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Journal articles on the topic 'Italian Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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 (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 clari

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3

Kusenko, Olga, and Oleg Ermishin. "V.N. Ilyin. Italian Culture, Italian Humanism and Florence." History of Philosophy 29, no. 2 (2024): 100–117. http://dx.doi.org/10.21146/2074-5869-2024-29-2-100-117.

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The first published essay by V.N. Ilyin about the culture of the Italian Renaissance introduces readers to the Renaissance concept of the author and his more general historiosophical views. This vibrant emotional text, full of philosophical and theological inspirations, transfers the readers to fifteenthcentury Florence, to the very heart of the Renaissance flourishing under the Medici dynasty. Ilyn reflects on the masterpieces of Fra Beato Angelico, Filippo Lippi, Benozzo Gozzoli, and other outstanding representatives of the Quattrocento. In connection with Florentine Renaissance history, the

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4

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

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5

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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6

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

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7

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

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8

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

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9

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 pos

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10

Zhou, Gang. "The Chinese Renaissance: A Transcultural Reading." PMLA/Publications of the Modern Language Association of America 120, no. 3 (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 wo

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11

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 (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 aut

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12

Vernazza, Ruben. "‚Rossini renaissance(s)‘ e discorsi identitari italiani." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 103, no. 1 (2023): 471–84. http://dx.doi.org/10.1515/qufiab-2023-0024.

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Abstract Following thematic and theoretical lines set out in two recent ground-breaking studies by Emanuele Senici on Rossini’s music, this article questions Italian discourse on the Rossini renaissance. It thus highlights the identity-related meanings for Italians of three crucial moments in the history of this renaissance: in 1925, with the ‚cycle Rossini‘ at the Théâtre des Champs-Élysées in Paris; in 1952, with the „Armida“ at the Maggio musicale fiorentino with Maria Callas in the title role; in 1969, with the Italian debut of the critical edition of the „Barber of Seville“ at the Scala i

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13

Napolitano, David. "The politics of the Italian Renaissance State: Italian scholarship for non-Italians." Incontri. Rivista europea di studi italiani 29, no. 2 (2014): 88. http://dx.doi.org/10.18352/incontri.9882.

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14

Simionescu, Dorin Mircea. "Masters of Italian Renaissance." Altarul Reîntregirii, no. 2 (2017): 105–21. http://dx.doi.org/10.29302/ar.2017.2.6.

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15

Stephen, Vanessa, and Claudia Lazzaro. "The Italian Renaissance Garden." Garden History 20, no. 1 (1992): 89. http://dx.doi.org/10.2307/1586930.

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16

Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa". Modernités Russes 12, № 1 (2011): 109–23. http://dx.doi.org/10.3406/modru.2011.955.

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Viacheslav Ivanov’s interest in Italian Renaissance painting is well known, and it has been analyzed more than once. For the most part, however, such investigations have treated poems of his with elements of ekphrasis or with mentions of artists and their paintings, or articles of his that refer to painting. In our opinion much remains to be said about this matter, and we offer some new materials relating to it. Among them are letters to Ivanov from members of his immediate circle (and, to a lesser, degree his own letters), which note his interest in Renaissance masters ; the reproductions of

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17

Niranjan, Goswami. "Bembo's 'Antique Sandal': The Idea of Imitation in Speroni and Du Bellay." Trivium A multi disciplinary journal of humanities of Chandernagore College 2, no. 2 (2018): 47–61. https://doi.org/10.5281/zenodo.13826338.

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This essay begins with the debate in the Italian Renaissance on the question of the primacy of Latin vis-à-vis Italian. Whereas Imitation theory in writing Latin was well established, the pioneers in vernacular Italian like Giovan Francesco Pico and Pietro Bembo debated the pros and cons of imitation of Latin writers in Italian. Sperone Speroni in a dialogue formulated the various opinions on the question. French Renaissance poet Joachim du Bellay, faced with a similar task of forging the vernacular in France, took a leaf from Speroni and Bembo. Both Bembo and Du Bellay conceived of the

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18

Čehovský, Petr. "Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii." Kultúrne dejiny 14, no. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.

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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Itali

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19

Кусенко, О. И. "Evgenij Anan'in and the Problem of the Italian Renaissance." Диалог со временем, no. 77(77) (November 29, 2021): 183–96. http://dx.doi.org/10.21267/aquilo.2021.77.77.012.

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Статья посвящена участию русского историка-медиевиста Евгения Аркадьевича Ананьина, проживавшего в Италии, в дебатах вокруг концепции итальянского Ренессанса в первой половине XX в., его попыткам очистить поле ренессансных исследований от укоренившихся клише (в первую очередь от постулируемой антитезы Сред-невековья и Возрождения и представления о Ренессансе как возвращении к античности). Значительная часть публикаций Ананьина в итальянских научных журналах – полемические статьи и рецензии, раскрывающие панораму ренессансных концепций в Европе 1920–1930-х гг. Русский исследователь выступал про

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20

Azzolini (book editor), Monica, Isabella Lazzarini (book editor), and Veronica Copello (review author). "Italian Renaissance Diplomacy: A Sourcebook." Quaderni d'italianistica 38, no. 1 (2018): 263–65. http://dx.doi.org/10.33137/q.i..v38i1.31185.

