Relevant bibliographies by topics / Manuscripts, Renaissance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Manuscripts, Renaissance'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Manuscripts, Renaissance"

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KRISTELLER, PAUL OSKAR. "In Search of Renaissance Manuscripts." Library s6-X, no. 4 (1988): 291–303. http://dx.doi.org/10.1093/library/s6-x.4.291.

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Rakic, Tanja. "The material and synopsis for Rastko Petrovic’s historical novel on the renaissance." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 87 (2021): 53–70. http://dx.doi.org/10.2298/pkjif2187053r.

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Rastko Petrovic?s last manuscripts, related to his work on a historical novel about the Renaissance, are kept at the Endowment of Ljubica Lukovic, home to the Rastko and Nadezda Petrovic Collection. The preserved synopsis is of special importance as it reveals the author?s creative idea and poetic assumptions. The author?s oeuvre is marked by a continued interest in the Renaissance, which is central to the last phase of his creative work as an ?migr? in the USA. The examination of the manuscript and synopsis reveals Petrovic?s thoughts on the Renaissance as he endeavoured to become an American author.
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KINNAMON, NOEL J. "Recent Studies in Renaissance English Manuscripts." English Literary Renaissance 27, no. 2 (March 1997): 281–326. http://dx.doi.org/10.1111/j.1475-6757.1997.tb01109.x.

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McManamon, John M. "Res nauticae: Mediterranean Seafaring and Written Culture in the Renaissance." Traditio 70 (2015): 307–67. http://dx.doi.org/10.1017/s0362152900012411.

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In characteristic fashion, the Iter Italicum of Paul Oskar Kristeller reveals the richness of Renaissance thought on seafaring. The literature on seafaring conserved in manuscripts cataloged in the Iter Italicum ranges from commentary on ancient seafaring to eulogies of contemporary heroes to works on mechanics and engineering with unusual proposals for naval weaponry. Those manuscripts likewise highlight the Renaissance conceptualization of seafaring as an art and a creative tension in Renaissance scholarship between looking back to the past and looking forward to the future.
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Gneuss, Helmut. "Addenda and corrigenda to the Handlist of Anglo-Saxon Manuscripts." Anglo-Saxon England 32 (December 2003): 293–305. http://dx.doi.org/10.1017/s0263675103000139.

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The ‘Preliminary List of Manuscripts Written or Owned in England up to 1100’, which appeared twenty years ago in vol. 9 of this periodical, was a first attempt to bring together, in a concise inventory, what was then known about surviving manuscripts and manuscript fragments written in, or imported into, England from the end of the sixth to the end of the eleventh century. This has now been superseded by the Handlist of Anglo-Saxon Manuscripts, published as vol. 241 in the Medieval and Renaissance Texts and Studies series in 2001. Like the ‘Preliminary List’, the Handlist cannot possibly claim to be perfect or complete, but it is hoped that it may serve some useful purposes as a reference work and, once again, as a searchlist.
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Orth, Myra D. "French Renaissance Manuscripts and L'Histoire du Livre." Viator 32 (January 2001): 245–78. http://dx.doi.org/10.1484/j.viator.2.300738.

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Pass, Gregory A. "Electrifying Research in Medieval and Renaissance Manuscripts." Papers of the Bibliographical Society of America 94, no. 4 (December 2000): 507–30. http://dx.doi.org/10.1086/pbsa.94.4.24304271.

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Cifarelli, Paola. "Myra Orth, Renaissance Manuscripts. The Sixteenth Century." Studi Francesi, no. 184 (LXII | I) (April 1, 2018): 119–20. http://dx.doi.org/10.4000/studifrancesi.11687.

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Burrows, Toby. "Collecting Medieval and Renaissance Manuscripts in Twentieth-Century Great Britain and North America." Museum Worlds 7, no. 1 (July 1, 2019): 45–57. http://dx.doi.org/10.3167/armw.2019.070104.

