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Artículos de revistas sobre el tema "Narrative art, Renaissance"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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1

Johnson, Kimberly. "Linear Perspective and the Renaissance Lyric." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 280–97. http://dx.doi.org/10.1632/pmla.2019.134.2.280.

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As recent art historical scholarship has demonstrated, the techniques of linear perspective displace narrative (the artwork's content) in favor of the relations between aesthetic objects (the artwork's form). In this regard, perspectival art performs a rhetorical transaction analogous to that of its “sister art,” lyric poetry. The formal features and poetic strategies of lyric parallel the geometric effects of perspectival art: both practices differentiate the aesthetic surface from the transparentizing demands of narrative. Each art form stages the interaction of irreconcilable terms—content
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2

Regan, Lisa, and Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1210. http://dx.doi.org/10.2307/20477207.

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3

Erskine-hill, H. "Review: Renaissance Realism: Narrative Images in Literature and Art." Review of English Studies 55, no. 221 (September 1, 2004): 615–17. http://dx.doi.org/10.1093/res/55.221.615.

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4

Brennan, M. G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/51.4.444.

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5

Brennan, Michael G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/510444.

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6

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
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7

Mahmood, Bahaa Najem. "Narrativa in viaggio e incontro con Boccaccio." Al-Adab Journal 1, no. 132 (March 15, 2020): 1–18. http://dx.doi.org/10.31973/aj.v1i132.600.

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L’articolo focalizza l’attenzione sul concetto dell’incontro tra le letterature mondiali, soprattutto la narrativa. Gli esempi che portiamo tendono a dare una visione storica su come il genere narrativo fece il suo viaggio lungo i millenni, partendo dai semplici antichi concetti orientali per arrivare al suo traguardo all’epoca di Giovanni Boccaccio, in Italia, e ripartire nuovamente come vera e propria arte tra le più note partecipanti alla comparsa del Rinascimento europeo. 
 The article focuses the attention on the concept of meeting among world literatures, especially the Narrative. T
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8

James, Sara Nair, and Lew Andrews. "Story and Space in Renaissance Art: The Rebirth of Continuous Narrative." Sixteenth Century Journal 28, no. 1 (1997): 375. http://dx.doi.org/10.2307/2543345.

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9

Charnock, Ian. "Review: Alastair Fowler, Renaissance Realism: Narrative Images in Literature and Art." Art Book 11, no. 2 (March 2004): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00414.x.

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10

Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.

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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms refle
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11

Haughton, Ann, and Ann Haughton. "Myths of Male Same-Sex Love in the Art of the Italian Renaissance." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (September 17, 2015): 65–95. http://dx.doi.org/10.31273/eirj.v3i1.126.

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Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward se
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12

von Contzen, Eva. "“Both close and distant”: Experiments of form and the medieval in contemporary literature." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 289–303. http://dx.doi.org/10.1515/fns-2017-0019.

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AbstractThis paper argues that some postmodern experimental forms of plot and narrative structure can be thrown into sharper relief by delineating them with medieval narrative practices of plot development. Ali Smith’s 2014 novel How to be both offers an experimental plot that is shaped by the alterity and modernity of medieval and Renaissance art. Drawing on the technique of fresco painting, the novel narrativizes the experience of simultaneity created by recollections of the past in the present. The novel’s two narrative strands – one set in contemporary England, the other in fifteenth-centu
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13

Landauer, Carl. "Erwin Panofsky and the Renascence of the Renaissance." Renaissance Quarterly 47, no. 2 (1994): 255–81. http://dx.doi.org/10.2307/2862914.

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It has long been understood that historians, literary critics, and art historians who write about past cultures use those cultures for present purposes, whether by turning Periclean Athens into an ideal for present-day America or the fall of the Roman empire into an ominous signal for modern empires. German humanists who sought refuge from Nazi Germany had, however, special reasons to use their cultural studies as a strategy of escape. Erich Auerbach in exile in Istanbul and Ernst Robert Curtius in “inner exile” in Bonn provided narratives of European literary history that minimized the contri
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14

Squire, Michael. "Art and Archaeology." Greece and Rome 66, no. 2 (September 19, 2019): 312–21. http://dx.doi.org/10.1017/s0017383519000123.

