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In this book, Gur Zak examines two central issues in Petrarch's works - his humanist philosophy and his concept of the self.
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This volume is the result of the international workshop "Affects and Community-Formation in the Petrarchan World", which was hosted online by the Italienzentrum della Freie Universität Berlin on March 11-12, 2021. The workshop was held by the generous support of the Cluster of Excellence Temporal Communities: Doing Literature in a Global Perspective (Deutsche Forschungsgemeinschaft, EXC 2020 - Project ID 3900608380) as well as that of the Italienzentrum della Freie Universität Berlin. The workshop and the articles presented here all form part of the project "Petrarchan Worlds", directed by Bernhard Huss in Research Area 1, "Competing Communities", of the above-mentioned Cluster of Excellen...
The authors of this collection argue that all philosophy is really philosophy of culture and that through it we can live more meaningful, flourishing, and wisely guided lives.
The question of the nature and scope of Italian humanism, and particularly of humanist philosophy, has been an ongoing source of debate among historians. In this dissertation I explore the nature of humanist philosophy by complementing the traditional study of the "history of ideas" with that of the "history of practices." Concentrating on Petrarch's voluminous corpus of writing, I argue that Petrarch develops in his works a new ethical program, a new philosophy of self, at the centre of which is the assertion that "self" is above all a state of mind from which we are exiled and which we need to cultivate through constant practice, and particularly through the literary practice of writing (w...
A deft reinterpretation of the most zealously interpreted picture in the Western canon as a therapeutic artifact. Albrecht Dürer's famous portrayal of creative effort in paralysis, the unsurpassed masterpiece of copperplate engraving titled Melencolia I, has stood for centuries as a pictorial summa of knowledge about the melancholic temperament, a dense allegory of the limits of earthbound arts and sciences and the impossibility of attaining perfection. Dubbed the “image of images” for being the most zealously interpreted picture in the Western canon, Melencolia I also presides over the origins of modern iconology, art history's own science of meaning. Yet we are left with a clutter of ...
Modern Marriage and the Lyric Sequence investigates the ways in which some of our best poets writing in English have used poetic sequences to capture the lived experience of marriage. Beginning in 1862 with George Meredith’s Modern Love, Jane Hedley’s study utilizes the rubrics of temporality, dialogue, and triangulation to bring a deeply rooted and vitally interesting poetic genre into focus. Its twentieth- and twenty-first-century practitioners have included Edna St. Vincent Millay, Robert Lowell, Rita Dove, Eavan Boland, Louise Glück, Anne Carson, Ted Hughes, Claudia Emerson, Rachel Zucker, and Sharon Olds. In their poetic sequences the flourishing or failure of a particular marriage is always at stake, but as that relationship plays out over time, each sequence also speaks to larger questions: why we marry, what a marriage is, what our collective stake is in other people’s marriages. In the book’s final chapter gay marriage presents a fresh testing ground for these questions, in light of the US Supreme Court’s affirmation of same-sex marriage.
Opening to passion as an unsettling, transformative force; extending desire to the text, expanding the self, and dissolving its boundaries; imagining pleasures outside the norm and intensifying them; overcoming loss and reaching beyond death; being loyal to oneself and defying productivity, resolution, and cohesion while embracing paradox, non-linearity, incompletion. These are some of the possibilities of lyric that this book explores by reading Petrarch’s vernacular poetry in dialogue with that of other poets, including Guido Cavalcanti, Dante, and Shakespeare. In the Epilogue, the poet Antonella Anedda Angioy engages with Ossip Mandel’štam and Paul Celan’s dialogue with Petrarch and extends it into the present.
Despite the fact that Gaspara Stampa (1523?-1554) has been recognized as one of the greatest and most creative poets and musicians of the Italian Renaissance, scholarship on her work has been surprisingly scarce and uncoordinated. In recent years, critical attention towards her work has increased, but until now there have been no anthologies dedicated solely to Stampa. Rethinking Gaspara Stampa in the Canon of Renaissance Poetry aims to set a foundation for further Stampa studies by accounting for her contributions to literature, music history, gender studies, the history of ideas, philosophy, and other areas of critical thought. This volume brings together an international group of interdis...