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Epic poets of the Renaissance looked to emulate the poems of Greco-Roman antiquity, but doing so presented a dilemma: what to do about the gods? Divine intervention plays a major part in the epics of Homer and Virgil—indeed, quarrels within the family of Olympian gods are essential to the narrative structure of those poems—yet poets of the Renaissance recognized that the cantankerous Olympians could not be imitated too closely. The divine action of their classical models had to be transformed to accord with contemporary tastes and Christian belief. From Many Gods to One offers the first comparative study of poetic approaches to the problem of epic divine action. Through readings of Petrarch, Vida, Ariosto, Tasso, and Milton, Tobias Gregorydescribes the narrative and ideological consequences of the epic’s turn from pagan to Christian. Drawing on scholarship in several disciplines—religious studies, classics, history, and philosophy, as well as literature—From Many Gods to One sheds new light on two subjects of enduring importance in Renaissance studies: the precarious balance between classical literary models and Christian religious norms and the role of religion in drawing lines between allies and others.
An investigation of why Michelangelo first, and then many other, Renaissance artists and works were called "divine" by contemporaries, this study ranges from fourteenth-century praise of Dante to a variety of sixteenth-century habits of courtly compliment.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Francis Schaeffer (1912-1984) was probably the single greatest intellectual influence on young evangelicals of the 1960s and '70s. He was cultural critic, popular mentor, political activist, Christian apologist, founder of L'Abri, and the author of over twenty books and two important films. It is impossible to understand the intellectual world of contemporary evangelicalism apart from Francis Schaeffer.Barry Hankins has written a critical but appreciative biography that explains how Schaeffer was shaped by the contexts of his life -- from young fundamentalist pastor in America, to greatly admired mentor, to lecturer and activist who encouraged world-wary evangelicals to engage the culture around them. Drawing extensively from primary sources, including personal interviews, Hankins paints a picture of a complex, sometimes flawed, but ultimately prophetic figure in American evangelicalism and beyond.
Ada Palmer explores how Renaissance poets and philologists, not scientists, rescued Lucretius and his atomism theory. This heterodoxy circulated in the premodern world, not on the conspicuous stage of heresy trials and public debates but in the classrooms, libraries, studies, and bookshops where quiet scholars met transformative ideas.
Examines facets of the relationship between Saint Augustine and the thinkers of the Italian Renaissance.
Frame Work explores how framing devices in the art of Renaissance Italy respond, and appeal, to viewers in their social, religious, and political context.
By the time he was nineteen, Frank Schaeffer's parents, Francis and Edith Schaeffer, had achieved global fame as bestselling evangelical authors and speakers, and Frank had joined his father on the evangelical circuit. He would go on to speak before thousands in arenas around America, publish his own evangelical bestseller, and work with such figures as Pat Robertson, Jerry Falwell, and Dr. James Dobson. But all the while Schaeffer felt increasingly alienated, precipitating a crisis of faith that would ultimately lead to his departure—even if it meant losing everything. With honesty, empathy, and humor, Schaeffer delivers “a brave and important book” (Andre Dubus III, author of House of Sand and Fog)—both a fascinating insider's look at the American evangelical movement and a deeply affecting personal odyssey of faith.
The first geographically broad, comparative survey of early modern 'sacred history', or writing on the history of the Christian Church, its leaders and saints, and its internal developments, in the two centuries from c. 1450 to c. 1650.