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Medieval and Renaissance manuscripts were a significant commodity in the antiquarian sales market throughout the twentieth century, sought out by very wealthy collectors and small-scale buyers. The history of this manuscript market has not been analyzed systematically. This article is a first attempt to identify themes and trends across the century, beginning with the dominance of the great American Gilded Age collectors like Henry Huntington and the Morgans and their need to memorialize themselves. It argues that future research needs to assemble comprehensive data on prices and buyers in order to make possible more systematic analyses of trends and activities, and a more sophisticated understanding of the different reasons for which collectors collected and of the changing nature of manuscripts as objects with their own biographical trajectories and their own agency.
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Gwara, Scott. "Collections, Compilations, and Convolutes of Medieval and Renaissance Manuscript Fragments in North America before ca. 1900." Fragmentology, no. 3 (December 2020): 73–139. http://dx.doi.org/10.24446/dlll.

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Using evidence drawn from S. de Ricci and W. J. Wilson’s Census of Medieval and Renaissance Manuscripts in the United States and Canada, American auction records, private library catalogues, public exhibition catalogues, and manuscript fragments surviving in American institutional libraries, this article documents nineteenth-century collections of medieval and Renaissance manuscript fragments in North America before ca. 1900. Surprisingly few fragments can be identified, and most of the private collections have disappeared. The manuscript constituents are found in multiple private libraries, two universities (New York University and Cornell University), and one Learned Society (Massachusetts Historical Society). The fragment collections reflect the collecting genres documented in England in the same period, including albums of discrete fragments, grangerized books, and individual miniatures or “cuttings” (sometimes framed). A distinction is drawn between undecorated text fragments and illuminated ones, explained by aesthetic and scholarly collecting motivations. An interest in text fragments, often from binding waste, can be documented from the 1880s.
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Dissertations / Theses on the topic "Manuscripts, Renaissance"

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Rota, Gabriele. "The textual transmission of Cicero's Epistulae ad Brutum, ad Quintum fratrem, and ad Atticum." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277880.

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My doctorate is a study of the manuscript transmission of Cicero’s Epistulae ad Atticum: a twenty-book corpus comprising one book Ad M. Brutum, three books Ad Quintum fratrem, sixteen books Ad Atticum and a pseudo-Ciceronian Epistula ad Octauianum. I have made a complete reinspection and partial recollation of the eighty-odd fully extant manuscripts, and reconstructed a new stemma codicum that may be used for both historical and editorial purposes. My thesis consists of four chapters, following the transmission of the corpus of Ad Atticum from the Middle Ages down to the Renaissance and the beginning of printing. In Chapter 1 I discuss the top of the stemma: Petrarch’s (1304–74) rediscovery of these letters in the Chapter Library of Verona in 1345, and the beginning of their dissemination in fifteenth-century Italy, thanks to the Florentine Chancellor Coluccio Salutati (1331–1406) and two humanists of his circle: Niccolò Niccoli (1364–1437) and Leonardo Bruni (c. 1370–1444). Editors of Cicero’s letters believe that the top of the stemma is bipartite, and that bipartition reflects separate strands of mediaeval transmission: I argue against their reconstruction and put forward a new pluripartite stemma. In Chapter 1 I also consider manuscripts independent of the Verona archetype: these witnesses survive only in tiny fragments and scattered readings cited by sixteenth-century critics. In Chapter 2 I study the northern Italian progeny of the Veronese archetype: here too I have significantly improved on the editors’ work, thanks to collation of a larger number of independent manuscripts and a more articulated understanding of the intricate dynamics of contamination affecting this branch. In Chapters 3 and 4 I investigate the Florentine transmission of the corpus of Ad Atticum. In Chapter 3 I study the closer descendants of the copy of the Verona archetype that in 1393 came from Milan to Florence at Salutati’s instigation. In Chapter 4 I focus on the thirty-odd descendants of the manuscript that in 1408 the humanist and Papal secretary Poggio Bracciolini (1380–1459) copied for Cosimo de’ Medici (1389–1464). The comprehensive stemmata that I put forward in Chapters 3 and 4 are completely new, since hitherto there has been no systematic attempt to map the genealogy of Salutati’s manuscript.
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Baker, Donna Tsuruda. "The artistic and sociological imagery of the merchant-banker on the book covers of the Biccherna in Siena in the early Renaissance /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6244.

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Lampaki, Eleni. "A comparative study of the manuscripts and early printed editions of the Cretan tragedy Erofili and its interludes." Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/246286.