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21

Kries, Douglas. "Augustine in the Italian Renaissance." Augustinian Studies 37, no. 1 (2006): 133–35. http://dx.doi.org/10.5840/augstudies20063716.

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22

Muir, Edward. "The Italian Renaissance in America." American Historical Review 100, no. 4 (1995): 1095. http://dx.doi.org/10.2307/2168202.

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23

Azzolini (book editor), Monica, Isabella Lazzarini (book editor), and Arazoo Ferozan (review author). "Italian Renaissance Diplomacy: A Sourcebook." Renaissance and Reformation 41, no. 1 (2018): 167–69. http://dx.doi.org/10.33137/rr.v41i1.29525.

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24

Gouwens, Kenneth, and James Hankins. "Plato in the Italian Renaissance." Sixteenth Century Journal 23, no. 1 (1992): 186. http://dx.doi.org/10.2307/2542104.

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25

Knox, Dilwyn, and James Hankins. "Plato in the Italian Renaissance." American Historical Review 97, no. 5 (1992): 1559. http://dx.doi.org/10.2307/2166045.

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26

HARTT, FREDERICK, and ROBERT ORME. "HISTORY OF ITALIAN RENAISSANCE ART." Art Book 1, no. 3 (1994): 17b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00134.x.

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27

Abbott, Alison. "Time for an Italian renaissance?" Nature 422, no. 6931 (2003): 467–68. http://dx.doi.org/10.1038/422467a.

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28

Quinn, D. "The Italian Renaissance and Columbus." Renaissance Studies 6, no. 3-4 (1992): 352–59. http://dx.doi.org/10.1111/j.1477-4658.1992.tb00346.x.

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29

Huang, Junjian, John Shin, Stefano Marcia, and Allan L. Brook. "The Italian Renaissance – spacer style." Journal of NeuroInterventional Surgery 12, no. 7 (2020): 678–79. http://dx.doi.org/10.1136/neurintsurg-2020-016082.

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30

Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (2003): 569–75. http://dx.doi.org/10.1162/00221950360536521.

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The traditional account of the Renaissance holds that intellectual and artistic influence moved overwhelmingly in one direction—from Italy to the rest of Europe, and especially toward the North. A remarkable exhibition in Bruges, however, has made the case that traffic did not go just one way, at least so far as innovation in painting was concerned, because the vibrant cultural center of the Low Countries had a powerful and significant impact on southern Europe. That this case is made through art is an indication of how important it is to bring different disciplines to bear on our understandin

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31

Waddington, Raymond B., and James Hankins. "Plato in the Italian Renaissance." Italica 69, no. 4 (1992): 535. http://dx.doi.org/10.2307/479702.

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32

Willings, David. "Book Review: The Italian Renaissance." Gifted Education International 11, no. 2 (1996): 120. http://dx.doi.org/10.1177/026142949601100222.

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33

EVERSON, J. E., and M. L. McLAUGHLIN. "ITALIAN STUDIES: HUMANISM AND RENAISSANCE." Year’s Work in Modern Language Studies 49, no. 1 (1988): 471–511. http://dx.doi.org/10.1163/22224297-90002888.

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34

Pesman, R. L. "The Italian Renaissance in Australia." Parergon 14, no. 1 (1996): 223–39. http://dx.doi.org/10.1353/pgn.1996.0088.

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35

Quinn, D. B. "The Italian Renaissance and Columbus." Renaissance Studies 6, no. 3-4 (1992): 352–59. http://dx.doi.org/10.1111/1477-4658.00123.

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36

Dmitrieva, Marina. "Italian Renaissance Courts and Its Research in Western Historiography of the 21st Century." ISTORIYA 14, no. 3 (125) (2023): 0. http://dx.doi.org/10.18254/s207987840025174-0.

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The article is devoted to the study of Italian Renaissance Сourts in Western (mainly Italian) historiography of the 21st century. The authors identify the directions and problems of research, comparing the problems of scientific works were written before the appearance of Italian Court History with works that were appeared at different stages of its development: in the initial period, in the first and second decades of the 21st century (the main emphasis is made on the study of the works of the 21st century). The article provides an overview of the main problems of the history of Italian court

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37

Belfanti, Carlo Marco. "History as an intangible asset for the Italian fashion business (1950-1954)." Journal of Historical Research in Marketing 7, no. 1 (2015): 74–90. http://dx.doi.org/10.1108/jhrm-10-2013-0058.

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Purpose – This paper aims to reconstruct the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War. Design/methodology/approach – The paper reconstructs the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War. Findings – The successful debut of Italian fashion in the fi

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38

Okhovat, Hanie. "Comparison between the impacts of the irrigation systems of Persian Safavid and Italian Renaissance gardens through a descriptive-historical approach." Muzeológia a kultúrne dedičstvo 10, no. 2 (2022): 43–60. http://dx.doi.org/10.46284/mkd.2022.10.2.3.

