Thirty Years' War (1618-1648). Readers will come to understand how these events developed, how they led to the age of exploration, and how they inform modern European history."
It is widely accepted that English Renaissance drama owes its extraordinary richness and variety to the blending of elements originating from the medieval heritage and classical and Italian dramatic traditions. This grafting of the "Italian world" onto the English Renaissance goes far beyond the conventional research of the literary sources. The articles in this collection explore English Renaissance drama through new and challenging aspects of influence and through investigations into classical and Italian theater. The volume moves from early Elizabethan to late Jacobean drama. The area of research ranges from New Classical Comedy to commedia erudita, from the Renaissance theory of tragedy and tragicomedy to the birth of pastoral drama and beyond.