A groundbreaking work of intellectual history, The Lost Italian Renaissance uncovers a priceless intellectual legacy suggests provocative new avenues of research.
“Explores why . . . The Prince . . . continues to enthrall readers and . . . can help enrich the way we understand [the statesman]. . . . A compelling portrait” (Kirkus Reviews). The man whose name is shorthand for all that is ugly in politics was more nuanced than his reputation suggests. Christopher Celenza’s portrait of Machiavelli removes the varnish to reveal not just the hardnosed philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover. “Machiavellian. The very word calls up images of plots, daggers and devious minds. Christopher Celenza separates the man from the melodrama.” —Sydney Morning Herald “Both readable and trustworthy.” —Steve Donoghue, Open Letters Monthly “Demonstrates how Machiavelli’s thoughts on conflict and leadership are relevant to today’s political world.” —Choice “By setting the author of The Prince in his historical context, Christopher Celenza captures the brilliance, risk-taking, danger, and sheer exuberant delight of the Italian Renaissance . . . Celenza enables us to seize upon what continues to be relevant in [Machiavelli’s] work to our own time and place.” —Stephen Greenblatt, Pulitzer Prize–winning author of The Swerve: How the World Became Modern “Celenza’s Machiavelli is a man passionately engaged in history, a scholar of the past whose interests run from the remote annals of ancient Rome to the tormented chronicles of early modern Italy, and an unflaggingly committed participant in the events of his own time. The result is a singularly humane portrait of a wise man making his way through what was often a cruel, chaotic world.” —Ingrid Rowland, University of Notre Dame
An enlightening study of the contradictory character of this canonical fourteenth-century Italian poet. Born in Tuscany in 1304, Italian poet Francesco Petrarca is widely considered one of the fathers of the modern Italian language. Though his writings inspired the humanist movement and subsequently the Renaissance, Petrarch remains misunderstood. He was a man of contradictions—a Roman pagan devotee and a devout Christian, a lover of friendship and sociability, yet intensely private. In this biography, Christopher S. Celenza revisits Petrarch’s life and work for the first time in decades, considering how the scholar’s reputation and identity have changed since his death in 1374. He brings to light Petrarch’s unrequited love for his poetic muse, the anti-institutional attitude he developed as he sought a path to modernity by looking backward to antiquity, and his endless focus on himself. Drawing on both Petrarch’s Italian and Latin writings, this is a revealing portrait of a figure of paradoxes: a man of mystique, historical importance, and endless fascination. It is the only book on Petrarch suitable for students, general readers, and scholars alike.
The founding of the Catholic missions in Australia coincided with the defining drift of power and prestige within the nineteenth-century Church. This was a period of chronic dissension among Australia's Catholic communities, powerfully drawn by the ultramontane impulse and political manoeuvring to refer their problems to the Pope. Roman bureaucratic control, exercised through the Sacred Congregation de Propaganda Fide, was the single most important factor in the resolution of these problems and, consequently, in the determinative shaping of the colonial Australian Church. Based on extensive archival research, this study explores issues of process, politics and personality in the formulation of papal policy towards a part of the world that could not be more distant from Rome.
Until 2007, a fellowship at the American Academy in Rome--arguably, the most prestigious prize awarded to archaeologists, painters, architects, scholars, and artists--had one huge drawback: the food. When AAR President Adele Chatfield-Taylor asked Alice Waters for help, Waters famously responded, "That depends. What do you want, better food--or a revolution?" Fatefully and without hesitation, Chatfield-Taylor replied, "A revolution." And a revolution was ignited. Seven years later, Verdure is the RSFP's fourth cookbook (following Biscotti, Zuppe, and Pasta). It is perhaps the ideal collaboration among the kitchen and the Academy garden, the artisan producers, and the organic farmers who provide the impeccable raw ingredients used in each dish. Its ninety-two recipes are arranged seasonally. The RSFP kitchen feeds a group, so frugality is a consideration: beans, grains, and greens take a starring role, and maximizing flavor is paramount. Every recipe appears simple and is easy to execute, but rises far, far above the fundamental"--
In Instruments of the Divinity, Christopher van Ginhoven Rey shows that an important reflection on God’s providential praxis animates the foundational documents of the Society of Jesus. Focusing on Saint Ignatius of Loyola’s conception of Jesuits as the instruments of a laboring God, the book explores the philosophical and theological roots of the metaphor of the instrument and its place in the social imaginary of the Jesuit order. Close readings of the Spiritual Exercises, the Jesuit Constitutions, and a selection of letters by Ignatius call attention to the existence of a rhetoric of instrumentality that provides the basis for the Society’s project of instruction, its loving affirmation of the world, and its attempts to differentiate itself from its monastic predecessors.
