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Timeless Renaissance features 74 recently rediscovered drawings from the 16th through the early 18th centuries. The book offers a fascinating glimpse of Count Allessandro Maggiori (1764-1834) as an art collector and reveals the cultural and historical importance of the collection he assembled in his villa near Monte San Giusto. All of the works were clearly influenced by Raphael's 16th-century Renaissance ideals of beauty, which were further developed throughout the 17th century by Bolognese masters such as Annibale Carracci, Guido Reni, and Domenichino. The Maggiori collection embraces this Neo-Renaissance, or "Timeless Renaissance." Mostly gathered in the years of the Napoleonic dominion over the Italian peninsula, the drawings selected by Maggiori subtly reveal the emergence of Italian collective identity and a new civic awareness before Italy became an autonomous state. Deeply indebted to the seats of Catholicism in Rome and Bologna, the works represent a tradition opposed to the ideals of post-revolutionary France. They are distinctly Italian.
For Italian city builders more than a thousand years ago, the urban realm was the great theater where their best aspirations were played out, the place where society said the most substantial things about who they were and what they longed for. In this masterful blend of art and cultural history, architect David Mayernik reveals how the very different cities of Venice, Rome, Florence, Siena, and Pienza were all literally designed to be both models of the mind and images of heaven. Mayernik takes the reader on a journey into the past in Timeless Cities, but he also explains why these city-building ideas remain relevant today. For those travelling on vacation or appreciating the art and architecture of Italy from home, Mayernik helps bring the wonder and beauty of the Renaissance mind a little closer.
Early narratives have tended to be critiqued as novels, an approach that misses their distinctive Renaissance realism. Alastair Fowler surveys picturing and perspective from the fifteenth century to the eighteenth, drawing analogies between literature and visual art. The book is based on the history of the narrative imagination after single-point perspective. The habit of an older, multi-point perspective long continued, accounting for "anachronism," discontinuous realism, "double time-schemes," and depiction of different moments as simultaneous.
Looking at a diverse range of texts including Marilyn French's The Women's Room, Philip Roth's Patrimony, the writings of Walter Benjamin and Fredric Jameson, and films such as Cinema Paradiso, Susannah Radstone argues that though time has been foregrounded in theories of postmodernism, those theories have ignored the question of time and sexual difference. The Sexual Politics of Time proposes that the contemporary western world has witnessed a shift from the age of confession to the era of memory. In a series of chapters on confession, nostalgia, the 'memories of boyhood' film and the memoir, Susannah Radstone sets out to complicate this claim. Developing her argument through psychoanalytic theory, she proposes that an attention to time and sexual difference raises questions not only about the analysis and characterization of texts, but also about how cultural epochs are mapped through time. The Sexual Politics of Time will be of interest to students and researchers of time, memory, difference and cultural change, in subjects such as Media and Cultural Studies, Sociology, Film Studies.
Although studies of specific time concepts, expressed in Renaissance philosophy and literature, have not been lacking, few art-historians have endeavored to meet the challenge in the visual arts. This book presents a multifaceted picture of the dynamic concepts of time and temporality in medieval and Renaissance art, adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. It has been assumed that time was conceived in a different way by those living in the Renaissance as compared to their medieval predecessors. Changing perceptions of time, an increasingly secular approach, the sense of self-determination rooted in the practical use and control of time, and the perception of time as a threat to human existence and achievements are demonstrated through artistic media. Chapters dealing with time in classical and medieval philosophy and art are followed by studies that focus on innovative aspects of Renaissance iconography.
"Drawing on thinkers as diverse as V. N. Volosinov, R. G. Collingwood, and E. Laclau, this volume challenges the predominant idea of a text as "monological" both in its "authorist" and "contextualist" versions. The authors instead seek to understand texts as "dialogical" moments in the relations that agents have with themselves and with other agents. From this perspective, each author is able to pry open a particular text and reveal the articulative relation that each has had with the world in which it was situated. The result is a revised look at the relationship between history, national identity, and religion in medieval South Asia."--BOOK JACKET.
