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Relevant bibliographies by topics / Italian Renaissance

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Academic literature on the topic 'Italian Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Italian Renaissance"

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Tagarelli, Antonio, Giuseppe Tagarelli, Paolo Lagonia, and Anna Piro. "Italian Renaissance." Archives of Dermatology 148, no. 8 (August 1, 2012): 938. http://dx.doi.org/10.1001/archdermatol.2012.1467.

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Eskhult, Josef. "Vulgar Latin as an emergent concept in the Italian Renaissance (1435–1601): its ancient and medieval prehistory and its emergence and development in Renaissance linguistic thought." Journal of Latin Linguistics 17, no. 2 (November 30, 2018): 191–230. http://dx.doi.org/10.1515/joll-2018-0006.

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Abstract This article explores the formation of Vulgar Latin as a metalinguistic concept in the Italian Renaissance (1435–1601) considering its continued, although criticized, use as a concept and term in modern Romance and Latin linguistics (1826 until the present). The choice of this topic is justified in view of the divergent previous modern historiography and because of the lack of a coherent historical investigation. The present study is based on a broad selection of primary sources, in particular from classical antiquity and the Italian Renaissance. Firstly, this article traces and clarifies the prehistory of the concept of Vulgar Latin in ancient and medieval linguistic thought. Section 2 demonstrates that the concept of Vulgar Latin as a low social variety does not exist in pre-Renaissance linguistic thought. Secondly, this article describes and analyzes how, why and when the concept of Vulgar Latin emerged and developed in the linguistic thought of the Italian Renaissance. Section 3 surveys the historical intellectual contexts of the debates in which this concept was formed, namely questione della lingua in the Latin and Vernacular Italian Renaissances. Section 4 demonstrates how the ancient concept and term of sermo vulgaris as a diaphasic variety was revived, but also modified, in the Latin Renaissance of the fifteenth century, when the leading humanists developed new ideas on the history, nature and variability of ancient Latin. Section 5 demonstrates how a diglossic concept of Vulgar Latin was formed in the vernacular Italian Renaissance of the sixteenth century, when Italian philologists more carefully approached the topic of the historical origin and emergence of Italian. Thirdly, Section 6 presents a synthesis of the historiographical results that are attained and revises modern historiography on some important points.

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Russo (book author), Mauda Bregoli, and Julius A. Molinaro (review author). "Renaissance Italian Theater." Quaderni d'italianistica 7, no. 1 (April 1, 1986): 133. http://dx.doi.org/10.33137/q.i..v7i1.11021.

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Joost-Gaugier, Christine L., and Werner L. Gundersheimer. "The Italian Renaissance." Sixteenth Century Journal 25, no. 3 (1994): 757. http://dx.doi.org/10.2307/2542707.

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Sonnino, Paul, and Paul Robert Walker. "The Italian Renaissance." History Teacher 30, no. 1 (November 1996): 111. http://dx.doi.org/10.2307/494231.

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ELLIOTT, SARA. "ITALIAN RENAISSANCE PAINTING." Art Book 1, no. 2 (March 1994): 19. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00017.x.

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Mallett, Michael. "Italian renaissance diplomacy." Diplomacy & Statecraft 12, no. 1 (March 2001): 61–70. http://dx.doi.org/10.1080/09592290108406188.

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Kusenko, Olga I. "Evgenij Anan’in and the problem of the Italian Renaissance." Philosophy Journal 14, no. 2 (2021): 138–52. http://dx.doi.org/10.21146/2072-0726-2021-14-2-138-152.

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A reevaluation of the dogmas and canons rooted in the Renaissance historiography was а сommon trend in the studies in this field in the first half of the 20th century. At that time, there appeared many original concepts that corrected or completely refuted the previous ones. The present article is devoted to the participation of the Russian historian Evgenij Anan’in, who lived and worked in Italy, in the debates around the notion of the Italian Renaissance and to his attempts to contribute to the elimination of various cliché from the field of Renaissance studies (primarily to abolish the postulated opposition of the Middle Ages and the Renaissance and the idea of the Renaissance as the revival of antiquity). A significant part of Anan’in’s publications in Italian scientific journals consists of polemic articles and reviews that reveal a panorama of Renaissance concepts in Europe in 1920–1930s. The Russian researcher was strongly opposed to foreign historians who denied the originality of the Italian Renaissance. He was also against all kinds of attempts to use the concept of the Renaissance ad usum proprium (national, ideological, etc). The article focuses on the concepts of the Renaissance and their authors (Burkhard, Burdach, Papini, Walser, Zabughin, Neumann, Nordström), which Anan’in analized (or, conversely, сlearly ignored) in his texts as well as on his own views that are hidden inside his critical remarks. The publication also deals with a campaign that began in Italy in the mid-1930s against a foreign “occupation” of the Renaissance field (according to that campaign, the primacy in the Renaissance studies belonged to Italians). Finally, the paper explores the case of an open confrontation between Anan’in and Giovanni Papini, who became the head of the National Institute of the Renaissance studies established in Florence in 1937.

