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Quantitative Studies of the Renaissance Florentine Economy and Society is a collection of nine quantitative studies probing aspects of Renaissance Florentine economy and society. The collection, organized by topic, source material and analysis methods, discusses risk and return, specifically the population’s responses to the plague and also the measurement of interest rates. The work analyzes the population’s wealth distribution, the impact of taxes and subsidies on art and architecture, the level of neighborhood segregation and the accumulation of wealth. Additionally, this study assesses the competitiveness of Florentine markets and the level of monopoly power, the nature of women’s work and the impact of business risk on the organization of industrial production.
With bracing clarity, James Elkins explores why images are taken to be more intricate and hard to describe in the twentieth century than they had been in any previous century. Why Are Our Pictures Puzzles? uses three models to understand the kinds of complex meaning that pictures are thought to possess: the affinity between the meanings of paintings and jigsaw-puzzles; the contemporary interest in ambiguity and 'levels of meaning'; and the penchant many have to interpret pictures by finding images hidden within them. Elkins explores a wide variety of examples, from the figures hidden in Renaissance paintings to Salvador Dali's paranoiac meditations on Millet's Angelus, from Persian miniature paintings to jigsaw-puzzles. He also examines some of the most vexed works in history, including Watteau's "meaningless" paintings, Michelangelo's Sistine Ceiling, and Leonardo's Last Supper.
More than sixty friends and colleagues pay tribute to the distinguised professor Janos M. Bak's 70th birthday."
"Rivals the major systematic theologies of this century."--Baptist History and Heritage Journal, July 1996"One of the characteristics of Garrett's system that needs especially to be noted is its balanced, judicious, and nearly invariably objective presentation of materials. While holding true to the teachings of his own Baptist faith, Garrett so carefully and judiciously presents alternatives . . . that teachers and students from other confessional and denominational positions will find his work instructive."--Consensus, 1997"If one is searching for an extensive exposition of the biblical foundations and historical developments of the various loci of systematic theology, there is no more com...
History is a subject which never stands still. It is always changing its philosophies, its contours, its leading questions, its politics, its conceptual status and its methodologies. This bibliographical guide to the study of history is wide-ranging in scope extending from the ancient world to the 20th century. It deliberately concentrates on modern historians' views, provides a substantial section on the philosophy of history, charts controversies and highlights the continual evolution and diversification of history. The material is logically organized in major areas and subsections, and cross-references are given where appropriate. An index of authors, editors and compilers is also provided.
The fifteenth century was a critical juncture for the College of Cardinals. They were accused of prolonging the exile in Avignon and causing the schism. At the councils at the beginning of the period their very existence was questioned. They rebuilt their relationship with the popes by playing a fundamental part in reclaiming Rome when the papacy returned to its city in 1420. Because their careers were usually much longer than that of an individual pope, the cardinals combined to form a much more effective force for restoring Rome. In this book, shifting focus from the popes to the cardinals sheds new light on a relatively unknown period for Renaissance art history and the history of Rome. Dr. Carol M. Richardson has been awarded the Philip Leverhulme Prize (2008) in the field of History of Arts.
Using the Braudelian concept of the Mediterranean this volume focuses on the condition of “coastal exchanges” involving the Dalmatian littoral and its Adriatic and more distant maritime network. Spalato and Ragusa intersect with Constantinople, Cairo and Spanish Naples just as Sinan, Palladio and Robert Adam cross paths in this liquid expanse. Concentrating on materiality and on the arts, architecture in particular, the authors identify portability and hybridity as characteristic of these exchanges, and tease out expected and unexpected serendipitous moments when they occurred. Focusing on translation and its instruments these essays expand the traditional concept of influence by thrusti...