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The volume analyses some of the travelling and bridge-building activities that went on in Renaissance Europe, mainly but not exclusively across the Channel, true to Montaigne's epoch-making program of describing 'the passage'. Its emphasis on Anglo-Continental relations ensures a firm basis in English literature, but its particular appeal lies in its European point of view, and in the perspectives it opens up into other areas of early modern culture, such as pictorial art, philosophy, and economics. The multiple implications of the go-between concept make for structured diversity. The chapters of this book are arranged in three stages. Part 1 ('Mediators') focuses on influential go-betweens, both as groups, like the translators, and as individual mediators. The second part of this book ('Mediations') is concerned with individual acts of mediation, and with the 'mental topographies' they presuppose, reflect and redraw in their turn. Part 3 ('Representations') looks at the role of exemplary intermediaries and the workings of mediation represented on the early modern English stage. Key features High quality anthology on phenomena of cultural exchange in the Renaissance era With contributions by outstanding international experts
The volume analyses some of the travelling and bridge-building activities that went on in Renaissance Europe, mainly but not exclusively across the Channel, true to Montaigne's epoch-making program of describing 'the passage'. Its emphasis on Anglo-Continental relations ensures a firm basis in English literature, but its particular appeal lies in its European point of view, and in the perspectives it opens up into other areas of early modern culture, such as pictorial art, philosophy, and economics. The multiple implications of the go-between concept make for structured diversity. The chapters of this book are arranged in three stages. Part 1 ('Mediators') focuses on influential go-betweens, both as groups, like the translators, and as individual mediators. The second part of this book ('Mediations') is concerned with individual acts of mediation, and with the 'mental topographies' they presuppose, reflect and redraw in their turn. Part 3 ('Representations') looks at the role of exemplary intermediaries and the workings of mediation represented on the early modern English stage. Key features High quality anthology on phenomena of cultural exchange in the Renaissance era With contributions by outstanding international experts
The Wiley Blackwell Companion to the History of Science is a single volume companion that discusses the history of science as it is done today, providing a survey of the debates and issues that dominate current scholarly discussion, with contributions from leading international scholars. Provides a single-volume overview of current scholarship in the history of science edited by one of the leading figures in the field Features forty essays by leading international scholars providing an overview of the key debates and developments in the history of science Reflects the shift towards deeper historical contextualization within the field Helps communicate and integrate perspectives from the history of science with other areas of historical inquiry Includes discussion of non-Western themes which are integrated throughout the chapters Divided into four sections based on key analytic categories that reflect new approaches in the field
A reinterpretation of Sarpi's life as expressing a carefully thought out hostility to doctrinal religion.
“Walker here pairs off proto-architect Filippo Brunelleschi and doormaker Lorenzo Ghiberti in an often engaging version of Quattrocento Smackdown.” —Library Journal Joining the bestsellers Longitude and Galileo’s Daughter, this is a lively and intriguing tale of two artists whose competitive spirit brought to life one of the world’s most magnificent structures and ignited the Renaissance. The dome of the Santa Maria del Fiore, the great cathedral of Florence, is among the most enduring symbols of the Renaissance, an equal to the works of Leonardo and Michelangelo. Its designer was Filippo Brunelleschi, a temperamental architect and inventor who rediscovered the techniques of mathematical perspective. Yet the completion of the dome was not Brunelleschi’s glory alone. He was forced to share the commission with his archrival, the canny and gifted sculptor Lorenzo Ghiberti. In this lush, imaginative history—a fascinating true story of artistic genius and personal triumph—Paul Robert Walker breathes life into these two talented, passionate artists and the competitive drive that united and dived them. As it illuminates fascinating individuals from Donatello and Masaccio to Cosimo de’Medici and Leon Battista Alberti, The Feud That Sparked the Renaissance offers a glorious tour of 15th-century Florence, a bustling city on the verge of greatness in a time of flourishing creativity, rivalry, and genius. “A convincing account of one of the defining moments in art and history . . . He presents the two key figures in this drama in true human proportions . . . a skillful and engrossing story.” —Kirkus Reviews “A monstrously detailed account of a fascinating period in art and architecture.” —AudioFile
As the transition between the Middle Ages and modern times, the Renaissance is perhaps the most distinguished age since that of Classic Greece. Moreover, the consciousness of our time was largely formed by those who were given freedom to express themselves by the rebirth of the arts and sciences of the Renaissance. The Renaissance Reader allows the men and women of that turbulent time of change to speak in their own voices--sane and insane, brilliant and mundane, inspired and possessed, oblivious and decisive. Organized chronologically and covering the fourteenth through the seventieth centuries, the book provides readers with the literary and artist; social, religious, and political; and scientific and philosophic texts that shaped Renaissance thinking from the death of Dante in 1321 to the deaths of Cervantes and Shakespeare in 1616. Selections include such familiar texts as Sir Thomas Malory's Le Morte Darthur, Baldassare Castiglione's The Book of the Courtier, and Miguel de Cervantes' Don Quixote. The book also contains works by many less familiar writers, including such prominent Renaissance women as Christine de Pizan, Isabella d'Este, and Catherine Zell. With the inclusion of the works of such brilliant artists as Giotto, de Vinci, Durer, Michelangelo, Raphael, Brueghel, and others, The Renaissance Reader brings the age to life with all its vibrance and excitement.