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In this dissertation, I investigate the textual tradition of the Cretan tragedy Erofili by Georgios Chortatsis (16th century). The play, accompanied by a set of four Interludes, has survived in three manuscripts and two editions, all originating from the 17th century. All the witnesses are examined and presented thoroughly, both as autonomous texts and in comparison to each other. The examination of each witness separately sheds light not only on the history of the transmission of Erofili, but also to the production of manuscripts and printed books in Crete, the Heptanese and Venice in general. As far as the condition of the text is concerned, three witnesses preserve the most reliable texts: the second edition and the two manuscripts originating from Crete. The investigation of their relationship shows that two groups can be identified: one includes the two Cretan manuscripts and another one the three other witnesses. Νo important alterations in the plot and the sequence of events are found, so the textual variation concerns mainly the phrasing. There are indications that variation among the witnesses might have resulted from revisions by the playwright himself. The evaluation of the two groups of witnesses shows that it is not possible to consider one of them as superior, and this leads to the question which would be the most appropriate editorial method. Previous editors have followed the eclectic approach, which has many positive aspects, but cannot help the readers to realize all the stages of the transmission of the play. Since various theoretical approaches have appeared during the last decades, it has been understood that no edition can be called “definitive” and that editions following different methods can address different questions and achieve different aims. Erofili, and other texts with a rich and complicated textual tradition, can be edited in various ways and each edition can offer new insight in the history of the production, transmission and reception of the work.
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Doulkaridou-Ramantani, Elli. "La Renaissance enluminée de Rome : systèmes décoratifs dans les manuscrits du XVIe siècle." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H051.

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Les manuscrits réalisés à Rome dans la première moitié du XVIème siècle, souvent méconnus et réduits à une étude stylistique, entretiennent des rapports complexes avec le contexte artistique de la période. Sous la forme de livre d’heures, de missel ou d’antiphonaire, le manuscrit enluminé du XVIème siècle fait partie de la stratégie du commanditaire. Rome réunit un nombre d’artistes dont l’origine et la formation imprègnent l’idiome local, conduisant ainsi à des créations exceptionnelles. Giulio Clovio, Vincent Raymond, Jacopo del Giallo et Apollonio di Bronfratelli insèrent dans leurs miniatures non seulement les motifs des décors monumentaux mais adaptent aussi les principes de l’ornement au champ de la miniature. Le manuscrit enluminé se transforme en un champ d’expérimentation où l’ornement incarne des problématiques artistiques diverses. Agent inattendu dans l’acte de la lecture, l’ornement participe en outre à l’actualisation de la lecture dévotionnelle proposant une nouvelle conceptualisation de la ruminatio médiévale. Le scriptorium de la chapelle Sixtine produit des manuscrits officiels dont le style suit le changement des pontificats et pose des questions concernant l’insertion des manuscrits dans l’ensemble du patronage de chaque commanditaire. Relevant aussi bien des commandes privées qu’officielles, l’étude de ces enluminures donnera lieu à des observations concernant la fonction de l’ornement selon le contexte et le type d’usage. Par une approche sémiologique et une étude systématique de la production de la période, cette recherche se propose d’intégrer pleinement le livre enluminé dans l’univers artistique du XVIème siècle italien
The manuscripts made in Rome during the sixteenth century, often unknown and reduced to a stylistic study, have a complex relationship with the artistic context of the period. Rome brings together a number of artists whose origins and training permeate the local idiom, leading to exceptional creations. Giulio Clovio, Vincent Raymond, Jacopo del Giallo and Apollonio di Bronfratelli insert in their miniatures not only the motifs of the monumental decorations. They also adapt the principles of the ornament to the fields of the manuscript decoration. The illuminated manuscript is transformed into a field of experimentation where the ornament embodies various artistic problems. Unexpected agents during the act of reading, the decorative figures also participate in the actualization of meditative reading, thus proposing a new conceptualization of medieval ruminatio. Reporting on both private and official commissions, the study of these illuminations will give rise to observations concerning the function of ornamentation according to the context and the type of use. Through a semiological approach and a systematic study of the production of the period, this research proposes to fully integrate the illuminated book into the artistic universe of the Italian sixteenth century
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Monier, Katja Susanna. "Vision and devotion in Bourges around 1500 : an illuminator and his world." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/16236.