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Zhou, Gang. "The Chinese Renaissance: A Transcultural Reading." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 783–95. http://dx.doi.org/10.1632/003081205x63859a.

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This paper examines the ways in which the idea of renaissance was understood and appropriated by Chinese intellectuals in the early twentieth century. My discussion foregrounds Hu Shi, one of the most important intellectual leaders in modern China and the main architect of the Chinese vernacular movement. I analyze his rewriting and reinvention of the European Renaissance as well as his declaration and presentation of the Chinese Renaissance in various contexts. Hu's creative uses of the Italian Renaissance and passionate claims for a Chinese Renaissance reveal the performative magic of the word renaissance and prompt us to ask what a renaissance is. The Chinese Renaissance and the fact that various non-European countries have declared and promoted their own renaissances invite a scholarly reconsideration of “renaissance” as a trans-cultural phenomenon rather than as a critical category originated and therefore owned by a certain culture.

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Robichaud, Denis J. J. "Competing Claims on the Legacies of Renaissance Humanism in Histories of Philology." Erudition and the Republic of Letters 3, no. 2 (May 1, 2018): 177–222. http://dx.doi.org/10.1163/24055069-00302003.

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This paper examines a facet in the long history of Italian Renaissance humanism: how later historians of philology understood Renaissance humanists. These later reconsiderations framed the legacies of Italian Renaissance humanism, at times by asking whether the primary contribution of humanism was philosophical or philological. Philologists–especially from nineteenth-century Germany in the generations before Voigt and Burckhardt–wrote about Renaissance humanists by employing prosopography and bio-bibliographic models. Rather than studying humanists and their works for their own merits, the authors of these histories sought to legitimize their own disciplinary identities by recognizing them as intellectual ancestors. Their writings, in turn, helped lay the foundation for later scholarship on Italian Renaissance humanism and defined, in particular, how later twentieth-century historians of philology and scholarship understood the Italian Renaissance.

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Dissertations / Theses on the topic "Italian Renaissance"

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Leino, Marika Annikki. "Italian Renaissance plaquettes in context." Thesis, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408126.

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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.

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Art History
Ph.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses

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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.

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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.

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Schadee, Hester. "Julius Caesar in the Early Italian Renaissance." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508650.

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Comiati, Giacomo. "Horace in the Italian Renaissance (1498-1600)." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/79572/.

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This dissertation aims to study the reception of the Latin poet Horace in the Italian Renaissance, taking into consideration works composed in several different genres both in Latin and Italian vernacular between 1498 and 1600. This thesis follows five main pathways of investigation: 1) to study the Renaissance biographies of the poet; 2) to analyse several exegetical works both in Horace’s single texts and his whole corpus; 3) to study the Italian translations written both in prose and verse which were made during the Cinquecento; 4) to study in depth those who imitated Horace in their lyrical and satirical poems composed in Italian; and 5) to examine those Neo-Latin poetical works (mainly pertaining to the lyrical and satirical genres). This dissertation points out that the numerous and various forms of Horatian reception help to evaluate the real flourishing of sixteenth-century interest in the Latin poet, interest that reflects the fact that Horace was part of the new Renaissance canon of classical authorities. Within the sixteenth-century conflict of cultures, Horace appears as one of the main protagonists of the critical and literary scenes, as is shown by the attention that his works received from the point of view of editions, commentaries, and translations respectively, as well as by the fact that his texts were placed at the centre of several literary imitative practices, his example being able to offer the Renaissance one important basis upon which to found part of its new culture. Indeed, Horace allowed the emergence of an ethical strain to the Renaissance lyric, as well as contributing to the provision of rules for sixteenth-century literary criticism.

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Leyland, Anthony Allan. "Ezra Pound and the Italian Renaissance, 1915 - 1930." Thesis, University of York, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440733.

