Renaissance Studies最新文献

{"title":"The harmonious soul and the defence of music in sixteenth‐century England","authors":"Katherine Butler","doi":"10.1111/rest.12926","DOIUrl":"https://doi.org/10.1111/rest.12926","url":null,"abstract":"This article examines the history of the concept of the soul as a harmony—as opposed to merely being <jats:italic>like</jats:italic> a harmony—in sixteenth‐century England, demonstrating how debates over music's morality in sixteenth‐century England were a catalyst for theorising an increasing affinity between music and the soul. At the beginning of the sixteenth century, English writers valued music primarily for its restorative qualities or its potential to instil virtue, akin to arguments in Aristotle's <jats:italic>Politics</jats:italic>. As attacks on music intensified mid‐century, defenders turned to more Platonic views of music, gradually going as far as arguing that the soul itself was a harmony. As I demonstrate, however, music's defenders trod a fine line in using this concept, which had been challenged since classical times and caused problems for Christian theology and the notion of the immortal soul. Nevertheless, by the seventeenth century, the pervasiveness of the language of soul‐harmony was such that it continued to be influential in the seventeenth century as a tool for conveying the emerging new medical and cognitive theories.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139952462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"NancyBisaha, From Christians to Europeans: Pope Pius II and the Concept of the Modern Western Identity. New York: Routledge, 2023. 300 pp. $37.56/£34.99. ISBN 978‐1‐032‐32616‐0 (pb).","authors":"R. Clines","doi":"10.1111/rest.12922","DOIUrl":"https://doi.org/10.1111/rest.12922","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140474012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hugo van der Goes. Between Pain and Bliss (Gemäldegalerie—Staatliche Museen zu Berlin, March 31–July 16, 2023). Catalogue by Stephan Kemperdick and Erik Eising with the collaboration of Till-Holger Borchert (ed.), Hugo van der Goes. Between Pain and Bliss, exh. cat., trans. Bram Opstelten and Joshua Waterman. Munich: Hirmer Verlag for Staatliche Museen zu Berlin, 2023. 304 pp. col. ill. ISBN 9783777438481.","authors":"Niko Munz","doi":"10.1111/rest.12920","DOIUrl":"https://doi.org/10.1111/rest.12920","url":null,"abstract":"<p>The early Netherlandish painter Hugo van der Goes (c.1440-1482/83) is not as well-known as he should be. He has a renown—although largely for his biographical peculiarities. In c.1475-7, at the height of a successful career in Ghent (about which we know little excepting decorative commissions, notably for Charles the Bold), Hugo became a lay brother at an Augustinian foundation known as the Roode Kloster. Shortly before his death, as related by the monastery's carer, Gaspar Ofhuys, Hugo suffered ‘frenesis magne’ (a serious mental illness) (cat. 44 for Ofhuys' c.1509/13 text and a translation). Ever since Hugo has been made to embody—<i>avant la lettre</i>—the mad artist-genius sacred to Romanticism. For Rudolf and Margaret Wittkower, Hugo's life was one of the earliest ‘reliable records of a mentally ill artist’.1</p>\u0000<p>Beside these biographical dramas, Hugo's artworks risk fading into the background. But visitors to The Uffizi will recall the sudden apparition of his gigantic <i>Portinari Altarpiece</i>, commissioned by the Italian banker Tommaso Portinari. The Scottish National Gallery boasts another marvel: Hugo's tall and enigmatic <i>Trinity Panels</i> (a Royal Collection loan), needing conservation treatment.2 His few other surviving works are spread throughout Europe and North America. Before the Gemäldegalerie's display, they had never been gathered together.</p>\u0000<p>The exhibition's original motivation was a desire for completion: the latest of a decades-long succession of museum projects on canonical early Netherlandish painters. As divulged by Kemperdick and Till–Holger Borchert in a 2018 preview talk, Hugo was the only significant early Netherlander without an extensive monographic show. One might speculate as to why. Two of Hugo's most celebrated works, the <i>Portinari Altarpiece</i> and <i>Trinity Panels</i> mentioned already, are unlikely ever to travel (represented in Berlin by to-scale reproductions—useful but ghostly—and in the catalogue by Emma Capron's and Lorne Campbell's essays). Perhaps, however, other factors made Hugo less attractive: his name's unfamiliarity to non-art historians, the issues surrounding his oeuvre, and the sheer visual strangeness of his work.