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This thesis presents the first full study of the anonymous illuminator known by the name of convention, the Master of Spencer 6, after his finest work, ms. 6 in the Spencer Collection at the New York Public Library. Active at the turn of the sixteenth century, during the transitional period between the Middle Ages and the Renaissance, this artist provides a revealing case study for examining the changing tastes and preoccupations of the patrons, as well as the way in which illuminators were operating in order to secure work and forge a career. The career of the Master of Spencer 6 can be reconstructed from nearly forty surviving books and fragments. He appears to have painted manuscripts for a wide range of clientele, from unknown merchants to figures such as Henry VII of England. The quality of his execution is equally varied, from modest, hastily prepared images, to exquisite paintings invested with verisimilitude and invention that deserve wider acknowledgement. This illuminator, presumably based in Bourges, seems to have travelled as far as Troyes, Paris, Tours, and possibly Lyon, in search of patronage. Although he specialised in devotional images, he also illustrated texts of historical and moral interest. The Master of Spencer 6 was particularly talented in drawing. He appears to have been required to work quickly, in order to respond to the high demand for books; yet, despite the haste, he was able to produce images that were pleasing. A large part of the appeal in his images seems to rely on the quality of line. While his colours were clean and bright, he often applied them hastily or carelessly over the contour lines. Nearly always these shortcomings appear unnoticeable due to the beauty of the lines that define the design. The variety of decorative schemes, layouts, spatial devices, compositions and iconographic motifs utilised by the Master of Spencer 6 demonstrate one of the keys to his success. He was able to diversify his canon to realise any potential order from the vast geographical and social range of his clientele. He also managed to develop his style according to current tastes and fashions. He adapted ideas and techniques from his collaborators, the Colombe workshop and Jacquelin de Montluçon. This thesis provides also the first study of Jacquelin de Montluçon, the painter identified here as the main collaborator of the Master of Spencer 6. Methods of technical art history are used to analyse his sophisticated manner of mixing pigments to produce convincing effects of light. The way in which he applied paint onto a surface, on parchment, panel and stained glass, is used to support attributions and explore the versatile artist that emerges from the analysis. This investigation into these two hitherto little-known artists demonstrates, on one hand, what was required for artists to succeed over others in the profession of manuscript illumination in late fifteenth-century France, and on the other hand, what the concerns of the individuals commissioning images were.
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Chambert-Protat, Pierre. "Florus de Lyon, lecteur des Pères : documentation et travaux patristiques dans l'Eglise de Lyon au IXe siècle." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4052.

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On conserve un nombre inhabituellement élevé de manuscrits ayant appartenu à la bibliothèque du chapitre cathédral de Lyon au IXe siècle, dont bon nombre ont été personnellement utilisés ou produits par le principal acteur de la vie intellectuelle lyonnaise de l’époque, le diacre Florus (floruit v. 825–855). Comme on connaît par ailleurs plusieurs grandes compilations rassemblées également par lui, Florus représente pour nous une double occasion particulièrement rare d’étudier la bibliothèque d’une école cathédrale carolingienne et les méthodes de travail d’un intellectuel de ce temps. Les comparaisons et les nombreux recoupements que permet cette situation étayent et alimentent notre connaissance des livres qu’on utilisait et qui circulaient à l’époque, mais aussi des hommes qui les lisaient et les échangeaient, et des conditions dans lesquelles le travail de Florus a pu passer dans la tradition manuscrite des Pères (première partie). Ces analyses nous peignent Florus un homme de son temps, formé dans un certain milieu à de certaines méthodes, mais que son expérience et ses goûts poussèrent à faire évoluer, tout au long de sa carrière, ses propres méthodes au service de ses propres projets (seconde partie). Un travail d’historiographie est aussi proposé, qui n’avait pas encore été entrepris, et qui fait apparaître les voies de la redécouverte de Florus au cours du XVIIe siècle, puis au XXe. La place de Florus et de sa bibliothèque d’usage, dans l’histoire intellectuelle et dans l’histoire de la transmission des textes antiques, en ressort mieux circonscrite et qualifiée plus précisément, en même temps que se dévoile le cours de sa propre évolution intellectuelle
An unusual amount of manuscripts that belonged to the Cathedral library of Lyons in the IXth century has been preserved, among which a number were firsthand used or produced by its prominent intellectual figure, the deacon Florus (floruit ca. 825—855). As we also know several large compilations that were gathered by the very same, Florus represents a rare double opportunity to investigate both a Carolingian cathedral library and the work methods of a Carolingian scholar. Numerous comparisons and crosscheckings can strengthen and supply informations regarding the books that were used and circulated at the time, but also regarding the men that read and circulated them, and clarify how Florus’s work on the Fathers has spread in the manuscript tradition (first part). Such analyses depict Florus as a man of his time, who was educated in a certain environment and to use certain methods; but who was then driven, all along his career, by his own experience and taste, to evolve his own methods in the pursuing of his own projects (second part). A historiography study is also held, which was never undertaken before, and reveals the how and why of Florus’s rediscovery in the XVIIth century, and then again in the XXth. Florus’s part and his work library’s, in the intellectual history and in the history of ancient texts transmission, is thus better circumscribed and more precisely described, as is unvailed the course of his own intellectual evolution
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Rodríguez, Mosquera María José. "Flores de Baria Poesía (México, 1577). Estudio y análisis del manuscrito." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/123367.