The purpose of this volume is to investigate the crucial role played by the return of knowledge of Greek in the transformation of European culture, both through the translation of texts, and through the direct study of the language. It aims to collect and organize in one database all the digitalised versions of the first editions of Greek grammars, lexica and school texts available in Europe in the 14th and 15th centuries, between two crucial dates: the start of Chrysoloras’s teaching in Florence (c. 1397) and the end of the activity of Aldo Manuzio and Andrea Asolano in Venice (c. 1529). This is the first step in a major investigation into the knowledge of Greek and its dissemination in Western Europe: the selection of the texts and the first milestones in teaching methods were put together in that period, through the work of scholars like Chrysoloras, Guarino and many others. A remarkable role was played also by the men involved in the Council of Ferrara (1438-39), where there was a large circulation of Greek books and ideas. About ten years later, Giovanni Tortelli, together with Pope Nicholas V, took the first steps in founding the Vatican Library. Research into the return of the knowledge of Greek to Western Europe has suffered for a long time from the lack of intersection of skills and fields of research: to fully understand this phenomenon, one has to go back a very long way through the tradition of the texts and their reception in contexts as different as the Middle Ages and the beginning of Renaissance humanism. However, over the past thirty years, scholars have demonstrated the crucial role played by the return of knowledge of Greek in the transformation of European culture, both through the translation of texts, and through the direct study of the language. In addition, the actual translations from Greek into Latin remain poorly studied and a clear understanding of the intellectual and cultural contexts that produced them is lacking. In the Middle Ages the knowledge of Greek was limited to isolated areas that had no reciprocal links. As had happened to many Latin authors, all Greek literature was rather neglected, perhaps because a number of philosophical texts had already been available in translation from the seventh century AD, or because of a sense of mistrust, due to their ethnic and religious differences. Between the 12th and 14th century AD, a change is perceptible: the sharp decrease in Greek texts and knowledge in the South of Italy, once a reference-point for this kind of study, was perhaps an important reason prompting Italian humanists to go and study Greek in Constantinople. Over the past thirty years it has become evident to scholars that humanism, through the re-appreciation of classical antiquity, created a bridge to the modern era, which also includes the Middle Ages. The criticism by the humanists of medieval authors did not prevent them from using a number of tools that the Middle Ages had developed or synthesized: glossaries, epitomes, dictionaries, encyclopaedias, translations, commentaries. At present one thing that is missing, however, is a systematic study of the tools used for the study of Greek between the 15th and 16th century; this is truly important, because, in the following centuries, Greek culture provided the basis of European thought in all the most important fields of knowledge. This volume seeks to supply that gap.
Demonstrates how Venetian newsmongers played a crucial yet heretofore unrecognized role in the invention of America.
Marcus Gheeraerts’s portrait of a ’Persian lady’ - probably in fact an English lady in masquing costume - exemplifies the hybridity of early modern English culture. Her surrounding landscape and the embroidery on her gown are typically English; but her head-dress and slippers are decidedly exotic, the inscriptions beside her are Latin, and her creator was an ’incomer’ artist. She is emblematic of the early modern culture of exchange, both between England and its neighbours, and between Europe and the wider world. This volume presents fresh research into such early modern exchanges, exploring how new identities, subjectivities and artefacts were forged in dialogues and encounters between diverse cultures, nations and language communities. The early modern period was a time of creative interactions between cultures and disciplines, and accordingly this is a multidisciplinary volume, drawing together international experts in literature, history, modern and ancient languages and art history. It understands cultural exchange as encompassing both the geographical mobilities of travel and trade and the transmission of ideas across borders and between languages, as enabled by the new technology of print. Sites of exchange were located not only in distant and unfamiliar lands, but also in the bookseller’s shop and the scholar’s study. The volume also explores the productive and complex dialogues between early modern culture and the classical past. The types of exchanges discussed include the linguistic transactions of translation and imitation; interactions between cultural elites, such as monarchs, courtiers and diplomats; and the catalytic influences of particularly mobile or outward-looking individuals and groups. Ranging from the neo-Latin poetry of an English author to the plays of a nun in seventeenth-century New Spain, from royal portraits exchanged in diplomatic negotiations to travelling companions in the Ottoman Empire, the volume sheds new light
With its dominance as a European power and the explosion of its prose and dramatic writing, Spain provided an irresistible literary source for English writers of the early modern period. But the deep and escalating political rivalry between the two nations led English writers to negotiate, disavow, or attempt to resolve their fascination with Spain and their debt to Spanish sources. Amid thorny issues of translation and appropriation, imperial competition, the rise of commercial authorship, and anxieties about authenticity, Barbara Fuchs traces how Spanish material was transmitted into English writing, entangling English literature in questions of national and religious identity, and how piracy came to be a central textual metaphor, with appropriations from Spain triumphantly reimagined as heroic looting. From the time of the attempted invasion by the Spanish Armada of the 1580s, through the rise of anti-Spanish rhetoric of the 1620s, The Poetics of Piracy charts this connection through works by Ben Jonson, William Shakespeare, Francis Beaumont, John Fletcher, and Thomas Middleton. Fuchs examines how their writing, particularly for the stage, recasts a reliance on Spanish material by constructing narratives of militaristic, forcible use. She considers how Jacobean dramatists complicated the texts of their Spanish contemporaries by putting them to anti-Spanish purposes, and she traces the place of Cervantes's Don Quixote in Beaumont's The Knight of the Burning Pestle and Shakespeare's late, lost play Cardenio. English literature was deeply transnational, even in the period most closely associated with the birth of a national literature. Recovering the profound influence of Spain on Renaissance English letters, The Poetics of Piracy paints a sophisticated picture of how nations can serve, at once, as rivals and resources.