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Why was the Renaissance also the golden age of forgery? Forgery is an eternal problem. In literature and the writing of history, suspiciously attributed texts can be uniquely revealing when subjected to a nuanced critique. False and spurious writings impinge on social and political realities to a degree rarely confronted by the biographical criticism of yesteryear. They deserve a more critical reading of the sort far more often bestowed on canonical works of poetry and prose fiction. The first comprehensive treatment of literary and historiographical forgery to appear in a quarter of a century, Literary Forgery in Early Modern Europe, 1450–1800 goes well beyond questions of authorship, spotlighting the imaginative vitality of forgery and its sinister impact on genuine scholarship. This volume demonstrates that early modern forgery was a literary tradition in its own right, with distinctive connections to politics, Greek and Roman classics, religion, philosophy, and modern literature. The thirteen essays draw immediate inspiration from Johns Hopkins University’s acquisition of the Bibliotheca Fictiva, the world’s premier research collection dedicated exclusively to the subject of literary forgery, which consists of several thousand rare books and unique manuscript materials from the early modern period and beyond. The early modern explosion in forgery of all kinds—particularly in the kindred documentary fields of literary and archaeological falsification—was the most visible symptom of a dramatic shift in attitudes toward historical evidence and in the relation of texts to contemporary society. The authors capture the impact of this evolution within many fundamental cultural transformations, including the rise of print, changing tastes and fortunes of the literary marketplace, and the Protestant and Catholic Reformations. Contributors: Frederic Clark, James Coleman, Richard Cooper, Arthur Freeman, Anthony Grafton, A. Katie Harris, Earle A. Havens, Jack Lynch, Shana D. O’Connell, Ingrid Rowland, Walter Stephens, Elly Truitt, Kate Tunstall
Geo-spatial identity and early Modern European drama come together in this study of how cultural or political attachments are actively mediated through space. Matei-Chesnoiu traces the modulated representations of rivers, seas, mountains, and islands in sixteenth-century plays by Shakespeare, Jasper Fisher, Thomas May, and others.
Reprint of the original, first published in 1859.
Every year, Italy swells with millions of tourists who infuse the economy with billions of dollars and almost outnumber Italians themselves. In fact, Italy has been a model tourist destination for longer than it has been a modern state. The Beautiful Country explores the enduring popularity of “destination Italy,” and its role in the development of the global mass tourism industry. Stephanie Malia Hom tracks the evolution of this particular touristic imaginary through texts, practices, and spaces, beginning with the guidebooks that frame Italy as an idealized land of leisure and finishing with destination Italy’s replication around the world. Today, more tourists encounter Italy through places like Las Vegas’s The Venetian Hotel and Casino or Dubai’s Mercato shopping mall than experience the country in Italy itself. Using an interdisciplinary methodology that includes archival research, ethnographic fieldwork, literary criticism, and spatial analysis, The Beautiful Country reveals destination Italy’s paramount role in the creation of modern mass tourism.
Reprint of the original, first published in 1871.
Milton's Earthly Paradise was first published in 1972. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. This study provides a history of the changing interpretations of the first earthly paradise—the garden of Eden—in Western thought and relates Paradise Lost and other literary works to this paradise tradition. The author traces the beginnings of the tradition as they appear in the Bible and in classical literature and shows how these two strains were joined in early Christian and medieval literature. His emphasis, however, is on the relation of Paradise Lost to Renaissance commentary and to other literary works of the period dealing with the paradise story. Professor Duncan views Paradise Lost as one of many Renaissance works that reveal an untiring effort to understand and explain the first chapters of Genesis. In the rational and humanistic commentary of the Renaissance, he explains, the aim was to provide an interpretation of the literal sense of the Scriptural account that was credible, detailed, and historically valid. He finds that the cumulative influence of the commentary is reflected in Milton's attention to the location of paradise, the emphasis on the natural and the rational in his description of paradise, and in the importance of the typological relationship between the terrestrial and celestial paradises. This illuminating discussion makes it clear that Milton's re-creation of paradise is not only superb poetry but also a penetrating account of the origins of man, involving highly complex and controversial issues.