This title offers a cultural translation of modern Italian intellectual and philosophical history, a development book-ended by Giambattista Vico and Antonio Gramsci. It shows Italian philosophy to have emerged during the age of the Risorgimento in reaction to 18th century French revolutionary and rationalist standards in politics and philosophy and in critical assimilation of the German reaction to the same, mainly Hegelian idealism and, eventually, Heideggerian existentialism. This is the story of modern Italian philosophy told through the lens of Renaissance scholarship.

An original, illuminating history of the northern European Renaissance in art, science, and philosophy, which often rivaled its Italian counterpart. It is generally accepted that the European Renaissance began in Italy. However, a historical transformation of similar magnitude also took place in northern Europe at the same time. This "Other Renaissance" was initially centered on the city of Bruges in Flanders (modern Belgium), but its influence was soon being felt in France, the German states, London, and even in Italy itself. The northern Renaissance, like the southern Renaissance, largely took place during the period between the end of the Medieval age (circa mid-14th century) and the advent of the Age of Enlightenment (circa end of 17th century). Following a sequence of major figures, including Copernicus, Gutenberg, Luther, Catherine de' Medici, Rabelais, van Eyck, and Shakespeare, Paul Strathern tells the fascinating story of how this "Other Renaissance" played as significant a role as the Italian renaissance in bringing our modern world into being.

This book explores how humans in the Renaissance lived with, attended to, and considered the minds, feelings, and sociality of other creatures. It examines how Renaissance literature and natural history display an unequal creaturely world: all creatures were categorized hierarchically. However, post-Cartesian readings of Shakespeare and other Renaissance literature have misunderstood Renaissance hierarchical creaturely relations, including human relations. Using critical animal studies work and new materialist theory, Bach argues that attending closely to creatures and objects in texts by Shakespeare and other writers exposes this unequal world and the use and abuse of creatures, including people. The book also adds significantly to animal studies by showing how central bird sociality and voices were to Renaissance human culture, with many believing that birds were superior to some humans in song, caregiving, and companionship. Bach shows how Descartes, a central figure in the transition to modern ideas about creatures, lived isolated from humans and other creatures and denied ancient knowledge about other creatures’ minds, especially bird minds. As significantly, Bach shows how and why Descartes’ ideas appealed to human grandiosity. Asking how Renaissance categorizations of creatures differ so much from modern classifications, and why those modern classifications have shaped so much animal studies work, this book offers significant new readings of Shakespeare’s and other Renaissance texts. It will contribute to a range of fields, including Renaissance literature, history, animal studies, new materialism, and the environmental humanities.

In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases.With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing - a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.

The scope of this book is to provide items to understand how and why the Space Renaissance movement was conceived and was born. Therefore I collected hereafter the main works which stand in the background of the Space Renaissance philosophical elaboration, since 2008 (year of birth of the Space Renaissance very first concept), but even before, with some papers authored by the founder Adriano Autino, or co-authored with Patrick Collins and other dealers of the Astronautic Humanist current.

First published in 1999, the essays that follow have been selected from the author’s writings to explore musical institutions in 15th and 16th century Italy with a detailed focus on the papal choir, but with additional comments on Mantua (Mantova), Florence and France. Much of the material which formed the basis of those essays was largely drawn from archives. Richard Sherr explores diverse areas including the Medici coat of arms in a motet for Leo X, performance practice in the papal chapel during the 16th century, the publications of Guglielmo Gonzaga, Lorenzo de’ Medici as a patron of music and homosexuality in late sixteenth-century Italy.

This volume brings together five translations of Aesopian fables that range from the beginning to the end of the English Renaissance. At the centre of the volume is an edition of the entirety of Arthur Golding’s manuscript translation of emblematic fables, A Morall Fabletalke (c. 1580s). By situating Golding’s text alongside William Caxton’s early printed translation from French (1485), Richard Smith’s English version of Robert Henryson’s Middle-Scots Moral Fabillis (1577), John Brinsley’s grammar school translation (1617), and John Ogilby’s politicized fables translated at the end of the English Civil War (1651), this book shows the wide-ranging forms and functions of the fable during this period.

Selected by Choice magazine as an Outstanding Academic Book "English Seneca read by candlelight," wrote the Elizabethan author Thomas Nashe, "will afford you whole Hamlets." In the early decades of the twentieth century, literary and theater historians took Nashe at his word, finding Senecan tragedy at the source of Renaissance drama. More recently, critics have been inclined to dismiss traces of classical antiquity as a superficial veneer on a drama derived from medieval traditions. Lorraine Helms revisits this terrain to explore the rich and various ways in which classical learning shaped the theatrical culture of the Renaissance. She uncovers the practical advice on acting and stagecraft to be found in the writings of ancient rhetoricians; reconstructs the extraordinary circumstances under which an English woman first rendered Euripides into her native language; and ponders the precedents in antiquity for Elizabethan portrayals of prostitution and female martyrdom.

Here are 60 compositions from the 16th Century transcribed for the baritone ukulele, Renaissance guitar, low G ukelele and many other four course instruments. Of course, they may all be played on the guitar.

In Mystics of the Renaissance, Rudolf Steiner examines the thought of eleven European mystics (Eckhart, Tauler, Suso, Ruysbroek, Nicholas of Cusa, Agrippa von Nettesheim, Paracelsus, Weigel, Boehme, Giordano Bruno, and Angelus Silesius) through a collection of essays and explains their ideas and how they relate to modern concepts. Scriptoria Books has transcribed this edition word for word from the original text. It was then edited, formatted, typeset, and proofread through each revision. Our procedures are not automated. Our editions are not facsimiles and do not contain OCR interpreted text. Our books are carefully created new editions of classic works.