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Attributes are fundamental to the study of classical archaeology, just as they are to the discipline of art history at large. When it comes to identifying figures on an Attic vase – or for that matter the subject of a medieval fresco, Renaissance canvas, or Neoclassical statue – scholars regularly rely on the associative value of objects. Consider the ease with which we recognize ‘Heracles’ on the grounds of a club or lionskin; observe, too, how often a spiked wheel is understood to signal ‘St Catherine’, or a golden key to betoken ‘St Peter’. In all these scenarios, viewers have learned to ‘r
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15

Cohen, Simona. "Ars simia naturae: The Animal as Mediator and Alter Ego of the Artist in the Renaissance." Explorations in Renaissance Culture 43, no. 2 (December 9, 2017): 202–31. http://dx.doi.org/10.1163/23526963-04302004.

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Past research on animals in Renaissance art has indicated their functions as signifiers of human characteristics. This study demonstrates stages in developments of Renaissance art that illustrate transitions from anthropocentric to theriocentric approaches in animal symbolism, where animals are perceived and valued in their own right. Traditional negative animal symbolism was not relinquished, but new types of animal depictions have testified to new attitudes. Iconography of the dog and the ape, for example, represents two issues relating to human-animal relationships in the Renaissance. Chang
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16

McLellan, Dugald. "Story and Space in Renaissance Art. The Rebirth of Continuous Narrative (review)." Parergon 18, no. 2 (2001): 251–52. http://dx.doi.org/10.1353/pgn.2001.0059.

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17

Findlen, Paula. "The 2012 Josephine Waters Bennett Lecture: The Eighteenth-Century Invention of the Renaissance: Lessons from the Uffizi*." Renaissance Quarterly 66, no. 1 (2013): 1–34. http://dx.doi.org/10.1086/670403.

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This essay explores the role that the eighteenth-century Uffizi gallery played in the invention of the Renaissance. Under the Habsburg-Lorraine rulers, and especially during the reign of Grand Duke Peter Leopold (r. 1765–90), changes to the Medici collections and the gallery’s organization transformed an early modern cabinet of curiosities, paintings, and antiquities into a space in which a historical narrative of art, inspired by rereadings of Giorgio Vasari’s Lives, became visible in a building he designed. A succession of Uffizi personnel was increasingly preoccupied with how to see renaiss
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18

Konik, Roman. "Leonardo północy. O estetyce Albrechta Dürera." Studia Philosophica Wratislaviensia 15, no. 1 (April 15, 2020): 61–69. http://dx.doi.org/10.19195/1895-8001.15.1.5.

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Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of
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19

Delis, Tina M. "“The Lord Struck Him Down by the Hand of a Female!” Baroque Artists Depicting Judith in the Renaissance." Journal of Mason Graduate Research 3, no. 3 (June 1, 2016): 143. http://dx.doi.org/10.13021/g8bs3s.

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Gender themed Research Project, using the biblical story of Judith and Holofernes to examine how Baroque artists tackled representing Judith as a female figure who openly subverts the Renaissance gender norms by defeating a male. Focusing on the artists, Michelangelo Merisi da Caravaggio, Orazio Gentileschi and Artemisia Gentileschi, the paper explores through visual analysis how each artist approached representing the gender issue within the biblical narrative in their artwork. The biblical narrative is discussed and two well-disseminated published articles about gender roles are reviewed. Ad
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20

Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a
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21

Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic
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22

Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.

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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium
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23

Fredborg, Karin Margareta. "The Horatian Tradition in Medieval Rhetoric: From the Twelfth-Century “Materia” Commentary to Landino 1482." Rhetorica 38, no. 1 (2020): 32–56. http://dx.doi.org/10.1525/rh.2020.38.1.32.

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Horace's Art of Poetry supplied the medieval schools with the only available classical doctrines on fiction and poetry before Aristotle's Poetics became widely studied in the fifteenth century. Horace exercized both practical and theoretical influence on literary exegesis, and shaped medieval and early Renaissance doctrines of composition by discussing the very nature of fiction, narrative techniques, authorial roles, description of character and tone, including performance and reading of a text. The anonymous commentators as well as the Dante commentator Francesco da Buti (1395) were deeply i
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24

LeMon, Joel M. "Recasting Genesis in Bronze: Ghiberti's Visual Exegesis in The Gates of Paradise." Biblical Interpretation 20, no. 1-2 (2012): 126–55. http://dx.doi.org/10.1163/156851512x630386.

