Eccentric Renaissance shows how El Greco and two other sixteenth-century Cretan artists, Michael Damaskenos and Georgios Klontzas, actively engaged in a re-casting of the Byzantine tradition of icon painting on the Venetian colony of Crete. In so doing, they created art that articulated a point of view that was shaped outside of and against the hegemonic world of Vasari's account of art history. Building upon their own tradition, they developed a highly original understanding of the icon and explored its power to reconcile Byzantine and Renaissance styles of painting and provide a response to the growing presence of Islam.
Through this comprehensive Handbook, the reader will obtain a balanced and cohesive picture of the Early Church. It gives an overall view of the reception, transmission, and interpretation of the Bible in the life and thought of the Church during the first five centuries of Christianity. The print edition is available as a set of two volumes (9789004098152).
The origins of this book go back to I956 when it was suggested to me that a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philoso phy of the Italian Renaissance. It was not, however, until I960 that I could devote a significant portion of my time to a realization of this goal. My work was essentially completed in 1963, at which time it was presented in its original form as a doctoral dissertation in the Phi losophy Department of Columbia University. Since then I have made many minor improvements and several chapters have been extensively reworked. This study represents the first attempt in fifty years to give a detailed account of even a portion of Gianfrancesco Pico's life and thought. The most comprehensive previous study, Gertrude Bramlette Richards, "Gianfrancesco Pico della lv1irandola" (Cornell University Dissertation, I 9 I 5), which I have found very useful in preparing my own book, is largely based on secondary literature and is mistaken in a number of details. Furthermore, Miss Richards' treatment of Gian francesco Pico as a thinker is very sketchy and is not an exhaustive study of his own writings. It is hoped that my present study, built in part on her extensive bibliographical indications, brings forth a certain amount of new information which will be of value for further research.
The influenza pandemic of 1918-1919--the worst widespread outbreak in recorded history--claimed an estimated 100 million lives globally. Yet only in recent decades has it captured the attention of historians, scientists, and fiction writers. This study surveys influenza research over the last century in original scientific and historical documents and establishes a critical paradigm for the appreciation of influenza fiction. Through close readings of 15 imaginative works, the author elucidates the contents of and the interaction between the medical and the fictional. Coverage extends from Pfeiffer's 1892 bacillus theory, to the multidisciplinary effort to isolate the virus (1919-1933), to the reconstruction of the H1N1 viral genome from archival and exhumed RNA (1995-2005), to the emergence of H5N1 and H7N9 avian viruses (1997-2014).This book demonstrates that pandemic fiction has been more than a therapeutic medium for survivors. A prodigious resource for the history of medicine, it is also a forum for ethical, social, legal, national defense and public health issues.
This book provides a comprehensive summary of data from basic and clinical studies in support of a role for corticotropin-releasing factor (CRF) as a neurotransmitter in the mammalian central nervous system (CNS). It includes descriptions of the anatomy of CRF and its receptors in the CNS, as well as the characterization of CRF receptors and the second messenger systems mediating effects of CRF in the brain. It discusses the autonomic, behavioral, and electrophysiologic effects of CRF administration in the brain. This work also includes a section which covers the role of brain CRF in the etiology and pathophysiology of a variety of neurologic, psychiatric, and endocrine disorders. Endocrinologists, brain researchers, and neuroendocrinologists are among those who will find this reference both useful and interesting.
Probes the basic attitudes, the underlying values and the core convictions that Rome's intellectuals and artists experienced, lived for, and believed in from Pope Eugenius IV's reign to the Eternal City in 1443 to the sacking of 1527.
The 130 letters collected in this volume begin in 1947 just after Robert Duncan and Charles Olson first meet in Berkeley, California, and continue to Olson's death in January 1970.
A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC
This study of the foremost patristic scholar in 15th-century Florence is based almost exclusively on manuscript letters and incunabula in Greek, Latin, and Italian. The influence of the revival of patristic studies on the meaning and purpose of Renaissance learning emerges as one of the original considerations in this book which should be of interest to humanists, generally, but also to art historians, intellectual history researchers, theologians, and philosophers.
This work is a large, powerfully illustrated interdisciplinary natural sciences volume, the first of its kind to examine the critically important nature of ecological paradox, through an abundance of lenses: the biological sciences, taxonomy, archaeology, geopolitical history, comparative ethics, literature, philosophy, the history of science, human geography, population ecology, epistemology, anthropology, demographics, and futurism. The ecological paradox suggests that the human biological–and from an insular perspective, successful–struggle to exist has come at the price of isolating H. sapiens from life-sustaining ecosystem services, and far too much of the biodiversity with which we find ourselves at crisis-level odds. It is a paradox dating back thousands of years, implicating millennia of human machinations that have been utterly ruinous to biological baselines. Those metrics are examined from numerous multidisciplinary approaches in this thoroughly original work, which aids readers, particularly natural history students, who aspire to grasp the far-reaching dimensions of the Anthropocene, as it affects every facet of human experience, past, present and future, and the rest of planetary sentience. With a Preface by Dr. Gerald Wayne Clough, former Secretary of the Smithsonian Institution and President Emeritus of the Georgia Institute of Technology. Foreword by Robert Gillespie, President of the non-profit, Population Communication.