</p>\u0000<p>The organisers had a difficult task. The exhibition subtitle was <i>Schmerz und Seligkeit</i>, for which the English catalogue (the version reviewed here) uses ‘pain and bliss’. ‘Bliss’, however, falls short of <i>Seligkeit</i>'s theological and beatific connotations. These same spiritual reverberations distinguishing Hugo's aesthetic are foreign to modern viewers. Many of us lack the deep religious sentiment—the <i>Schmerz und Seligkeit</i>—the works demand.</p>\u0000<p>Furthermore, sources linking Hugo's name to surviving paintings are almost non-existent; the <i>Portinari Altarpiece</i> is the closest thing to a documented work. Kemperdick remarked before the exhibition opening, parodying the art world's attributional terminology, that ‘every Hugo van der ","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138566557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Albrecht Dürer's Material World (Manchester, Whitworth Art Gallery, 30 June 2023–10 March 2024). Catalogue by Edward H.Wouk and JenniferSpinks (eds.). Manchester: Manchester University Press, 2023. 224 pp., illus. col., ISBN 978‐1‐5261‐6760‐6 (pb).","authors":"Róisín Watson","doi":"10.1111/rest.12917","DOIUrl":"https://doi.org/10.1111/rest.12917","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139211162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Send the midwife’: The Birth of Blackness in Titus Andronicus","authors":"Hanh Bui","doi":"10.1111/rest.12919","DOIUrl":"https://doi.org/10.1111/rest.12919","url":null,"abstract":"This article examines a neglected context for understanding the ontology and epistemology of race in Shakespeare's drama: the role of the midwife. Early modern midwives performed an important cultural function by not only assisting women in labour, but also pronouncing the sex and paternity of a newborn. As Caroline Bicks has shown, this was a time when a midwife was thought to have significant influence over how a body was literally shaped and interpreted at the moment of its birth, thereby determining its reception in the community. Nowhere in Shakespeare's canon is the midwife's authority more manifest – and threatening – than in <i>Titus Andronicus</i>, where the midwife's role includes establishing an infant's race. After Tamora, Empress of Rome, delivers a baby fathered by her lover, Aaron ‘the Moor’, he asks: ‘How many saw the child?’ By subsequently killing the birth attendants, Aaron calls attention to how controlling the destiny of his son will depend upon rewriting the script of his nativity. Merging critical interest in early modern childbirth with Shakespeare scholarship on race and performance, I show how newly born bodies are <i>midwived</i> into racialized subjects, illuminating how midwifery discourses can broaden our understanding of early modern racecraft. My specific claim is that the statements made by Tamora's nurse concerning Aaron's ‘black’ son can be read as a performative utterance that confers, constitutes and attempts to naturalize the newborn's raced identity.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The role of the Praenotamenta of Jodocus Badius Ascensius in shaping early modern dramatic criticism","authors":"Giulia Torello-Hill","doi":"10.1111/rest.12904","DOIUrl":"https://doi.org/10.1111/rest.12904","url":null,"abstract":"This article examines the profound and enduring legacy of the treatise on classical drama known as <i>Praenotamenta ascensiana</i> in shaping early modern dramatic poetics. Written by Flemish scholar Jodocus Badius Ascensius (1462–1535) as a preface to his 1502 edition of the Classical plays of Terence, this work has been unjustly overlooked by the critics that have invariably credited Aristotle’s <i>Poetics</i> for foregrounding the debate on early modern dramatic criticism, following Alessandro de Pazzi’s first Latin translation (1536) and Francesco Robortello’s monumental commentary (1548). The purpose of <i>Praenotamenta</i> was to provide educators, students and playwrights with a concise and accessible compendium of ancient dramatic poetics. This treatise circulated widely across Europe and helped disseminate ideas that became central to early modern discourse on poetics, such as verisimilitude and decorum, as well as discussion on the didactic and civic role of poetry. Blended with Aristotelian doctrine, these concepts became the tenets of late sixteenth-century poetics treatises in England, France, Italy and Spain.