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Journal articles on the topic 'Italian Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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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 (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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Napolitano, David. "The politics of the Italian Renaissance State: Italian scholarship for non-Italians." Incontri. Rivista europea di studi italiani 29, no. 2 (December 22, 2014): 88. http://dx.doi.org/10.18352/incontri.9882.

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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 (November 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 in Milan.

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13

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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14

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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15

Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa." Modernités Russes 12, no. 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 works of art that he wanted to have before his eyes throughout his life ; the advice that he gave to his friend and housekeeper M. M. Zamjatnina, who heard lectures on the subject and wrote about Renaissane painting ; finally, the books Zamjatnina checked out from the Geneva Library, volumes that could not have escaped Ivanov’s attention. These new materials demonstrate, firstly, that we should pay attention not only to paintings of the Italian Renaissance, but to those of the Northern Renaissance as well (German and Flemish artists above all). Secondly, we should pay much greater attention than previously to Ivanov’s attitude towards Botticelli. And, finally, we should examine the broad historical context in which he perceived Renaissance painting.

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16

Azzolini (book editor), Monica, Isabella Lazzarini (book editor), and Veronica Copello (review author). "Italian Renaissance Diplomacy: A Sourcebook." Quaderni d'italianistica 38, no. 1 (October 18, 2018): 263–65. http://dx.doi.org/10.33137/q.i..v38i1.31185.

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17

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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18

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

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19

Azzolini (book editor), Monica, Isabella Lazzarini (book editor), and Arazoo Ferozan (review author). "Italian Renaissance Diplomacy: A Sourcebook." Renaissance and Reformation 41, no. 1 (April 19, 2018): 167–69. http://dx.doi.org/10.33137/rr.v41i1.29525.

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20

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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21

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

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22

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

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23

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

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24

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

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25

Huang, Junjian, John Shin, Stefano Marcia, and Allan L. Brook. "The Italian Renaissance – spacer style." Journal of NeuroInterventional Surgery 12, no. 7 (May 26, 2020): 678–79. http://dx.doi.org/10.1136/neurintsurg-2020-016082.

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26

Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (April 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 understanding of the past.

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27

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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28

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

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29

EVERSON, J. E., and M. L. McLAUGHLIN. "ITALIAN STUDIES: HUMANISM AND RENAISSANCE." Year’s Work in Modern Language Studies 49, no. 1 (March 13, 1988): 471–511. http://dx.doi.org/10.1163/22224297-90002888.

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30

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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31

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

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32

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 против зарубежных историков, обесценивающих оригинальность итальянского Возрождения, и в целом против попыток использовать понятие Ренессанса ad usum proprium. В настоящей статье речь пойдет о некоторых ренессансных концепциях и их авторах (Буркхард, Бурдах, Папини, Вальзер, Забугин, Нейман, Нордстрем), о которых говорит (или же, наоборот, умалчивает) Ананьин, и о его собственных взглядах, скрывающихся за критическими замечаниями. В статье затрагивается кампания против оккупации иностранцами поля ренессансных исследований, развернутая в Италии в середине 1930-х гг., и связанное с этой кампанией открытое противостояние Ананьина итальянскому мыслителю и литератору Джованни Папини, ставшему во главе открывшегося во Флоренции в 1937 г. Национального института ренессансных исследований. The reevaluation of the dogmas and canons rooted in the Renaissance historiography was а сommon direction of the studies in this field in the first half of the 20th century. At that time many original concepts emerged 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 cliché from the field of Renaissance studies (primarily to abolish the postulated antithesis of the Middle Ages and 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, which reveal a panorama of Renaissance concepts in Europe of the 1920-1930s. The Russian researcher was strongly opposed to foreign historians who denied the originality of the Italian Renaissance; he also was against all the kind of attempts to use the concept of the Renaissance ad usum proprium (national, ideological etc.). The article focuses on the Renaissance concepts and their authors (Burkhard, Burdach, Papini, Walser, Zabughin, Neumann, Nordström), which Anan’in analyzed (or, conversely, clearly ignored) in his texts and on his own views that are hidden behind critical remarks. The publication also deals with a company deployed in Italy in the mid-1930s against the foreign «occupation» of the Renaissance field (the primacy in which was believed to belong to Italians) and the case of an open confrontation of Anan’in and Giovanni Papini, who became the head of the National Institute of Renaissance studies opened in Florence in 1937.