William Watson Cheyne (1852-1932), a surgeon by training and a student of Joseph Lister, was a prominent British bacteriologist who published 60 papers and 13 monographs from 1879 to 1927. A proponent of the idea that bacteriology and medicine were interdependent disciplines, he investigated the causes and treatment of wound infections, tuberculosis, cholera, tetanus and gangrene. In 1897, he organized an historical outline of 19th century bacteriology in five landmark periods of discovery, each defined by the work of an influential figure. This study documents his contributions to the history of microbiology and describes his activities as a laboratory investigator, clinician, surgeon, translator, editor and educator.
LA MAGGIORANZA delle persone ha idee rozze o distorte sul carattere e la posizione dello Spirito. Pensano che lo Spirito non abbia alcun ruolo negli affari mondani e che possa essere conosciuto da una persona solo dopo la sua morte. Ma Gesù disse: 'Dio è Spirito'; disse anche: 'Il regno di Dio è dentro di voi'. La scienza ci dice che c'è una vita universale che anima e sostiene tutte le forme dell'universo. La scienza ha fatto breccia nell'atomo e lo ha rivelato carico di un'energia tremenda che può essere liberata e resa capace di dare agli abitanti della terra poteri oltre l'espressione, quando la sua legge di espressione sarà scoperta. Gesù evidentemente sapeva di questa energia nascosta nella materia e ha usato la sua conoscenza per fare i cosiddetti miracoli. I nostri scienziati moderni dicono che una sola goccia d'acqua contiene abbastanza energia latente da far saltare un edificio di dieci piani. Questa energia, la cui esistenza è stata scoperta dagli scienziati moderni, è lo stesso tipo di energia spirituale che era conosciuta da Elia, Eliseo e Gesù, e utilizzata da loro per compiere miracoli. La scienza sta scoprendo la dinamica miracolosa della religione, ma la scienza non ha ancora compreso il potere direttivo dinamico del pensiero dell'uomo. Tutti i cosiddetti operatori di miracoli affermano di non produrre da soli i risultati meravigliosi; di essere solo gli strumenti di un'entità superiore. Gesù non sosteneva di avere l'esclusivo potere soprannaturale che gli viene solitamente attribuito. Aveva esplorato l'energia eterea, che chiamava il 'regno dei cieli'; la sua comprensione era al di là di quella dell'uomo medio, ma sapeva che altri uomini potevano fare quello che lui faceva se solo ci avessero provato. Incoraggiò i suoi seguaci a prenderlo come centro della fede e ad usare il potere del pensiero e della parola. Chi crede in me, farà anche lui le opere che io faccio; e ne farà di più grandi".. La grande rinascita moderna della guarigione divina è dovuta all'applicazione della stessa legge che usò Gesù. Egli esigeva la fede da parte di coloro che guariva, e con quella fede come punto di contatto mentale e spirituale liberava l'energia latente nella struttura atomica dei suoi pazienti ed essi venivano restituiti alla vita e alla salute. Abbiate fede nel potere della vostra mente di penetrare e liberare l'energia che è repressa negli atomi del vostro corpo, e sarete sbalorditi dalla risposta. Le funzioni paralizzate in qualsiasi parte del corpo possono essere ripristinate all'azione parlando all'intelligenza e alla vita spirituale dentro di loro.
At once engaging, personal, and analytical, this book provides the intellectual resources for the critical understanding of art Charles Harrison’s landmark book offers an original, clear, and wide-ranging introduction to the arts of painting and sculpture, to the principal artistic print media, and to the visual arts of modernism and post-modernism. Covering the entire history of art, from Paleolithic cave painting to contemporary art, it provides foundational guidance on the basic character and techniques of the different art forms, on the various genres of painting in the Western tradition, and on the techniques of sculpture as they have been practiced over several millennia and across a wide range of cultures. Throughout the book, Harrison discusses the relative priorities of aesthetic appreciation and historical inquiry, and the importance of combining the two approaches. Written in a style that is at once graceful, engaging, and personal, as well as analytical and exact, this illuminating book offers an impassioned and timely defense of the importance and value of the firsthand encounter with works of art, whether in museums or in their original locations.
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