Sixty-sixth annual volume, taking in a range of topics relating to the literature of the period, from the power of naming to Shakespeare and Spenser, Herbert, Margaret Tyler and Margaret Cavendish, and Ben Jonson.
Collection of the best scholarly essays from the 2020 Southeastern Renaissance Conference plus essays submitted directly to the journal. Topics run from the epic to influence studies to the perennial problem of love and beyond. Renaissance Papers 2020 features essays from the conference held virtually at Mercer University, as well as essays submitted directly to the journal. The volume opens with an essay that discusses the "ultimate story," the epic, and argues, pointing to the Henriad and The Faerie Queen, that some of the most ambitious remain unfinished; an essay on "just war" and Henry V follows, suggesting why such epic inconclusion may not be such a bad thing. A trio of influence studies investigate post-Marian virginity, Miltonic environmentalism, and cross-dressing knights. Three essays then interrogate the perennial problem of love: in popular ballads, in Hero and Leander, and in The Rape of Lucrece. An essay argues counterintuitively for Amelia Lanyer and Margaret Cavendish as exemplars of the Cavalier Ideal of the Bonum Vitae; it is followed by an equally provocative reconsideration of the role of Claudio D'Arezzo's rhetorical works for Sicilian national identity. The last essay analyzes the formal signatures of three sixteenth-century queens and how they sought to represent themselves on the public stage.
The untold story of how paper revolutionized art making during the Renaissance, exploring how it shaped broader concepts of authorship, memory, and the transmission of ideas over the course of three centuries In the late medieval and Renaissance period, paper transformed society--not only through its role in the invention of print but also in the way it influenced artistic production. The Art of Paper tells the history of this medium in the context of the artist's workshop from the thirteenth century, when it was imported to Europe from Africa, to the sixteenth century, when European paper was exported to the colonies of New Spain. In this pathbreaking work, Caroline Fowler approaches the topic culturally rather than technically, deftly exploring the way paper shaped concepts of authorship, preservation, and the transmission of ideas during this period. This book both tells a transcultural history of paper from the Cairo Genizah to the Mesoamerican manuscript and examines how paper became "Europeanized" through the various mechanisms of the watermark, colonization, and the philosophy of John Locke. Ultimately, Fowler demonstrates how paper--as refuse and rags transformed into white surface--informed the works for which it was used, as well as artists' thinking more broadly, across the early modern world.
Essays on a wide range of topics including the role of early modern chess in upholding Aristotelian virtue; readings of Sidney, Wroth, Spenser, and Shakespeare; and several topics involving the New World.
"Inspired by the teachings and research of Patricia Fortini Brown, a renowned scholar of Venetian art and history, these beautifully illustrated essays by leading scholars address topics ranging from painted Venetian narrative cycles of the late 15th century to the rebuilding of the Campanile in the early 20th century. This book was derived from [a portion of the] papers given at the [56th annual meeting of the Renaissance Society of America held April 8-10, 2010, Venice, Italy, and the 2010] Giorgione Symposium [Giorgione and his time : confronting alternate realities] held at Princeton University on the occasion of Fortini Brown’s recent retirement"--
Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The theme of this year's volume is "sacred places, secular spaces." It begins with a "who is it" mystery, examining two portraits by Raphael that embody the sacred and the profane, respectively. The next essay engages both the sacred and pictorial innovationsin Holbein's predella The Dead Christ; while the following one views the sacred through the critical lens of race, arguing that Northern European churchmen normalized views on race by strategically placing racialized artifacts in their churches. The scene then shifts to 16th century Venice, where the Greek community contended with local authorities over the right to establish a sacred site for interring their dead. The next two essays swing the pendulum toward the secular: an essay on ecocriticism suggests that the early modern period expelled the sacred from nature and presents a Rabelaisian antidote, while an essay on Spenser's The Faerie Queene presents it as a blueprint for colonization. The volume concludes with Contributors: Julie Fox-Horton, Lorenz A. Hindrichsen, Heather Hirschfeld, Elizabeth Lisot-Nelson, Jesse Russell, Victor Velázquez, John N. Wall, Jennifer Wu.The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.e Queene presents it as a blueprint for colonization. The volume concludes with Contributors: Julie Fox-Horton, Lorenz A. Hindrichsen, Heather Hirschfeld, Elizabeth Lisot-Nelson, Jesse Russell, Victor Velázquez, John N. Wall, Jennifer Wu.The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.e Queene presents it as a blueprint for colonization. The volume concludes with Contributors: Julie Fox-Horton, Lorenz A. Hindrichsen, Heather Hirschfeld, Elizabeth Lisot-Nelson, Jesse Russell, Victor Velázquez, John N. Wall, Jennifer Wu.The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.e Queene presents it as a blueprint for colonization. The volume concludes with Contributors: Julie Fox-Horton, Lorenz A. Hindrichsen, Heather Hirschfeld, Elizabeth Lisot-Nelson, Jesse Russell, Victor Velázquez, John N. Wall, Jennifer Wu.The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Renaissance Futurities considers the intersections between artistic rebirth, the new science, and European imperialism in the global early modern world. Charlene Villaseñor Black and Mari-Tere Álvarez take as inspiration the work of Renaissance genius Leonardo da Vinci (1452–1519), prolific artist and inventor, and other polymaths such as philosopher Giulio “Delminio” Camillo (1480–1544), physician and naturalist Francisco Hernández de Toledo (1514–1587), and writer Miguel de Cervantes (1547–1616). This concern with futurity is inspired by the Renaissance itself, a period defined by visions of the future, as well as by recent theorizing of temporality in Renaissance and Queer Studies. This transdisciplinary volume is at the cutting edge of the humanities, medical humanities, scientific discovery, and avant-garde artistic expression.
In his 1987 work Paratexts, the theorist Gérard Genette established physical form as crucial to the production of meaning. Here, experts in early modern book history, materiality and rhetorical culture present a series of compelling explorations of the architecture of early modern books. The essays challenge and extend Genette's taxonomy, exploring the paratext as both a material and a conceptual category. Renaissance Paratexts takes a fresh look at neglected sites, from imprints to endings, and from running titles to printers' flowers. Contributors' accounts of the making and circulation of books open up questions of the marking of gender, the politics of translation, geographies of the text and the interplay between reading and seeing. As much a history of misreading as of interpretation, the collection provides novel perspectives on the technologies of reading and exposes the complexity of the playful, proliferating and self-aware paratexts of English Renaissance books.