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This article is based on the comparison of the irrigation systems in gardens of two simultaneous periods but formed in two different lands, Italian Renaissance gardens and Persian Safavid gardens. The studies that have been done so far do not explicitly mention the relationship between these two gardens, and this research can be a starting point for referring to historical studies and discovering the possible connections and their effects on each other. The research is qualitative with an interpretive historical approach that seeks to investigate the origins of the irrigation systems of Persia

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39

Hage, Ingebjørg. "Renessansehagen – utforming og hagekunstneriske motiver." Nordlit 15, no. 1 (2011): 1. http://dx.doi.org/10.7557/13.1803.

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The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries. Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth. These gardens started among the Italian aristocracy, but as the gardens and garden motifs went north they were also adopted by the less well to do classes. Still during the twentieth cen

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40

Shapiro, Gavriel. "Vladimir Nabokov and Italian Renaissance Painting." Nabokov Studies 19, no. 1 (2023): 99–127. http://dx.doi.org/10.1353/nab.2023.a937386.

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Abstract: Vladimir Nabokov (1899–1977) is widely recognized and highly regarded as a writer of world renown. It is less known that in his childhood and early youth he entertained the idea of becoming a landscape painter. It is still less known that he was also a great connoisseur of art, specifically of Italian Renaissance painting. In this article, I endeavor to showcase Nabokov's enviable familiarity with Italian Renaissance painting through a diverse array of examples taken from his works spanning more than fifty years. In addition, I seek to examine some of the reasons for his employment o

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41

Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw

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42

Derks, Sebastiaan. "Frontier interactions. René de Challant and transregional lordship." Virtus | Journal of Nobility Studies 27 (December 31, 2020): 155–58. http://dx.doi.org/10.21827/virtus.27.155-158.

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Review of Matthew Vester, Transregional lordship and the Italian Renaissance. René de Challant, 1504-1565, Renaissance History, Art and Culture 5 (Amsterdam: Amsterdam University Press, 2020, 329 p., ill., index).

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43

Morrow, S. Rex. "Thompson, Ed., The Renaissance." Teaching History: A Journal of Methods 28, no. 1 (2003): 43–44. http://dx.doi.org/10.33043/th.28.1.43-44.

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In The Renaissance, Stephen P. Thompson has compiled 21 articles divided into five chapters: The Origins of the Renaissance, Political and Social Contexts of the Renaissance, Renaissance Discoveries and Transformations, Achievements and Developments of the Later Renaissance, and The Significance of the Renaissance. This organization provides the reader with an essential overview of the full historical period that is the European Renaissance. Not only does Thompson provide the breadth of Italian, Northern European, and Western European Renaissance civilization, but he also touches upon the crit

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44

Kong, Yiting. "Hermeticism and Renaissance Art." Communications in Humanities Research 59, no. 1 (2025): 54–57. https://doi.org/10.54254/2753-7064/2024.22506.

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This study mainly discusses the influence of Hermeticism on Renaissance art through Italian humanism, showcasing the emergence and major focus of Hermetism, the inheritance and dissemination of Hermeticism by humanists, and the embodiment of their ideas in Renaissance art. This study used the documentary analysis method as the research method in order to analyze information from different sources, such as the explanation of the ideological origin of hermeticism and its influences, which helps the reader to get acquainted with Hermeticism and its relation to the Renaissance in a more objective

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45

Chen, Changhuan. "Research on the Influence of Western Renaissance Thought on Modern Painting Art." Journal of Education, Humanities and Social Sciences 15 (June 13, 2023): 202–6. http://dx.doi.org/10.54097/ehss.v15i.9257.

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The comparison between poetry and painting in the Renaissance has ancient origins, which was directly inspired by some ancient scholars' comments on the relationship between poetry and painting. People admire outstanding works of art, but they think that artistic creation is contemptible physical labor. Therefore, even the best artists are just excellent craftsmen. In the Italian Renaissance, a large number of outstanding painters emerged, and they made great achievements in art, leaving behind a painting aesthetic theory that benefited the whole western painting field. In this paper, the auth

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46

Grendler (book author), Paul F., and Chris L. Nighman (review author). "The Universities of the Italian Renaissance." Quaderni d'italianistica 24, no. 1 (2003): 127–28. http://dx.doi.org/10.33137/q.i..v24i1.9251.

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47

Kingery, W. David. "Painterly Maiolica of the Italian Renaissance." Technology and Culture 34, no. 1 (1993): 28. http://dx.doi.org/10.2307/3106454.

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48

Ferguson, Ronnie, Laura Giannetti, and Guido Ruggiero. "Five Comedies from the Italian Renaissance." Modern Language Review 101, no. 2 (2006): 554. http://dx.doi.org/10.2307/20466847.

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49

Emison (book author), Patricia, and Lara Harwood-Ventura (review author). "The Italian Renaissance and Cultural Memory." Renaissance and Reformation 37, no. 2 (2014): 162–64. http://dx.doi.org/10.33137/rr.v37i2.21821.

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50

McNab, Jessie. "A Neo-Renaissance Italian Majolica Dish." Metropolitan Museum Journal 23 (January 1988): 249–56. http://dx.doi.org/10.2307/1512856.

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