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Marjorie Boyle is the first theologian to write about Petrarch the poet as theologian. With her extraordinarily broad and deep knowledge of the theological, historical, and literary contexts of her subject, she presents an entirely original and revisionary account of Petrarch's literary career. Petrarch, she argues, has been misunderstood by the division of his literary enterprise into two sides—Petrarch the poet, Petrarch the humanist reformer—studied by literary critics and historians respectively. Boyle demonstrates that the division is artificial, that the two sides are part of the same prophetic mission. Petrarch's Genius is an important book that deserves to be read by all Petrarch scholars—theologians as well as literary critics and historians.
"Building on recent Petrarch scholarship and broader studies of medieval poetics, poetic narrativity and biblical intertextuality, this study argues that Petrarch's Rerum vulgarium fragmenta is an ordered and coherent work unified by narrative and theological structures. The author begins with the premise that the multiple voices of the Petrarchan figure (or subject) call for a reading informed by historical and autobiographical considerations. Within such a reading, the internal chronology of the work coincides with a temporal framework provided by Petrarch's Latin prose and poetry. Drawing on this material, he argues that Petrarch's derivations from early poets in the Italian vernacular, his Augustineanism and his humanism are manifest in the Fragmenta and contribute to its narrative and theological unity."--
In this book, Gur Zak examines two central issues in Petrarch's works - his humanist philosophy and his concept of the self.
One of the most important authors of the Middle Ages, Petrarch occupies a complex position: historically, he is a medieval author, but, philosophically, he heralds humanism and the Renaissance. Teachers of Petrarch's Canzoniere and his formative influence on the canon of Western European poetry face particular challenges. Petrarch's poetic style brings together the classical tradition, Christianity, an exalted sense of poetic vocation, and an obsessive love for Laura during her life and after her death in ways that can seem at once very strange and--because of his style's immense influence--very familiar to students. This volume aims to meet the varied needs of instructors, whether they teach Petrarch in Italian or in translation, in surveys or in specialized courses, by providing a wealth of pedagogical approaches to Petrarch and his legacy. Part 1, "Materials," reviews the extensive bibliography on Petrarch and Petrarchism, covering editions and translations of the Canzoniere, secondary works, and music and other audiovisual and electronic resources. Part 2, "Approaches," opens with essays on teaching the Canzoniere and continues with essays on teaching the Petrarchan tradition. Some contributors use the design and structure of the Canzoniere as entryways into the work; others approach it through discussion of Petrarch's literary influences and subject matter or through the context of medieval Christianity and culture. The essays on Petrarchism map the poet's influence on the Italian lyric tradition as well as on other national literatures, including Spanish, French, English, and Russian.
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Despite the high regard in which Francesco Petrarca (1304-74) held St. Augustine, scholars have been inclined to view Augustine’s impact on the content of Petrarch’s thought rather lightly. Wedded to the ancient classics, and prioritising literary imitation over intellectual coherence, Petrarch is commonly thought to have made inconsistent use of St. Augustine’s works. Adopting an entirely fresh approach, however, this book argues that Augustine’s early writings consistently provided Petrarch with the conceptual foundations of his approach to moral questions, and with a model for integrating classical precepts into a coherent Christian framework. As a result, this book offers a challenging re-interpretation of Petrarch’s humanism, and offers a provocative new interpretation of his role in the development of Italian humanism.
At the center of Petrarch's vision, announcing a new way of seeing the world, was the individual, a sense of the self that would one day become the center of modernity as well. This self, however, seemed to be fragmented in Petrarch's work, divided among the worlds of philosophy, faith, and love of the classics, politics, art, and religion, of Italy, France, Greece, and Rome. In recent decades scholars have explored each of these worlds in depth. In this work, Giuseppe Mazzotta shows for the first time how all these fragmentary explorations relate to each other, how these separate worlds are part of a common vision. Written in a clear and passionate style, The Worlds of Petrarch takes us into the politics of culture, the poetic imagination, into history and ethics, art and music, rhetoric and theology. With this encyclopedic strategy, Mazzotta is able to demonstrate that the self for Petrarch is not a unified whole but a unity of parts, and, at the same time, that culture emerges not from a consensus but from a conflict of ideas produced by opposition and dark passion. These conflicts, intrinsic to Petrarch's style of thought, lead Mazzotta to a powerful rethinking of the concepts of "fragments" and "unity" and, finally, to a new understanding of the relationship between them.