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Lasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /." View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.

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Tobey, Elizabeth MacKenzie. "The palio in Italian Renaissance art, thought, and culture." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2458.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Green, David M. "The depiction of musical instruments in Italian Renaissance painting." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241296.

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Clarke, Georgia Margot. "Italian Renaissance urban domestic architecture : the influence of Antiquity." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264517.

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Books on the topic "Italian Renaissance"

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Clare, John D. Italian Renaissance. Edited by Clare John D. 1952-. San Diego: Harcourt Brace, 1995.

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Plumb, J. H. The Italian Renaissance. Boston: Houghton Mifflin, 1987.

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Donato, Antonio. Italian Renaissance Utopias. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9.

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G, Mallet J. V., Liefkes Reino 1959-, and Victoria and Albert Museum, eds. Italian Renaissance maiolica. London: V&A Pub., 2012.

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Annemarie, Sawkins, Franklin David, Waldman Louis Alexander, and Patrick and Beatrice Haggerty Museum of Art., eds. Italian Renaissance masters. Milwaukee, Wis: Haggerty Museum of Art, Marquette University, 2001.

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Museum, British, ed. Italian Renaissance drawings. London: British Museum Press, 2010.

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Wyndham, Pope-Hennessy John. Italian renaissance sculpture. 3rd ed. Oxford: Phaidon, 1986.

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Corporation, Marshall Cavendish, ed. The Italian Renaissance. New York: M. Cavendish, 1989.

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Maritz, Reiner E. The Italian Renaissance. Edited by Reimann Elke, Greene James, RM Arts (Firm), Films for the Humanities (Firm), and Reiner Moritz Associates. Princeton, NJ: Films for the Humanities & Sciences, 2006.

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Wyndham, Pope-Hennessy John. Italian Renaissance sculpture. London: Phaidon Press, 2000.

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Book chapters on the topic "Italian Renaissance"

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Capecchi, Danilo. "Italian Renaissance statics." In History of Virtual Work Laws, 91–133. Milano: Springer Milan, 2012. http://dx.doi.org/10.1007/978-88-470-2056-6_5.

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Callanan Martin, Kathleen, and John McGrath. "The Italian Renaissance." In The Modernization of the Western World, 57–66. 3rd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003467328-6.

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Prizer, William F. "North Italian Courts, 1460–1540." In The Renaissance, 133–55. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20536-3_4.

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Donato, Antonio. "Introduction." In Italian Renaissance Utopias, 1–5. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_1.

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Donato, Antonio. "An Introduction to Belluzzi or The Happy City by Lodovico Zuccolo." In Italian Renaissance Utopias, 251–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_10.

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Donato, Antonio. "Translation of Belluzzi or The Happy City by Lodovico Zuccolo." In Italian Renaissance Utopias, 261–305. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_11.

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Donato, Antonio. "An Introduction to Wise and Crazy World by Anton Francesco Doni." In Italian Renaissance Utopias, 9–18. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_2.

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Donato, Antonio. "Translation of Wise and Crazy World by Anton Francesco Doni." In Italian Renaissance Utopias, 19–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_3.

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Donato, Antonio. "An Introduction to The Happy City by Francesco Patrizi of Cherso." In Italian Renaissance Utopias, 63–73. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_4.

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Donato, Antonio. "Translation of The Happy City by Francesco Patrizi of Cherso." In Italian Renaissance Utopias, 75–120. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03611-9_5.

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Conference papers on the topic "Italian Renaissance"

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PLESCAU, Ionut Alexandru. "The Byzantine Influence on the Italian Renaissance." In 12th LUMEN International Scientific Conference Rethinking Social Action. Core Values in Practice RSACVP 2019, 15-17 May 2019, Iasi, Romania. LUMEN Publishing house, 2019. http://dx.doi.org/10.18662/lumproc.172.

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Durão, Maria. "Considerations on colour techniques in Italian Renaissance painting." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-33.

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Пичугина, О. К. "TAPESTRIES IN ITALY DURING THE RENAISSANCE." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.23.