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33

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 Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural culpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models.

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34

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 courts in the works devoted to the influential Italian states of the Renaissance: the Duchy of Milan, the Papal State, the Kingdom of Naples and the Republic of Florence, highlights the issues existing in this area in relation to other Italian states (in particular, Siena and Genoa). The authors explore the works devoted to the problems of the relationship between the Italian and European courts of the Renaissance and other topical issues of modern research.

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35

Belfanti, Carlo Marco. "History as an intangible asset for the Italian fashion business (1950-1954)." Journal of Historical Research in Marketing 7, no. 1 (February 16, 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 fifties can be explained through an intelligent marketing campaign which placed it directly in the centre of a well-known, appreciated, not to say indisputable, tradition of “good taste”: that of the Renaissance. Connecting Italian fashion with Renaissance Italy meant in fact introducing a kind of ante litteram guarantee of provenance – a “country branding” - recognized throughout the world, which, at the same time, evoked the splendour of a period in which Italian taste was a model to follow and imitate. Originality/value – The studies on the history of the Italian fashion business have accepted the association of Italian fashion with Renaissance tradition as an element to be taken for granted, without inquiring into the historical legitimacy of such a coupling (either in the way in which it was produced or why it had such an important role). This paper dismantles the consistent rhetorical sedimentation with which the subject is encrusted and provides a new insight, showing that such continuity did not exist; on the contrary, it was the product of a marketing strategy.

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36

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 Persian and Italian Villa gardens in the Renaissance period. Methodologically, this study carries out a literature review and case studies by identifying sources in historical bibliographies and archives and by observation in Persian and Italian Renaissance gardens. The result shows some crucial changes occurred to Italian gardens which transformed the form and figure of the gardens. The first and most important one was the creation of running water. According to historical records, two important events are recognised for their impact on the irrigation system: the first was the influence between gardens within and after the Crusader period and the second was Navagaro letters and the impact of Islamic Andalusian gardens on Italian Renaissance gardens.

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37

Hage, Ingebjørg. "Renessansehagen – utforming og hagekunstneriske motiver." Nordlit 15, no. 1 (June 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 century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe - for example in Norway, Germany and Switzerland. Single garden motifs survived during the centuries, and they were performed in local materials, but the garden concept from the Italian Renaissance had disappeared.

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38

Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 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 attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.

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39

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

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40

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

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41

Ferguson, Ronnie, Laura Giannetti, and Guido Ruggiero. "Five Comedies from the Italian Renaissance." Modern Language Review 101, no. 2 (April 1, 2006): 554. http://dx.doi.org/10.2307/20466847.

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42

Emison (book author), Patricia, and Lara Harwood-Ventura (review author). "The Italian Renaissance and Cultural Memory." Renaissance and Reformation 37, no. 2 (September 8, 2014): 162–64. http://dx.doi.org/10.33137/rr.v37i2.21821.

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43

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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44

Osheim, Duane J., and Paul F. Grendler. "The Universities of the Italian Renaissance." Sixteenth Century Journal 34, no. 2 (July 1, 2003): 533. http://dx.doi.org/10.2307/20061463.

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Lockwood, Lewis, and Claude V. Palisca. "Humanism in Italian Renaissance Musical Thought." American Historical Review 91, no. 5 (December 1986): 1232. http://dx.doi.org/10.2307/1864482.

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Howard, John B., and Claude V. Palisca. "Humanism in Italian Renaissance Musical Thought." Notes 43, no. 3 (March 1987): 554. http://dx.doi.org/10.2307/898200.

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Chastel, Andre, and William Hood. "French Scholarship on Italian Renaissance Art." Art Bulletin 69, no. 4 (December 1987): 649. http://dx.doi.org/10.2307/3051005.

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Hunt, John M., Laura Giannetti, and Guido Ruggiero. "Five Comedies from the Italian Renaissance." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1186. http://dx.doi.org/10.2307/20477190.

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Park, Hyogeun. "Crisis of the Early Italian Renaissance." Western History Review 148 (March 30, 2021): 265–72. http://dx.doi.org/10.46259/whr.148.9.

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Stipčević, Ennio, Claude V. Palisca, and Ennio Stipcevic. "Humanism in Italian Renaissance Musical Thought." International Review of the Aesthetics and Sociology of Music 19, no. 1 (June 1988): 127. http://dx.doi.org/10.2307/836453.

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