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El objetivo de esta tesis ha sido recuperar y editar fielmente el manuscrito que se conserva en la Biblioteca Nacional de España, en Madrid, con signatura 2973, bajo el título "Flores de Baria Poesía". La importancia de recobrar el manuscrito de "Flores" reside, sobre todo, en que en él se conservan poemas primerizos y en algunos casos únicos de los autores presentes, de ahí que el códice tenga un valor notable, además de ser el primer cancionero de corte petrarquista que se compila, o al menos se firma, en México. Añadir a ello otro valor: la posibilidad que nos brinda de poder establecer la evolución de la obra poética de una serie de autores –Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, por ejemplo- y de una época determinada que alcanza desde 1543 más o menos hasta el año de su compilación, 1577. En definitiva, lo que hemos pretendido ha sido poner al alcance del lector un texto fundamental de la literatura hispánica; obra absolutamente descuidada por la crítica a pesar de que tantos y tantos editores de textos poéticos del Siglo de Oro han recurrido a ella.
The goal of this dissertation has been to recuperate and edit faithfully the manuspript guarded at the Spanish National Library in Madrid, with the code 2973 and titled “Flores de Baria Poesia”. The importance of recuperating the “Flores” manuscript resides mainly on the fact that contained within it are early and, in some cases, unique poems by the authors that conform it. It is also the first songbook of Petrarchan style ever compiled, or at least signed, in Mexico. Additionally, it provides us with the possibility of researching the evolution of the poetry works of a number of authors -Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, for example- from a specific period of time between approximately 1543 and 1577, which is the year of its compilation. It is for these reasons that the codex is of high value. The manuscript has been largely ignored by literary critics even if referenced by numerous editors of poetry works of the Spanish Golden Age. With this study we want to make such a fundamental text in hispanic literature accessible to the reader.
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Kennedy, Cornelia Breugem. "A Book of Hours at the University of Iowa : An Analysis." Thesis, University of Iowa, 1986. https://ir.uiowa.edu/etd/5370.

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Caso, Daniela. "La fortune d'Aelius Aristide à l'époque humaniste : recherches sur les traductions latines des XVe et XVIe siècles." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC009.