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A New Masaccio—and Other Low-Life Images—from Anton Francesco Grazzini's Florentine Art History","authors":"Karen Hope Goodchild","doi":"10.1111/rest.12908","DOIUrl":"https://doi.org/10.1111/rest.12908","url":null,"abstract":"What if a new Masaccio were found? This article offers a 16th century ekphrasis of a “lost” Masaccio so ornate, funny, and lusty that it upends prior conceptions of the artist. I examine this description and two others, all by the comic writer Anton Francesco Grazzini (“Il Lasca,” 1503-1584), to see how art could be leveraged within Florence's literary and artistic culture as class commentary. I have located in Florence two of the works of art that clearly motivated Grazzini's literary portraits and, by analyzing Grazzini's texts in relation to these and other possible inspirations, I reveal his associative view of Florence, one that links upper-class, humanist concerns with lower-class stereotypes. What emerges is a Florence with boundaries removed: in Grazzini's words, the material and literary fabric of the city are knitted together in a new way, one that elides eras as it conjures the visions, sounds, and even tastes of Florence's carnival streets. My analysis suggests why Grazzini may have wanted such juxtapositions, and will show that while his vision is fantastic, it is grounded in identifiable, even material, cultural production.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘De Voluptate Aurium’: The Sounds of Heaven in a 1501 Sensory Treatise on the Afterlife","authors":"Laura Ștefănescu","doi":"10.1111/rest.12916","DOIUrl":"https://doi.org/10.1111/rest.12916","url":null,"abstract":"Abstract In his De gloria et gaudiis beatorum , printed in 1501, the clergyman Zaccaria Lilio explores a popular topic in the religious life of Renaissance Italy: what is heaven like and what kind of experience awaits the blessed there? And his answer represents a snapshot of a characteristic manner in which heaven was imagined in the period, both in written and visual form, one strongly focused on a sensory understanding of the afterlife and in which music played an important part. By identifying the sources of Lillio's interpretation of the sense of hearing in the afterlife, a network of clergymen interested in heavenly sensory delights is revealed, initiated by an Italian curiosity for a fourteenth‐century text by a follower of Meister Eckart. This article aims not only to bring to the attention of scholars Lilio's neglected sensory treatise, but also to provide an in‐depth analysis of the intricate connections between Italian authors of sensory treatises from the fifteenth century. The implications of this textual tradition disseminated through preaching are of great importance to the development of the image of heaven and its music in Renaissance Italy, for which the sensory perspective was of crucial importance.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135169365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Commenting on Music in Juvenal's Sixth Satire","authors":"Ciara O'Flaherty, Tim Shephard","doi":"10.1111/rest.12914","DOIUrl":"https://doi.org/10.1111/rest.12914","url":null,"abstract":"Abstract The satires of Juvenal were immensely popular in Renaissance Italy, printed in various forms over 70 times in the period 1469‐1520, and five times in 1501 alone. The satires contain a wealth of references to instruments, instrumentalists, and playing practices that are frequently used in double entendres connoting lewd acts and infidelity, most potently in the sixth satire. The five Renaissance commentaries printed alongside the satires in 1501 editions suggest how much contemporary scholars wished to say, or indeed not say, about these saucy musical passages. This article will examine the ways in which contemporary commentators unpack and explain musical aspects of the sixth satire, their surprisingly detailed and determined efforts adding up to a distinctive strand of music‐historical study that is in evidence across numerous books of commentated classical verse from our 1501 corpus.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135779380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giovanni Pontano hears the street soundscape of Naples","authors":"Tim Shephard, Melany Rice","doi":"10.1111/rest.12913","DOIUrl":"https://doi.org/10.1111/rest.12913","url":null,"abstract":"Abstract Giovanni Pontano’s dialogue Antonius can be read almost as a thick description of the soundscape of a Neapolitan street in the mid‐ to late‐15th century, complete with public announcements, street performers, domestic arguments, workers’ banter, charms and spells, processions, errand boys, bells, clocks, cockerels, and much more. Antonius was first printed in 1491, and then in a 1501 Opera edition alongside another dialogue, Charon , Pontano’s treatises De fortitudine , De principe and De obedientia , and his treatises on the “social virtues,” De liberalitate , De benificentia , De magnificentia , De splendore , and De conviventia . Using the street soundscape of Antonius as a framework, this essay interleaves both sonic reportage and reflections on the ethics and purpose of sound drawn from the other works included in the 1501 edition, to construct a rich and surprisingly detailed impression of the urban soundscape as it struck Pontano, or at least as he represented it in a literary context.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135732029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}