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Статья посвящена истории развития шпалерного ткачества и бытования шпалер на территории Италии в XV–XVI вв. Рассматривается возникновение центров шпалерного производства в Венеции, Мантуе, Ферраре, Флоренции и Риме. Выявляется определяющая роль бургундских и нидерландских ткачей в создании шпалерных мастерских под патронажем итальянской аристократии и включение в ковровое производство выдающихся итальянских художников от Мантеньи и Козимо Тура до Рафаэля, Сальвиати, Понтормо и Бронзино. The article is devoted to the history of the development of trellis weaving and the use of trellises in Italy in the 15th–16th centuries. The article considers the emergence of trellis production centers in Venice, Mantua, Ferrara, Florence and Rome. The determining role of Burgundian and Dutch weavers in the creation of trellis workshops and under the patronage of Italian lords and the inclusion of outstanding Italian artists from Mantegna and Cosimo Tura to Raphael, Salviati, Pontormo and Bronzino in carpet production is revealed.

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Herczeg, Agnes. "THE RELATIONSHIP BETWEEN HUNGARIAN AND ITALIAN EARLY RENAISSANCE GARDENS." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.08.

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Clementi, Francesco, Andrea Nespeca, and Stefano Lenci. "Seismic behavior of an Italian Renaissance Sanctuary: Damage assessment by numerical modelling." In INTERNATIONAL CONFERENCE OF COMPUTATIONAL METHODS IN SCIENCES AND ENGINEERING 2016 (ICCMSE 2016). Author(s), 2016. http://dx.doi.org/10.1063/1.4968722.

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Broglia, Francesco, and Mirco Pucci. "Freehand draw and the study of military architecture." In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18076.

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This paper aims at analysing medieval and Renaissance fortifications by freehand draw. Freehand draw has been used for this purpose since the so called ‘epoca della transizione’and its fortune reached its peak with the study of Renaissance fortifications (XV-XVI century).Physical survey by scale sketches and drawings is a technique of Italian and European Renaissance tradition. It is a fundamental first step in understanding buildings and how they were designed.This research took into consideration the following case studies: fortifications in the State of Presidii – on the border between Lazio and Tuscany -, fortifications of the Tuscan archipelago, fortresses and fortified surrounding walls in Emilia Romagna.Freehand draw allowed us to recognize on the one hand the geometrical matrixes of the shapes taken into consideration and on the other hand the relations between design principles - which inspired military architects - and the effective realizations.

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Jacazzi, Danila, and Raffaela Fiorillo. "Castelli e arsenali delle isole balcaniche nella Peregrinatio di Bernhard von Breydenbach." In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18077.

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The voyage across the Mare Nostrum has had many meanings over the centuries: from the devotional purposes predominant in the pilgrimages of the Middle Ages, from the commercial exchanges that saw the establishment of merchant colonies in the main cities and harbour ports, to the movement of armies during the crusades and the diplomatic missions of ambassadors, nobles and knights during the Renaissance. From the 15th century onwards, relations between Italian courts and Mediterranean countries were not limited to mercantile aspects: scholars, clergymen and men of culture, driven by the Renaissance season and the rediscovery of the classical world, visited the Holy Land. Renaissance travellers of Franco-Renaissance culture left some of the most interesting depictions of the cities they visited in their diaries. The Peregrinatio in Terram Sanctam published in 1486 by Bernhard von Breydenbach, canon of Mainz, represents one of the main models of an itinerary in the Holy Land accompanied by some of the greatest expressions of the cartographic culture of the end of the century.

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Para, Iulia, and Daniela Stanciu. "TO BE, TO HAVE OR TO HOLD THE POWER IN THE RENAISSANCE ITALIAN CITY-STATES?" In 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s21.06.

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Angelaccio, Michele, Alessandra Basili, Berta Buttarazzi, and Walter Liguori. "Smart and Mobile Access to Cultural Heritage Resources: A Case Study on Ancient Italian Renaissance Villas." In 2012 IEEE 21st International Workshop On Enabling Technologies: Infrastructure For Collaborative Enterprises (WETICE). IEEE, 2012. http://dx.doi.org/10.1109/wetice.2012.36.

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Dolinšek, Eva. "Monteverdi and Seconda Pratica: Music Should be at the Ser-vice of the Word." In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d21.

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This article provides insight into the music of the late Renaissance and early Baroque in Italy. Com-poser Claudio Monteverdi was one of the most important figures in the music of the early Italian Baroque. We consider the events that led to the creation of the new early Baroque style – Seconda pratica - (second practice) and describe the significant changes in vocal music that took place with the aim to depart from strict counterpoint at the turn of the 16th century. Keywords: Claudio Monteverdi; Seconda pratica; Venetian school; Madrigalisms; Ornamentation

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