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Le but de la thèse consiste dans la tentative de brosser un tableau du parcours occidental d’Aelius Aristide, orateur grec vécu au IIème siècle de notre ère, au moyen d’un examen des traductions latines de ses discours réalisées entre le XVème et la première moitié du XVIème siècle. Nous nous proposons de montrer que la réception d’Aristide en Occident au cours de l’humanisme a toujours été liée à des clairs intérêts littéraires, mais aussi à des raisons socio-culturelles et historiques. Pour cela, nous analysons les traductions latines de quatre discours d’Aristide : le Dionysos (or. 41), traduit par Cencio de’ Rustici en 1416 ; la Monodie pour Smyrne (or. 18), par Niccolò Perotti (1471) ; le discours Aux Rhodiens, sur la concorde (or. 24), par Carlo Valgulio ; le Discours d’ambassade à Achille (or. 16), par Joachim Camerarius (1535). Nous donnons une édition critique des deux premières traductions (Dionysos et Monodie) fondée sur les manuscrits latins et une édition moderne des deux dernières (Aux Rhodiens et Discours d’ambassade) ; nous proposons aussi l’identification du modèle grec utilisé par l’humaniste ou, au moins, l’identikit du texte grec originel lu par l’humaniste pour sa traduction
The purpose of the thesis is to outline the western route of Aelius Aristides, Greek orator lived in II century AD, through an overview of the Latin translations of some of his speeches produced between the fifteenth and the first half of the sixteenth century by humanists from Italy and Northern Europe. We aim to show that Aristides’ reception in Western Europe during Humanism has always been related to clear literary interests, but also to socio-cultural and historical reasons. For this purpose, we analyze the Latin translations of four Aristides’ speeches : the Dionysos (or. 41), translated by Cencio de’ Rustici in 1416 ; the Monody for Smyrna (or. 18), by Niccolò Perotti (1471) ; the speech To the Rhodians, on concord (or. 24), by Carlo Valgulio (1497) ; the Embassy speech to Achille (or. 16), by Joachim Camerarius (1535). We give a critical edition of the first two translations (Dionysos and Monody) based on the Latin manuscripts and a modern publication of the last two (To the Rhodians and Embassy) ; we also propose the identification of the Greek model or, at least, we offer an identikit of the original Greek text read by the humanist for his translation
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Gonzalez, Loren. "Histoires du livre, visions du sauvage : des manuscrits du Moyen âge aux premiers imprimés du XVIe siècle, le loup à l’épreuve de l’écriture." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20049/document.

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Au cours des dix siècles que compte le Moyen Âge, l’Occident chrétien est définitivement devenu une civilisation de l’écrit, ce dont témoignent par exemple la production de magnifiques manuscrits enluminés tout au long de cette période. Des manuscrits insulaires du début du IXe siècle aux livres de chasse du XIVe siècle, en passant par les fascinants Bestiaires du Moyen Âge central, cette florissante culture de l’écrit a ménagé une place de choix à l’animalité, aux animaux sauvages et au loup en particulier. Consacré comme parangon du sauvage au moment où l’Europe chrétienne consacrait le culte du livre, le loup et à travers lui l’idée du sauvage ont nourri de riches systèmes de représentations au sein des sources écrites. Avec dans son sillage toute une myriade de figures « lupines », le loup fonctionne ainsi comme un catalyseur à la fois de l’idée du sauvage au Moyen Âge et des enjeux liés à l’essor des traditions écrites. Des Etymologiae d’Isidore de Séville aux Tragiques d’Agrippa d’Aubigné, cette étude vise à mieux comprendre les relations unissant le loup et le sauvage à l’histoire du livre, de la littérature et de la transmission des savoirs. À partir des représentations du loup et des visions médiévales du sauvage, une écriture du sauvage s’est en effet développée au Moyen Âge, voire une poétique inspirée du sauvage mais dont la pertinence demande à être interrogée au prisme de cette révolution dans l’histoire de l’écriture que fut l’invention de l’imprimerie. À une période qui a en partie renié l’imaginaire médiéval et connu tant de bouleversements culturels, pareille écriture pouvait-elle perdurer dans l’empreinte du loup, emblème d’un sauvage « médiéval » ? À la Renaissance, ne s’est-elle pas affranchie des visions médiévales du sauvage pour rencontrer un « nouveau sauvage » aux Amériques ? Des livres alchimiques aux récits viatiques, des poèmes eddiques aux recueils de proverbes, de la littérature hagiographique aux contes de loups-garous, le loup nous entraîne ainsi dans une littérature foisonnante qui interroge la nature de l’homme et son identité multiple, prise dans un jeu incessant de mouvements et de métamorphoses, jusqu’à épouser les arabesques de l’esthétique baroque
In the course of middle ages, the Christian Western Europe became forever a civilization based on literacy, as we can see through the output of such amazing illuminated manuscripts during these ten centuries. From insular manuscripts from the early Ninth century and books of hunting from the Fourteenth to Bestiaries from Twelfth and Thirteenth’s, such a flourishing literature gave animals, wild animals and particularly the wolf, an important position. While the Christian Europe started to consider books as essential and holy, wolves and wildness inspired at the same time numeral extensive representations as we can see them in writings. Related to so many wolfy figures, the wolf seems to be a catalyst of both ideas of wildness and questions about the growth of literacy. From Isidore of Seville's Etymologiae to The Tragics by Agrippa d’Aubigné, this work aims to a better understanding of relationships between wolf and wildness and the history of literature, books and knowledge passing down. From wolf and wildness medieval representations, a writing way for and by wildness emerge in medieval literature. But such a writing way seems to be problematic after the revolutionary invention of printing press. While Renaissance repudiated medieval heritages and suffered a lot of upheavals, such a writing way could not continue. Instead of following wolves’ tracks, which then symbolized something like a “medieval wildness” authors began to write differently about wildness after the end of the middle ages: after the discovering of a new wilderness in America, they tried to create new visions liberated from medieval memories. From alchemic books to travel stories, from proverbs to eddic poems, from hagiographic literature to werewolves’ tales, wolves take us to an abundant literature which helps readers to wonder about human nature and its much identity, in a system of mowing and metamorphoses, like so many Baroque arabesques
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Books on the topic "Manuscripts, Renaissance"

