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An introduction to science and medicine during the earlier phrases of the scientific revolution.
First published in 1864, Marsh's ominous warnings inspired environmental conservation and reform. By linking culture with nature, science with history, "Man and Nature" was the most influential text of its time next to Darwin's "On the Origin of Species."
The essays in this collection were first delivered as presentations at the Sixteenth Annual ACMRS Conference on 'Humanity and the Natural World in the Middle Ages and Renaissance' in February, 2010, at Arizona State University. They reflect the current state of the critical discussion regarding the 'history of the human'.
The Ideas of Man and Woman in Renaissance France provides the first comprehensive comparison of the printed debates over the superiority or inferiority of woman - the Querelle des femmes - and the dignity and misery of man, revealing the striking overlap between them as they evolved into the 1600s. Drawing on probate inventories, court registers and published lawyers' pleadings, Lyndan Warner traces these intertwined ideas from author to bookseller to reader.
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Animal Bodies, Renaissance Culture examines how the shared embodied existence of early modern human and nonhuman animals challenged the establishment of species distinctions. The material conditions of the early modern world brought humans and animals into complex interspecies relationships that have not been fully accounted for in critical readings of the period's philosophical, scientific, or literary representations of animals. Where such prior readings have focused on the role of reason in debates about human exceptionalism, this book turns instead to a series of cultural sites in which we find animal and human bodies sharing environments, mutually transforming and defining one another's lives. To uncover the animal body's role in anatomy, eroticism, architecture, labor, and consumption, Karen Raber analyzes canonical works including More's Utopia, Shakespeare's Hamlet and Romeo and Juliet, and Sidney's poetry, situating them among readings of human and equine anatomical texts, medical recipes, theories of architecture and urban design, husbandry manuals, and horsemanship treatises. Raber reconsiders interactions between environment, body, and consciousness that we find in early modern human-animal relations. Scholars of the Renaissance period recognized animals' fundamental role in fashioning what we call "culture," she demonstrates, providing historical narratives about embodiment and the cultural constructions of species difference that are often overlooked in ecocritical and posthumanist theory that attempts to address the "question of the animal."
"Explores how the Renaissance artist Hans Holbein the Younger came to develop his mature artistic styles through the key historical contexts framing his work: the controversies of the Reformation and Renaissance debates about rhetoric"--Provided by publisher.
This classic work marks the culmination of a definite stage in the socio-economic historiography from the late Middle Ages to the rise of the haute bourgeoisie in the early Renaissance. Here Alfred von Martin attempts to discover and define the spirit or essence of the Renaissance, and with it the spirit of early capitalism as it arose in Florence.His analysis focuses on the capitalist haute bourgeois who represented the economically, politically, and culturally dominant class of the Renaissance. As he shows, eventually its decline brings about a new stasis in the aristocratization of the great bourgeoisie as well as the rise of despotism in the fourteenth and fifteenth centuries.The shift from an agricultural to a commercial economy was unquestionably one of the essential elements in the transition from medieval to Renaissance civilization. This book's republication is a welcome development and will make this classic accessible again to scholars of the Renaissance and Renaissance humanism. In addition to its new introduction, it also includes a bibliography of von Martin's extensive writings.
Considering such witnesses of the time as Shakespeare, Dante, Petrarch, Michelangelo, Machiavelli, Montaigne, More and Bacon, Agnes Heller looks at both the concept and the image of a Renaissance man. The concept was generalised and accepted by all; its characteristic features were man as a dynamic being, creating and re-creating himself throughout his life. The images of man, however, were very different, having been formed through the ideas and imagination of artists, politicians, philosophers, scientists and theologians and viewed from the different aspects of work, love, fate, death, friendship, devotion and the concepts of space and time. Renaissance Man thus stood as both as a leading protagonist of his time, one who led and formulated the substantial attitudes of his time, and as one who stood as a witness on the sidelines of the discussion. This book, first published in English in 1978, is based on the diverse but equally important sources of autobiographies, works of art and literature, and the writings of philosophers. Although she uses Florence as a starting point, Agnes Heller points out that the Renaissance was a social and cultural phenomenon common to all of Western Europe; her Renaissance Man is thus a figure to be found throughout Europe.