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During the Renaissance the nature of womankind was a major topic of debate. Numerous dialogues, defenses, paradoxes, and tributes devoted to sustaining woman's excellence were published, and in them history was rewritten to include the achievements of womankind. Often these texts demonstrate that women are capable of acting with prudence, temperance, fortitude, and justice, and thus are capable of being independent of male political and moral authority. Pamela Benson argues that the writers use literary means (genre, characterization, narrator, paradox, plot) to defeat the political challenge posed by female independence and to restrain women within a traditional role. The Invention of the Renaissance Woman is a study of the literary strategies used both to create the notion of the independent woman and to restrain her. Traditionally, the profeminism of most of these texts has not been taken seriously because their playful or extreme styles have been read as a sign that they were nothing but a game. Benson demonstrates that the flamboyant and frequently paradoxical style of these texts is the key to their successful profeminism. She defines the literary and conceptual differences between the Italian and English traditions and argues that two of the greatest literary works of the Renaissance, the Orlando furioso and The Faerie Queene, are major texts in the tradition of defense and praise of women. The Inventions of the Renaissance Women is the first substantial contextual discussion of the majority of the Italian texts and many of the English ones. Benson uses the insights of feminist theory and of cultural studies without subordinating the Renaissance texts to a modern political agenda. Among the authors discussed are Spenser, Boccaccio, Ariosto, Castiglione, Vespasiano da Bisticci, Thomas More, Thomas Elyot, Juan Luis Vives, Richard Hyrde, Jane Anger, and Henry Howard.
In this informative and lively volume, Margaret L. King synthesizes a large body of literature on the condition of western European women in the Renaissance centuries (1350-1650), crafting a much-needed and unified overview of women's experience in Renaissance society. Utilizing the perspectives of social, church, and intellectual history, King looks at women of all classes, in both usual and unusual settings. She first describes the familial roles filled by most women of the day—as mothers, daughters, wives, widows, and workers. She turns then to that significant fraction of women in, and acted upon, by the church: nuns, uncloistered holy women, saints, heretics, reformers,and witches, devoting special attention to the social and economic independence monastic life afforded them. The lives of exceptional women, those warriors, queens, patronesses, scholars, and visionaries who found some other place in society for their energies and strivings, are explored, with consideration given to the works and writings of those first protesting female subordination: the French Christine de Pizan, the Italian Modesta da Pozzo, the English Mary Astell. Of interest to students of European history and women's studies, King's volume will also appeal to general readers seeking an informative, engaging entrance into the Renaissance period.
For fans of rich and vivid historical novels like Girl with a Pearl Earring and Code Name Verity, Laura Malone Elliott delivers the stunning tale of real-life Renaissance woman Ginevra de' Benci, the inspiration for one of Leonardo da Vinci's earliest masterpieces. The young and beautiful daughter of a wealthy family, Ginevra longs to share her poetry and participate in the artistic ferment of Renaissance Florence but is trapped in an arranged marriage in a society dictated by men. The arrival of the charismatic Venetian ambassador, Bernardo Bembo, introduces Ginevra to a dazzling circle of patrons, artists, and philosophers. Bembo chooses Ginevra as his Platonic muse and commissions a portrait of her by a young Leonardo da Vinci. Posing for the brilliant painter inspires an intimate connection between them, one Ginevra only begins to understand. In a rich and vivid world of exquisite art with a dangerous underbelly of deadly political feuds, Ginevra faces many challenges to discover her voice and artistic companionship—and to find love.
The Renaissance was a period of significant cultural transformation in Europe: women were both agents and objects of this historical process. The period witnessed revolutions in nearly every cultural domain, including the controversies of the Reformation, the rise of nascent capitalism, the influence of Humanism, advances in science and medicine, and shifts in the boundaries between public and private life, all of which profoundly affected women's lives. A Cultural History of Women in the Renaissance covers the period 1400-1650, giving an overview of how changes in social, educational, economic, scientific, religious and artistic paradigms affected cultural constructions of gender and the lived experiences of women in the period. Each chapter draws on a wide range of sources to chart the complex and often contradictory cultural logics of gender in Renaissance culture.
Discusses the legal, social, and religious position of women in the Greco-Roman world, Middle Ages, Renaissance, Industrial Revolution, and modern era.
A biography of Vittoria Colonna, a confidante of Michelangelo, the scion of one of the most powerful families of her era, and a pivotal figure in the Italian Renaissance Ramie Targoff’s Renaissance Woman tells of the most remarkable woman of the Italian Renaissance: Vittoria Colonna, Marchesa of Pescara. Vittoria has long been celebrated by scholars of Michelangelo as the artist’s best friend—the two of them exchanged beautiful letters, poems, and works of art that bear witness to their intimacy—but she also had close ties to Charles V, Pope Clement VII and Pope Paul III, Pietro Bembo, Baldassare Castiglione, Pietro Aretino, Queen Marguerite de Navarre, Reginald Pole, and Isabella d’Este, among others. Vittoria was the scion of an immensely powerful family in Rome during that city’s most explosively creative era. Art and literature flourished, but political and religious life were under terrific strain. Personally involved with nearly every major development of this period—through both her marriage and her own talents—Vittoria was not only a critical political actor and negotiator but also the first woman to publish a book of poems in Italy, an event that launched a revolution for Italian women’s writing. Vittoria was, in short, at the very heart of what we celebrate when we think about sixteenth-century Italy; through her story the Renaissance comes to life anew.
A collection of essays which provide portraits of eight of the Mendoza family's female members. It explores the lives of powerful women whose lineage gave them status within a patriarchal society designed to keep women from public life.
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.
In this biography, historian Evelyne Lever chronicles the extraordinary life of the most famous and influential mistress of Louis XV: Jeanne-Antoinette de Pompadour - a bourgeois girl of questionable parentage who would rise to the highest ranks of French society and maintain a twenty-year relationship with Louis XV.
"The Renaissance created a new vision of womanhood and indeed a "New Woman," proposes Gaia Servadio in this rich feast of a book. She dates the birth of this revolutionary movement to the invention of the printing press in 1456, which made books-and hence education-available to women. Central to her story are the lives of such as Vittoria Colonna, whose extraordinary mutual love with Michelangelo is told here; Tullia d'Aragona, poet and the best known courtesan of her age; and French poet Louise Labe, who fought in battle in male clothes. They are placed center stage to the Renaissance's power plays, paintings and architecture, courtesans and popes, music and manners, fashion, food, cosmetics, changing societies and the language of poetry and symbols."--Bloomsbury Publishing.