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Dr. Jörn Günther Antiquariat (Firm). Recent acquisitions : medieval & renaissance manuscripts. Hamburg: J. Günther, Antiquariat, 1997.

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Dr. Jörn Günther Antiquariat (Firm). Recent acquisitions : medieval & renaissance manuscripts. Hamburg: J. Günther, Antiquariat, 1997.

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Archives, Graphic Arts, ed. Book of medieval & Renaissance alphabets. New York: Sterling Pub. Co., 1991.

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Stevens, Wesley M. Computer data bases for early manuscripts. New York: M. Dekker, 1995.

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H, Rouse Richard, Ferrari Mirella, and University of California, Los Angeles. Center for Medieval and Renaissance Studies., eds. Medieval and Renaissance manuscripts in the Claremont libraries. Berkeley: University of California Press, 1986.

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Sam Fogg Rare Books & Manuscripts (Firm). Text manuscripts of the Middle Ages and Renaissance. London: Sam Fogg, 1992.

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Brian, Richardson. Manuscript culture in Renaissance Italy. New York: Cambridge University Press, 2009.

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Newberry Library. The Hebrew Renaissance. Edited by Terry Michael 1957-, Klepper Deeana Copeland, Signer Michael Alan, and Spertus Institute of Jewish Studies. Chicago, Ill: Newberry Library, 1997.

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Holter, Kurt. Kurt Holter: Buchkunst, Handschriften, Bibliotheken : Beiträge zur mitteleuropäischen Buchkultur vom Frühmittelalter bis zur Renaissance. Linz: OÖ Musealverein, 1996.

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F, Vines Vera, and De Hamel Christopher 1950-, eds. Medieval and Renaissance manuscripts in New Zealand collections. Melbourne: Thames and Hudson, 1989.

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Book chapters on the topic "Manuscripts, Renaissance"

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Wolfe, Heather. "Manuscripts in Early Modern England." In A Concise Companion to English Renaissance Literature, 114–35. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470696149.ch6.

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Alexander, Jonathan J. G. "Initials in Renaissance illuminated manuscripts: the problem of the so-called “litera Mantiniana”." In Renaissance- und Humanistenhandschriften, edited by Johanne Autenrieth, 145–56. Berlin, Boston: De Gruyter Oldenbourg, 1988. http://dx.doi.org/10.1524/9783486595550-014.

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Agiotis, Nikos. "Greek Renaissance commentaries on the Organon." In Exploring Greek Manuscripts in the Library at Wellcome Collection in London, 148–80. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429470035-7.

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Agiotis, Nikos. "Greek Renaissance commentaries on the Organon." In Exploring Greek Manuscripts in the Library at Wellcome Collection in London, 148–80. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429470035-8.

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Merisalo, Outi. "Transition and Continuity in Medical Manuscripts (Thirteenth-Fifteenth Centuries)." In Continuities and Disruptions between the Middle Ages and the Renaissance, 25–35. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.tema-eb.4.00743.

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Perrone, Lorenzo. "Origen’s Renaissance in the Twentieth Century and the Recovery of his Literary Heritage: New Finds and Philological Advancement." In The Discoveries of Manuscripts from Late Antiquity, 91–109. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.str-eb.5.122745.

