Illuminating The Roman De La Rose In The Time Of The Debate The Manuscript Of Valencia
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| Author | : Godfried Croenen |
| Publisher | : Peeters Publishers |
| Total Pages | : 580 |
| Release | : 2006 |
| Genre | : Business & Economics |
| ISBN | : 9789042917071 |
Patrons, Authors and Workshops invokes a cross-disciplinary approach to the study of late medieval books and book production in Paris, from the troubled years of the early fifteenth century onwards. It shows the extent to which such activity was able to flourish even against the backdrop of the endemic struggle between Burgundians and Armagnacs, or the subsequent English invasion which led to Agincourt and the regency of Bedford. Extensive coverage is given to the key role played by the libraire, to the author as scribe or copyist (Christine de Pisan, Jean Lebegue), and also to the development of commercial production under figures such as Jean Trepperel. A section on bibliophiles and their various commissions leads into a group of essays that focus on particular texts and authors, whilst a further section concentrates on what we can discover about the role of the scribe. The volume concludes with four essays offering insights into the work of particular artists and illuminators. The authors include scholars from the UK, France, Greece, Germany, Italy, Belgium, the Netherlands and the USA. Godfried Croenen is Lecturer in French at the University of Liverpool. Peter Ainsworth is Professor of French at the University of Sheffield.
| Author | : Sylvia Huot |
| Publisher | : Routledge |
| Total Pages | : 125 |
| Release | : 2017-07-05 |
| Genre | : Foreign Language Study |
| ISBN | : 1351569201 |
The Roman de la Rose explicitly offers an 'art of love', while also repeatedly asserting that the experience of love is impossible to put into words. An examination of the intertextual density of the Rose , with its citations and adaptations of a range of Latin authors, shows that the discourse of bodily desire, pleasure, and trauma emerges indirectly from the juxtaposition and conflation of sources. Huot's new book focuses on Guillaume de Lorris's use of the Ovidian corpus, and on Jean de Meun's dazzling orchestration of allusions to a wider range of Latin writers: principally Ovid, Boethius, and Virgil, but also including John of Salisbury and Alain de Lille. In both parts of the Rose , poetic allegory is a language that can express the unspeakable and the ineffable.
| Author | : Richard Rowland |
| Publisher | : Taylor & Francis |
| Total Pages | : 357 |
| Release | : 2016-12-08 |
| Genre | : History |
| ISBN | : 1317109090 |
This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel’s Hercules that was set in the context of the ‘war on terror’, the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors – of state and of the household – so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?
| Author | : Jane Chance |
| Publisher | : Wipf and Stock Publishers |
| Total Pages | : 699 |
| Release | : 2019-11-15 |
| Genre | : Literary Criticism |
| ISBN | : 1532688970 |
With this volume, Jane Chance concludes her monumental study of the history of mythography in medieval literature. Her focus here is the advent of hybrid mythography, the transformation of mythological commentary by blending the scholarly with the courtly and the personal. No other work examines the mythographic interrelationships among these poets and their unique and personal approaches to mythological commentary.
| Author | : Oliver J. Noble-Wood |
| Publisher | : OUP Oxford |
| Total Pages | : 247 |
| Release | : 2014-10-16 |
| Genre | : Literary Criticism |
| ISBN | : 0191016993 |
A Tale Blazed Through Heaven examines developments in the representation of the classical tale of Mars, Venus, and Vulcan in the literature and painting of the Golden Age of Spain (c.1526-1681). Anchored in close analysis of individual primary texts, the five chapters that comprise this study assess how poets and painters breathed new life into the tale inherited from Homer, Ovid, and others, examining some of the ways in which the story of Mars, Venus, and Vulcan was disguised, developed, expanded, mocked, combined with or played off against different subjects, or otherwise modified in order to pique the interest of successive generations of readers and viewers. Each chapter discusses what particular changes and shifts in emphasis reveal about the tale itself, specific renderings, the aims and intentions of individual poets and painters, and the wider context of the literary and visual culture of Early Modern Spain. Discussing a range of poems by both canonical (Garcilaso de la Vega, Luis de Góngora, Lope de Vega, etc.) and less well-known writers (Juan de la Cueva, Alonso de Castillo Solórzano, Salvador Jacinto Polo de Medina, etc.), and culminating in detailed examination of select mythological works by Philip IV's court painter, Diego Velázquez, this book sheds light on questions relating to aspects of classical reception in the Renaissance, the rise of specific poetic styles (epic, mock-epic, burlesque, etc.), the interplay between the sister arts of poetry and painting, and the continual process of imitation and invention that was one of the defining features of the Spanish Golden Age.
| Author | : Charles-Louis Morand-Métivier |
| Publisher | : Rutgers University Press |
| Total Pages | : 207 |
| Release | : 2023-04-14 |
| Genre | : Literary Criticism |
| ISBN | : 1644532921 |
Johan Huizinga’s much-loved and much-contested Autumn of the Middle Ages, first published in 1919, encouraged an image of the Late French Middle Ages as a flamboyant but empty period of decline and nostalgia. Many studies, particularly literary studies, have challenged Huizinga’s perceptions of individual works or genres. Still, the vision of the Late French and Burgundian Middle Ages as a sad transitional phase between the High Middle Ages and the Renaissance persists. Yet, a series of exceptionally significant cultural developments mark the period. The Waxing of the Middle Ages sets out to provide a rich, complex, and diverse study of these developments and to reassert that late medieval France is crucial in its own right. The collection argues for an approach that views the late medieval period not as an afterthought, or a blind spot, but as a period that is key in understanding the fluidity of time, traditions, culture, and history. Each essay explores some “cultural form,” to borrow Huizinga’s expression, to expose the false divide that has dominated modern scholarship.
| Author | : |
| Publisher | : |
| Total Pages | : 1690 |
| Release | : 2008 |
| Genre | : Languages, Modern |
| ISBN | : |
| Author | : |
| Publisher | : |
| Total Pages | : 468 |
| Release | : 2007 |
| Genre | : Courtly love in literature |
| ISBN | : |
Includes reports on the business of the Society and its Congresses, it membership directory, book reviews, and an annual bibliography of courtly literature 1985-
| Author | : Marina Belozerskaya |
| Publisher | : Getty Publications |
| Total Pages | : 292 |
| Release | : 2005-10-01 |
| Genre | : Art |
| ISBN | : 0892367857 |
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
| Author | : Elizabeth Morrison |
| Publisher | : Getty Publications |
| Total Pages | : 212 |
| Release | : 2007-01-08 |
| Genre | : Art |
| ISBN | : 0892368527 |
A companion to the Getty’s prize-winning exhibition catalogue Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, this volume contains thirteen selected papers presented at two conferences held in conjunction with that exhibition. The first was organized by the Getty Museum, and the second was held at the Courtauld Institute of Art under the sponsorship of the Courtauld Institute and the Royal Academy of Arts. Added here is an essay by Margaret Scott on the role of dress during the reign of Charles the Bold. Texts include Lorne Campbell’s research into Rogier van der Weyden’s work as an illuminator, Nancy Turner’s investigation of materials and methods of painting in Flemish manuscripts, and trenchant commentary by Jonathan Alexander and James Marrow on the state of current research on Flemish illumination. A recurring theme is the structure of collaboration in manuscript production. The essays also reveal an important new patron of manuscript illumination and address the role of illuminated manuscripts at the Burgundian court. A series of biographies of Burgundian scribes is featured.
