Pub Date : 2018-03-28DOI: 10.1163/23526963-04401003
A. Andreani
This article deals with two pivotal decades in the life of Meredith Hanmer, an Anglican divine of Welsh descent who built his career in the Church of England against the backdrop of shifting ecclesiastical policy, religious debate and the upsurge in anti-Catholicism. Hanmer was close to the establishment but his career trajectory apparently shifted in the early-1590s, when he resigned two London benefices to move to Ireland. This study reconstructs the years preceding this move focussing on Hanmer’s professional advancement and on the publication of his first works, which will enable us to gauge his multifaceted profile as a scholar and as a clergyman. While he courted favour and established his name as a learned preacher, archival records bear a clear witness to his highly controversial conduct.
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Pub Date : 2018-03-28DOI: 10.1163/23526963-04401001
M. Tassi
Macbeth is arguably Shakespeare’s greatest experiment in the phenomenology of horrible imaginings. For all of its visible supernatural trappings, Macbeth is a play radically steeped in the invisible, which exerts a gravitational force on all aspects of performance. The phantom dagger, King Duncan’s slain body, Lady Macbeth’s murky hell—these unseen supernatural sights are as phenomenologically palpable and horrifying in the theater as the weird sisters are. Invisible elements of the play’s world permeate the visible, producing a pervasive sense of unease, dread, and horror in the theater. The experience of horror co-exists with another strongly felt experience, that of rapture, which arises especially in moments when the Macbeths are fascinated with invisible phenomena and enter into trance-like states of deep absorption, ecstasy, and madness.
{"title":"Rapture and Horror: A Phenomenology of Theatrical Invisibility in Macbeth","authors":"M. Tassi","doi":"10.1163/23526963-04401001","DOIUrl":"https://doi.org/10.1163/23526963-04401001","url":null,"abstract":"Macbeth is arguably Shakespeare’s greatest experiment in the phenomenology of horrible imaginings. For all of its visible supernatural trappings, Macbeth is a play radically steeped in the invisible, which exerts a gravitational force on all aspects of performance. The phantom dagger, King Duncan’s slain body, Lady Macbeth’s murky hell—these unseen supernatural sights are as phenomenologically palpable and horrifying in the theater as the weird sisters are. Invisible elements of the play’s world permeate the visible, producing a pervasive sense of unease, dread, and horror in the theater. The experience of horror co-exists with another strongly felt experience, that of rapture, which arises especially in moments when the Macbeths are fascinated with invisible phenomena and enter into trance-like states of deep absorption, ecstasy, and madness.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"44 1","pages":"1-26"},"PeriodicalIF":0.0,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-04401001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42047904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-03-28DOI: 10.1163/23526963-04401002
A. L. Conte
The paper investigates the pictorial decoration of Castello Visconti di San Vito in Somma Lombardo, one of the finest examples of Lombard aristocratic villa of the first half of the seventeenth century. Built on a pre-existent medieval structure, the castle was richly decorated by a secular iconographic program that, drawn from Flemish sources, was executed in the period 1604–1609 by an equipe of painters gravitating towards the bottega Procaccini: the most important Milanese workshop of the time. The study, for the first time, retraces the genesis of this commission as well as the execution of the decorative program. Specifically, it individuates the complex series of iconographic sources used by Carlo Antonio Procaccini and his assistants, highlighting a coexistence of both Emilian and Flemish artistic references that is unprecedented in Lombard early Baroque art.
本文研究了17世纪上半叶伦巴第贵族别墅中最优秀的例子之一——索玛隆巴多圣维托维斯康蒂城堡的绘画装饰。这座城堡建在一座中世纪建筑之上，由一群画家在1604年至1609年期间创作的世俗肖像画进行了华丽的装饰，这些画来自佛兰德语，是当时米兰最重要的工作室bottega Procaccini所吸引的。该研究首次追溯了该委员会的起源以及装饰方案的执行。具体来说，它个性化了Carlo Antonio Procaccini和他的助手使用的一系列复杂的图像来源，突出了在伦巴第早期巴洛克艺术中前所未有的艾米利亚和佛兰德艺术参考的共存。
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Pub Date : 2018-03-28DOI: 10.1163/23526963-04401005
Sharon Khalifa-Gueta
It has long been known that Leonardo da Vinci’s sketches showing a rider in combat with a dragon do not portray St. George. Viewing these sketches in connection with several of Leonardo’s writings, this essay suggests that they are allegories that should be interpreted on several levels. On the basic level, these combat scenes represent the battle of contraries, based on the symbolism common to Leonardo’s period where a combat between an equestrian and a dragon represented the clash of light versus darkness, life versus death, good versus evil, etc. However, I argue that they also comment on the scientific and philosophical issues that occupied Leonardo, including action versus reaction and the true concept of knowledge as opposed to falsehood and sophistry. This essay interprets these sketches as offering an insight into Leonardo’s analogical approach, which connects common symbolism to his personal perspective on science and philosophy, and thus points to a new way of looking at Leonardo’s drawings and paintings and decodes new aspects of Leonardo’s personal symbolism.