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Hebron, Malcolm. "Manuscript in Renaissance Philosophy." In Encyclopedia of Renaissance Philosophy, 1–3. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-02848-4_675-1.

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Hebron, Malcolm. "Manuscript in Renaissance Philosophy." In Encyclopedia of Renaissance Philosophy, 2074–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_675.

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May, Steven W., and Arthur F. Marotti. "Manuscript Culture." In A Companion to Renaissance Poetry, 78–102. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch6.

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De Kesel, Lieve. "New Perspectives on Devotional Manuscripts Associated with Margaret of Austria and Her Relations: The Role of the Prayer Books Master." In Les femmes, la culture et les arts en Europe entre Moyen Âge et Renaissance, 89–113. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.tcc-eb.5.107661.

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Conference papers on the topic "Manuscripts, Renaissance"

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Godoy, Luis A. "On the Origins of Elastic Stability Studies Before the XVIII Century." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11128.

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The identification of the origins of what we now call the theory of elastic stability is not an easy task. Most authors trace the origins to the pioneering work of Leonhard Euler in 1744, and some (including this author) shift this origin to the experimental works of Petrus van Musschenbroek in 1729. However, other contemporary authors interested in the history of the discipline postulate that the works of Medieval and Renaissance scholars should be considered as the true sources of the buckling studies performed in the XVIII Century. This paper reports our historical research using original manuscripts of Al-Khazini, Jordanus de Nemore, Leonardo da Vinci, and Marini Merssene, in order to discuss what kind of knowledge they had about the topics of stability and lateral deflections of columns under axial loads. Our investigation shows that there were observations of the phenomenon considered, but those observations were not translated into a deeper understanding of the phenomenon, so that the causes of this effect or the role of strength on the response were not considered. Leonardo was closer to understanding the nature of the problem and produced some tentative rules of behavior; however, those were only documented in private writings and did not make an impact in his contemporaries. We postulate that studies prior to the XVIII Century were very limited in their scope and cannot be considered as the basis of the developments of Musschenbroek and Euler.
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Lott, Melissa C., Carey W. King, and Michael E. Webber. "Analyzing Tradeoffs in Electricity Choices Using the Texas Interactive Power Simulator (TIPS)." In ASME 2009 3rd International Conference on Energy Sustainability collocated with the Heat Transfer and InterPACK09 Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/es2009-90135.

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The Texas Interactive Power Simulator (TIPS) is an interactive analytical tool developed at the University of Texas at Austin for quantitatively comparing the first-order economic and environmental tradeoffs of different electricity production methods in Texas. The tool is designed for analysis of different power choices and is presented in an online format for use by students, the general public, and government decision-makers. The core electricity industry data are Texas-specific, but the flexibility of the framework, when combined with user supplied content, extends its applicability to the United States and world electricity markets. TIPS provides a method for assessing the tradeoffs of electricity generation technologies in terms of economic costs and environmental impacts. Economic costs include major factors such as the cost of capacity, fuel, operation and maintenance (O&M), as well as the costs of conservation programs and environmental impact mitigation technology. Environmental impacts include market externalities such as the environmental impacts on air, land, and water, and are normalized per kWh generated (for example, pounds of CO2 or NOx, acres of land, or gallons of cooling water consumed per kWh of generated electricity). Environmental impacts can further be associated with a cost, which is included in the overall levelized cost of electricity. Users can supply their own data for interactive experimentation, though peer-reviewed data are provided as default values. TIPS’ outputs include text, graphs, and pictograms showing the electricity output and environmental impact of the user’s selections, which allow the user to interpret the overall impact for different fuel mixes. Source data are incorporated from government sources and peer reviewed technical literature. The TIPS interactive interface allows the user to analyze a desired electricity mix according to the percentage breakdown of electricity production for each generation technology. The user input determines the overall direct and indirect costs of a unit of electricity according to the particular cost parameters associated with each generation technology. This manuscript discusses the methodology used in TIPS calculation and shares the results of using TIPS to analyze the cost and environmental impacts for a variety of illustrative and possible generation scenarios in Texas, including the following: high carbon prices, nuclear renaissance, and continuing wind market growth.
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