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AbstractThe bronze doors of Lorenzo Ghiberti (1378–1455) on the east side of the Baptistery at Florence are composed of ten “Albertian Renaissance windows” that depict scenes from the Old Testament in stunning detail. From an art-historical perspective, these panels demonstrate a significant development in Renaissance art. Rather than depicting a single instant in a biblical narrative, Ghiberti's panels combine multiple scenes into one composite image that conveys critical elements of long and complex stories. In the first of these panels, Ghiberti illustrates God's creation of Adam and Eve, t
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25

Long, Jane C. "Dangerous Women: Observations on the Feast of Herod in Florentine Art of the Early Renaissance." Renaissance Quarterly 66, no. 4 (2013): 1153–205. http://dx.doi.org/10.1086/675090.

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AbstractThis article investigates four widely studied versions of the biblical story of the Feast of Herod produced by Florentine artists in the fourteenth and fifteenth centuries: Giotto’s fresco from the Peruzzi Chapel at Santa Croce (ca. 1320), Andrea Pisano’s panels on the south doors of Florence’s baptistery (ca. 1335), Donatello’s relief for the baptismal font at Siena (ca. 1425), and Filippo Lippi’s fresco in the main chapel at the cathedral of Prato (ca. 1465). The study explores how the narrative is interpreted by each artist and suggests social messages that contemporary audiences mi
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26

Gustar, Andrew James. "The Closest Thing to Crazy: The Shocking Scarcity of Septuple Time in Western Music." Journal of the Royal Musical Association 137, no. 2 (2012): 351–400. http://dx.doi.org/10.1080/02690403.2012.717472.

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AbstractThis article considers why septuple metres are so rare in Western music, despite being common in many other cultures. The scene is set by tracing the history of the septuple-time ‘meme’ (an idea that replicates by imitation) from ancient Greece through to Western art and popular music. The following sections consider the psychological, musical and environmental factors in more detail. The scarcity of septuple time in Western music is largely attributable to the development of the time signature, as a vertical conception of music evolved during the Renaissance. Subsequent evolution of t
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27

Markov, Alexander V. "GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY." PHILOLOGICAL STUDIES 18, no. 1 (2020): 170–81. http://dx.doi.org/10.17072/1857-6060-2020-18-1-170-181.

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The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. De
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28

Collins, Mary. "Fabritio Caroso’s Balletti: “The dancer’s own language?”." Revista Música 15, no. 1 (April 26, 2015): 49. http://dx.doi.org/10.11606/rm.v15i1.114701.

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In the 16th Century, ladies and gentlemen of noble birth were taught from an early age the art of dancing, necessary to survive in the hierarchical world of the court. A Neo-Platonic perspective on dancing was at the core of Renaissance thinking (Humanism) and persisted throughout the 17th Century. In dance circles the principles of harmony and order in the cosmos, harking back to the classical world of Plato and Quintilian, were already well established in Italy by the end of the 15th Century. The balli were structures consisting of many different rhythmic sections throughout which a playful
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29

Lavin, Marilyn Aronberg. "Lew Andrews. Story and Space in Renaissance Art: The Rebirth of Continuous Narrative. Cambridge and New York: Cambridge University Press, 1995. 22b/willus.+ 188 pp. $49.50." Renaissance Quarterly 51, no. 1 (1998): 223–25. http://dx.doi.org/10.2307/2901682.

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30

Neuman, Robert. "Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949)." Animation 14, no. 2 (July 2019): 149–63. http://dx.doi.org/10.1177/1746847719858678.

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As the last of Disney’s package films in the troubled decade of the 1940s, The Adventures of Ichabod and Mr. Toad (1949) has acquired the reputation of an awkward ‘marriage of convenience’ of two separate stories based on well-known literary properties, one American and one British: Washington Irving’s The Legend of Sleepy Hollow and Kenneth Grahame’s The Wind in the Willows. This article, by reconstructing the gestation of the film over eight years, demonstrates the degree to which the stark contrast between the two halves was not only inevitable but deliberate. This is especially visible in
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31

Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.

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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art his
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32

Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings
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33

Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings
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34

Karabykov, Anton V. "Evolution of the Doctrine of Signatures of Things and the Adamic Language in the Chemical Philosophy of the 16th and 17th Centuries." Russian Journal of Philosophical Sciences 63, no. 8 (December 1, 2020): 91–105. http://dx.doi.org/10.30727/0235-1188-2020-63-8-91-105.