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Pub Date : 2018-03-28DOI: 10.1163/23526963-04401004
J. Russell
In the later twentieth and early twenty-first centuries, a debate has rumbled over the sources and significance of Platonic and Neoplatonic motifs in Edmund Spenser’s poetry. While this debate has focused on the presence (or absence) of various aspects of Platonism and/or Neoplatonism, critics have largely ignored the hints of magic derived from Neoplatonism. Through the probable influence of John Dee, Marsilio Ficino, and Giordano Bruno as well as Spenser’s own wide-ranging and particular reading, The Faerie Queene makes it evident that the English poet found himself attracted to an ancient hope in the restoration of a Golden Age that would be inaugurated by a great monarch. However, by the end of the poem, Spenser has largely lost faith in the restoration of this Golden Age; what he has uncovered along the way forces a retreat to Christian hope in his personal salvation.
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Pub Date : 2017-12-09DOI: 10.1163/23526963-04302004
S. Cohen
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Pub Date : 2017-12-09DOI: 10.1163/23526963-04302001
Kevin N. Moll
College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme arme – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme arme , and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.
专门研究文艺复兴时期文化的大学水平课程通常注重结合文学、艺术史和历史性质的原始资料和文物。然而，当代音乐的纪念碑作为教学资源继续被边缘化，尽管它们从美学和历史的角度来看都是完全有价值的。本研究试图通过引用L 'homme arme的早期复调弥撒的传统来解决这个问题，L 'homme arme是一种世俗曲调，在五乐章的礼拜周期中用作统一的旋律(cantus firmus)。本文首先解释了假定的单声部曲调的起源和意义，然后详细介绍了一系列作曲家如何在不同的大众背景下以有趣的不同方式利用这首歌。随后，它勾勒出了L 'homme arme礼仪音乐传统中神秘主义的背景，并指出了与同时代面板绘画艺术的一些令人信服的相似之处，特别是在Rogier van der Weyden的作品中。
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Pub Date : 2017-12-09DOI: 10.1163/23526963-04302005
J. Conlan
Historians of science have noted that Milton’s figurative reference to the “spotty globe” of Satan’s massy shield identifies Milton as an adherent of the New Astronomy promoted by Galileo. Understood in light of the techniques of surveying employed by Galileo, the same shield also speaks to Galileo’s use of parallax, whereby the scientist made his drawings more precise by viewing alternately from the vantage of the heights of Fesole or the valley of the Arno. Milton mentions these places in his epic simile of Satan’s shield: the science behind Satan’s arms in Paradise Lost reveals that Milton’s deep commitment to liberty informs his imagination of how God structured the pains of hell.
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Pub Date : 2017-12-09DOI: 10.1163/23526963-04302003
James Nohrnberg
In the Despair episode in Spenser’s Faerie Queene I .ix, the provocative material means for self-slaughter are emblematically doubled with the psychological inducements, particularly on the models of predecessor texts in Skelton’s Magnyfycence and the Cordela story in The Mirrour for Magistrates . The pairing of means and causes is part of a tradition. So also is the despair of a Christian believer over his own sinfulness, in the face of God’s law, as voiced by a conspiratorial evil conscience, leading to a sinful “unbelief and despair of God” (Luther) and likewise unbelief in salvation—and to an unconquerable self-accusation, which doubles the sinner with tormentors, or a diabolic Accuser, and tempts him or her to cut his/her losses, relieve his/her pain, sorrows, and world-weariness, and take his/her life. Other suicidal types in The Faerie Queene and elsewhere, who are not theologically confirmed in their wanhope or assisted by it to their end, such as Phedon or Malbecco, can nonetheless illuminate the projections, temptations, demons, and motions of the Christian despair-er, and his or her adversity, depression, distress, impatience, furor, world-weariness, melancholia, and driven-ness. The despair-er’s condition, as found in Kierkegaard’s Sickness unto Death , can be further illustrated, diagnosed, and ministered to, by means of a variety of early modern and medieval moralizing and homiletic texts. And while the death of Shakespeare’s Cordelia by hanging conforms to Spenser’s account ( FQ II .x.32), her suicidal despair is only a slander bruited by the character Edmund. Rather, it is her would-be rescuer Lear who is the picture of misery and despair.
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Pub Date : 2017-12-09DOI: 10.1163/23526963-04302002
R. Imes
In this article, I examine intellectual correspondences between two manuscripts that Richard Hakluyt (1552–1616) presented to Queen Elizabeth I in tandem in 1584: his well-known “Discourse of Western Planting” and his underappreciated “Analysis” of Aristotle’s Politics . I argue that Aristotle’s vision of the ideal political state as a materially and morally self-sustaining system, as represented in the “Analysis,” serves as the philosophical foundation of Hakluyt’s recommendations in the “Discourse” that England pursue an aggressive policy of expansionist, colonial growth. Hakluyt describes colonialism as a panacea for England’s socioeconomic issues and as the means by which England might become self-sustaining in the manner of Aristotle’s ideal state.
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