Over the course of the fifteenth century, the Low Countries transformed Europe's economic, political and cultural life. Innovative and influential cultural practices emerged across the region in flourishing courts, towns, religious houses, guilds and confraternities. Whether in visual culture, music, devotional practice, or communal rituals, the thriving cultures of the Low Countries wrestled with time, both through explicit measurement and reflection, and in the rhythms of social and religious life. This book offers a deeper understanding of how time was structured and experienced by different constituencies through a series of detailed readings of diverse cultural objects and practices, ranging from woodcuts and painted altarpieces, to early print books, and to the use of polyphony in the liturgy. Individual chapters are devoted to life in the university towns of Louvain and Ghent, the liturgical rituals at Cambrai Cathedral, and the rich pageantry that marked the courts of Philip the Good and the new Burgundian rulers. What emerges is a complex temporal landscape in which devotional and secular practices and experiences merged into a new "fullness of time."
This critical history of Doctor Who covers the series 60 years, from the creation of the show to its triumph as Britain's number one TV drama. Opening with an in-depth account of the creation of the series within the BBC of the early 1960s, each decade of the show is tackled through a unique political and pop cultural historical viewpoint, exploring the links between contemporary Britain and the stories Doctor Who told, and how such links kept the show popular with a mass television audience. Timeless Adventures reveals how Doctor Who is at its strongest when it reflects the political and cultural concerns of a mass British audience (the 1960s, 1970s and 21st Century), and at its weakest when catering to a narrow fan-based audience (as in the 1980s). The book also addresses the cancellation of the show in the late 1980s (following the series becoming increasing self-obsessed) and the ways in which a narrowly-focused dedicated fandom contributed to the show's demise and yet was also instrumental in its regeneration for the 21st Century under Russell T. Davies, and analyses the new series to reveal what has made it so popular, reflecting real world issues like consumerism and dieting.
The Renaissance in Italy continues to exercise a powerful hold on the popular imagination and on scholarly enquiry. This Companion presents a lively, comprehensive, interdisciplinary, and current approach to the period that extends in Italy from the turn of the fourteenth century through the latter decades of the sixteenth. Addressed to students, scholars, and non-specialists, it introduces the richly varied materials and phenomena as well as the different methodologies through which the Renaissance is studied today both in the English-speaking world and in Italy. The chapters are organized around axes of humanism, historiography, and cultural production, and cover a wide variety of areas including literature, science, music, religion, technology, artistic production, and economics. The diffusion of the Renaissance throughout Italian territories is emphasized. Overall, the Companion provides an essential overview of a period that witnessed both a significant revalidation of the classical past and the development of new, vernacular, and increasingly secular values.
Alongside annals, chronicles were the main genre of historical writing in the Middle Ages. Their significance as sources for the study of medieval history and culture is today widely recognised not only by historians, but also by students of medieval literature and linguistics and by art historians. The series The Medieval Chronicle aims to provide a representative survey of the on-going research in the field of chronicle studies, illustrated by examples from specific chronicles from a wide variety of countries, periods and cultural backgrounds. There are several reasons why the chronicle is particularly suited as the topic of a yearbook. In the first place there is its ubiquity: all over Europe and throughout the Middle Ages chronicles were written, both in Latin and in the vernacular, and not only in Europe but also in the countries neighbouring on it, like those of the Arabic world. Secondly, all chronicles raise such questions as by whom, for whom, or for what purpose were they written, how do they reconstruct the past, what determined the choice of verse or prose, or what kind of literary influences are discernable in them. Finally, many chronicles have been beautifully illuminated, and the relation between text and image leads to a wholly different set of questions. The Medieval Chronicle is published in cooperation with the Medieval Chronicle Society (medievalchronicle.org).