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The aim of the paper is to investigate paths along which a transformation of the doctrine of natural signs was developed in works by Paracelsians, forming one of the main religious and philosophic currents of Late Renaissance. The modifications of the doctrine are discussed in a context of intensive speculations on the essence of the primordial language of humankind and on the possibility of its restoration, which can describe the intellectual life of that epoch. It is argued that within “chemical philosophy” the possibility of restoration of the Adamic language directly depends on mastering t
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35

Rone, Vincent. "History and Reception in the Music of The Legend of Zelda Peritexts." Journal of Sound and Music in Games 1, no. 2 (2020): 44–67. http://dx.doi.org/10.1525/jsmg.2020.1.2.44.

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This article argues that the music of opening peritexts within two The Legend of Zelda games reflects their reception history and continuity within the series mythology. On the one hand, “The Legendary Hero” peritext of The Wind Waker mirrors the game's reception history as one of departure from a Zelda tradition established by Ocarina of Time, which caused controversy initially yet gained acceptance in the long term. The audiovisual components of “The Legendary Hero” all position gamers to consider the events of Ocarina of Time as old, submerged under the Great Sea. Textual references to “leg
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36

Knieža, Skirmantas. "The Intrinsic and Extrinsic. Latinitas in the Research of the Grand Duchy of Lithuania." Literatūra 62, no. 3 (December 14, 2020): 93–110. http://dx.doi.org/10.15388/litera.2020.3.6.

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This paper analyses the reception of Latin language and culture in the research of the Grand Duchy of Lithuania. It focuses on the works of various disciplines – social and cultural history, literary research, art criticism, etc. – and seeks to identify the recurring themes, symbols and topics that comprise homogenous narratives and interpretations. They consolidate the findings of different fields of study and thus allow to analyse the Latinitas of the Grand Duchy of Lithuania as an integral part of the political community’s identity.The symbols of Latin language and culture can be identified
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37

Rajavee, Holger. "Kaks geeniust. Lomazzost Diderot'ni." Baltic Journal of Art History 11 (November 30, 2016): 67. http://dx.doi.org/10.12697/bjah.2016.11.04.

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The goal of the article is to examine the theoretical and aesthetical views related to art and concerning painters, mainly in the French tradition, from the early 17th to the mid-18th century, starting with works by Gian Paolo Lomazzo and ending with the viewpoints of Denis Diderot. Using different examples from the texts of the key authors of their day, the article’s aim is to show how, starting in the early 17th century, the type of painter who can be described as a “learned genius” starts to develop; and from the beginning of the next, 18th century, this type gradually starts to transform i
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38

Chaganti, Seeta. "Proleptic Steps: Rethinking Historical Period in the Fifteenth-Century Dance Manual." Dance Research Journal 44, no. 2 (2012): 29–47. http://dx.doi.org/10.1017/s0149767712000095.

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For some time now, scholarly medieval studies have been preoccupied with questions about the relationship between the modern and the premodern, and even about the very meanings of these terms. Medievalists in different fields have thoughtfully re-examined the critical paradigms that rely on a break between the medieval as premodernity, on the one hand, and the early modern as an initiation of modernity, on the other. Such new perspectives on periodization and the Middle Ages have tended to originate in studies of literature, theater, history, and art. The discipline of medieval studies has not
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39

Wipfler, Esther Pia. "Luther im Stummfilm: Zum Wandel protestantischer Mentalität im Spiegel der Filmgeschichte bis 1930." Archiv für Reformationsgeschichte - Archive for Reformation History 98, no. 1 (December 1, 2007): 167–98. http://dx.doi.org/10.14315/arg-2007-0108.

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ABSTRACTThe “Luther film” is still a little-examined source for the Protestant self-image, despite the fact that the medium was employed since 1911 to portray the history of the Reformation. Of the four known silent films on the subject, two are preserved only as copies of a late censored version. There is a clearly recognizable paradigm shift in the portrayal of the reformer over the twenty-year span of these Luther films. Luther is transformed from the romantic aesthete of the “Wittenberger Nachtigall” in 1913 to the hero of the “deutschen Reformation” in 1927. Concerning the earliest films,
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Nabytovych, Ihor. "BIBLE TOPICS IN THE HISTORICAL PROSE OF UKRAINIAN EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 231–42. http://dx.doi.org/10.17721/psk.2019.35.231-242.

