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The Most I Could Be
'Of all the exhilarating slogans that galvanised women in the 1970s, determined to change ourselves and the world, the one that really inspired me was: 'Be the most that you can!' Even as a small girl, I was eager to be the most I possibly could. This desire drove my life.' Raised in an aspirational Australian working-class family of Christian Scientists, in the 1960s Dale Kent embarked on a lifelong struggle to fulfil the desire of many women of her generation — to be the most she could be. Despite discrimination and self-doubt, she escaped her controlling family and established an international career as a historian of the Florentine Renaissance. But she failed to liberate herself from the crippling views of women, love and sex she had internalised in childhood. Craving independence and sexual fulfilment, Kent left her child with her husband and started afresh in the United States on an academic road trip that took in Berkeley, Harvard, Princeton and the National Gallery of Art. Her story, both poignant and darkly comical, traces a counterpoint between increasing professional success, a desperate search for a sexual soulmate and a way back to her daughter.
Friendship, Love, and Trust in Renaissance Florence
Kent explores the meaning of love and friendship as they were represented in the fifteenth century, particularly the relationship between heavenly and human friendship.
Cosimo De' Medici and the Florentine Renaissance
"Cosimo de'Medici (1389-1464), the fabulously wealthy banker who became the leading citizen of Florence in the fifteenth century, spent lavishly as the city's most important patron of art and literature. This book is the first comprehensive examination of the whole body of works of art and architecture commissioned by Cosimo and his sons. By looking closely at this spectacular group of commissions, we gain an entirely new picture of their patron, and of the patron's point of view. Recurrent themes in the commissions - from Fra Angelico's San Marco altarpiece to the Medici palace - indicate the main interests to which Cosimo's patronage gave visual expression. Dale Kent offers new insights an...
Communities and Crisis
Bologna is well known for its powerful university and notariate of the thirteenth century, but the fourteenth-century city is less studied. This work redresses the imbalance in scholarship by examining social and economic life at mid-fourteenth century, particularly during the epidemic of plague, the Black Death of 1348. Arguing against medieval chroniclers' accounts of massive social, political, and religious breakdown, this examination of the immediate experience of the epidemic, based on notarial records--including over a thousand testaments--demonstrates resilience during the crisis. The notarial record reveals the activities and decisions of large numbers of individuals and families in the city and provides a reconstruction of the behavior of clergy, medical practitioners, government and neighborhood officials, and notaries during the epidemic.
Magnifico
Miles Unger's biography of this complex figure draws on primary research in Italian sources and on his intimate knowledge of Florence, where he lived for several years."--BOOK JACKET.
Medici Money
The Medici are famous as the rulers of Florence at the high point of the Renaissance. Their power derived from the family bank, and this book tells the fascinating, frequently bloody story of the family and the dramatic development and collapse of their bank (from Cosimo who took it over in 1419 to his grandson Lorenzo the Magnificent who presided over its precipitous decline). The Medici faced two apparently insuperable problems: how did a banker deal with the fact that the Church regarded interest as a sin and had made it illegal? How in a small republic like Florence could he avoid having his wealth taken away by taxation? But the bank became indispensable to the Church. And the family co...
The Renaissance
The Renaissance paradigm in crisis - Politics, language and power - Individualism, identity and gender - Art, science and humanism - Religion: tradition and innovation.
The Most I Could Be
Raised in an aspirational Australian working-class family of Christian Scientists, in the 1960s Dale Kent embarked on a lifelong struggle to fulfil the desire of many women of her generation-to be the most she could be. Despite discrimination and self-doubt, she escaped her controlling family and established an international career as a historian of the Florentine Renaissance. But she failed to liberate herself from the crippling views of women, love and sex she had internalised in childhood. Craving independence and sexual fulfilment, Kent left her child with her husband and started afresh in the United States on an academic road trip that took in Berkeley, Harvard, Princeton and the National Gallery of Art. Her story, both poignant and darkly comical, traces a counterpoint between increasing professional success, a desperate search for a sexual soulmate and a way back to her daughter.
A Renaissance Architecture of Power
The growth of princely states in early Renaissance Italy brought a thorough renewal to the old seats of power. One of the most conspicuous outcomes of this process was the building or rebuilding of new court palaces, erected as prestigious residences in accord with the new ‘classical’ principles of Renaissance architecture. The novelties, however, went far beyond architectural forms: they involved the reorganisation of courtly interiors and their functions, new uses for the buildings, and the relationship between the palaces and their surroundings. The whole urban setting was affected by these processes, and therefore the social, residential and political customs of its inhabitants. This is the focus of A Renaissance Architecture of Power, which aims to analyse from a comparative perspective the evolution of Italian court palaces in the Renaissance in their entirety. Contributors are Silvia Beltramo, Flavia Cantatore, Bianca de Divitiis, Emanuela Ferretti, Marco Folin, Giulio Girondi, Andrea Longhi, Marco Rosario Nobile, Aurora Scotti, Elena Svalduz, and Stefano Zaggia.