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In the article there are summarized innovative approaches to artistic mastering of Bible topics in creative work of Ukrainian emigration writers of 1920th – 1970th: Natalena Koroleva, Leonid Mosendz and V. Domontovych (Victor Petrov). Ukrainian tradition of mastering Bible topics was interrupted by Russian occupation; it finds its bright artistic embodiment in artistic historical prose of Ukrainian emigration. This artistic experience enriches Ukrainian writing by mastering of Bible topics and motives via Bible stylizations, renaissance or creation of newly created new genre formations, contam
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41

Slights, William W. E. "The Narrative Heart of the Renaissance." Renaissance and Reformation 38, no. 1 (January 1, 2002): 5–23. http://dx.doi.org/10.33137/rr.v38i1.8746.

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Les fictions de tels écrivains que Boccace, Dante, Shakespeare et Harvey ont été influencées par la redécouverte par les anatomistes de la Renaissance des documents de l’Antiquité sur la dissection, ainsi que par des
 redéfinitions théologiques du cœur comme le site d’intériorité spirituelle. Ces représentations diverses du cœur apportent de façon paradoxale du réconfort et de la terreur à la fois, en juxtaposant l’incertitude spirituel et le corps matériel. On en obtient un aperçu de la signification de la condition humaine dans un monde de plus en plus perturbé par l’avènement de la sci
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42

Langer, Ullrich. "The Renaissance Novella as Justice*." Renaissance Quarterly 52, no. 2 (1999): 311–41. http://dx.doi.org/10.2307/2902055.

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AbstractThis essay examines short narrative (the Decameron, the Heptameion, the histoire tragique, and Till Eulenspiegel) as reflections of different models of justice within the Aristotelian-Ciceronian tradition. The exchanges among characters, and the conclusion of these exchanges, are patterned in ways that provide justice without requiring the virtuousness of any one character. The link between short narrative and justice illuminates the more general relationship between literature and more language in the Renaissance.
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HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.

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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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Starn, Randolph. "The 2006 Josephine Waters Bennett Lecture." Renaissance Quarterly 60, no. 1 (2007): 1–24. http://dx.doi.org/10.1353/ren.2007.0103.

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AbstractThe place of the Renaissance in historical narratives of modernity was problematic long before recent bouts of dismissal, denial, or indifference. However, the idea is a hardy survivor and the old phoenix is at it again. Has the Renaissance gained a new, postmodern lease on life? Plurality, discontinuity, and contingency are hallmarks of that protean, much-contested label and of current Renaissance studies, not to mention the Renaissance boom in pop culture. Is this a mirror reflecting only our own preconceptions or a window that discloses a Renaissance that was never convincingly mode
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de Vries, Jan. "Renaissance Cities." Renaissance Quarterly 42, no. 4 (1989): 781–93. http://dx.doi.org/10.2307/2862282.

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“What does economic history have to do with Renaissance scholarship?” This is the question I asked myself when I was asked to participate in a panel with the title “Recent Trends in Renaissance Scholarship: Economic History.” Over a generation ago economic history escaped from the confines of conventional historical periodization, in which the Renaissance functions as the keystone, with its claim to being the origin of modernity. This conventional periodization, with its inconsistent mingling of political and cultural criteria for the organization of the narrative of modern history, makes whol
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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.

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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli i
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47

Fatmawati, Desy Eka. "Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”." Rubikon : Journal of Transnational American Studies 4, no. 2 (July 19, 2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.

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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives
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Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44 (1993): 133–66. http://dx.doi.org/10.2307/2928642.

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Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44, no. 1 (October 1993): 133–66. http://dx.doi.org/10.1525/rep.1993.44.1.99p01992.

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Grewe, Cordula. "Die Renaissance des Epos im romantischen Fresko." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 226–60. http://dx.doi.org/10.1515/zkg-2016-0019.

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Abstract If the nineteenth century is correctly seen as an age when a new and acute historical awareness reshaped the cultural sensibility, then it is no small irony that in the age of history, history painting was in crisis. One reaction to this crisis is the subject of this paper. Focusing on one of the Nazarenes’ most enchanting fresco projects, the decoration of the Casino Massimo in Rome after major epics by Dante, Tasso, and Ariosto, it traces the reworking and redefinition of history in painting by the German Nazarenes. In so doing, it examines the transformation of history painting int
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