The book of Revelation presents a daunting picture of the destruction of the world, complete with clashing gods, a multiheaded beast, armies of heaven, and the final judgment of mankind. The bizarre conclusion to the New Testament is routinely cited as an example of the early Christian renunciation of the might and values of Rome. But Christopher A. Frilingos contends that Revelation's relationship to its ancient environment was a rather more complex one. In Spectacles of Empire he argues that the public displays of the Roman Empire—the games of the arena, the execution of criminals, the civic veneration of the emperor—offer a plausible context for reading Revelation. Like the spectacles that attracted audiences from one end of the Mediterranean Sea to the other, Revelation shares a preoccupation with matters of spectatorship, domination, and masculinity. Scholars have long noted that in promising a complete reversal of fortune to an oppressed minority, Revelation has provided inspiration to Christians of all kinds, from liberation theologians protesting globalization to the medieval Apostolic Brethren facing death at the stake. But Frilingos approaches the Apocalypse from a different angle, arguing that Revelation was not merely a rejection of the Roman world in favor of a Christian one; rather, its visions of monsters and martyrs were the product of an empire whose subjects were trained to dominate the threatening "other." By comparing images in Revelation to those in other Roman-era literature, such as Greek romances and martyr accounts, Frilingos reveals a society preoccupied with seeing and being seen. At the same time, he shows how Revelation calls attention to both the risk and the allure of taking in a show in a society which emphasized the careful scrutiny of one's friends, enemies, and self. Ancient spectators, Frilingos notes, whether seated in an arena or standing at a distance as Babylon burned, frequently discovered that they themselves had become part of the performance.
Ecological Aspects of Nitrogen Acquisition covers how plants compete for nitrogen in complex ecological communities and the associations plants recruit with other organisms, ranging from soil microbes to arthropods. The book is divided into four sections, each addressing an important set of relationships of plants with the environment and how this impacts the plant’s ability to compete successfully for nitrogen, often the most growth-limiting nutrient. Ecological Aspects of Nitrogen Acquisition provides thorough coverage of this important topic, and is a vitally important resource for plant scientists, agronomists, and ecologists.
A examination of one of the key artists of the early-modern era from the point of view of the business considerations that informed her life, art, career, and legacy"--
The man whose name is shorthand for all that is ugly in politics was more nuanced than his reputation suggests. Christopher Celenza’s portrait of Machiavelli removes the varnish to reveal not just the hardnosed philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover.
Christopher Celenza is one of the foremost contemporary scholars of the Renaissance. His ambitious new book focuses on the body of knowledge which we now call the humanities, charting its roots in the Italian Renaissance and exploring its development up to the Enlightenment. Beginning in the fifteenth century, the author shows how thinkers like Lorenzo Valla and Angelo Poliziano developed innovative ways to read texts closely, paying attention to historical context, developing methods to determine a text's authenticity, and taking the humanities seriously as a means of bettering human life. Alongside such novel reading practices, technology – the invention of printing with moveable type – fundamentally changed perceptions of truth. Celenza also reveals how luminaries like Descartes, Diderot, and D'Alembert – as well as many lesser-known scholars – challenged traditional ways of thinking. Celenza's authoritative narrative demonstrates above all how the work of the early modern humanist philosophers had a profound impact on the general quest for human wisdom. His magisterial volume will be essential reading for all those who value the humanities and their fascinating history.
A groundbreaking work of intellectual history, The Lost Italian Renaissance uncovers a priceless intellectual legacy suggests provocative new avenues of research.
An enlightening study of the contradictory character of this canonical fourteenth-century Italian poet. Born in Tuscany in 1304, Italian poet Francesco Petrarca is widely considered one of the fathers of the modern Italian language. Though his writings inspired the humanist movement and subsequently the Renaissance, Petrarch remains misunderstood. He was a man of contradictions—a Roman pagan devotee and a devout Christian, a lover of friendship and sociability, yet intensely private. In this biography, Christopher S. Celenza revisits Petrarch’s life and work for the first time in decades, considering how the scholar’s reputation and identity have changed since his death in 1374. He brings to light Petrarch’s unrequited love for his poetic muse, the anti-institutional attitude he developed as he sought a path to modernity by looking backward to antiquity, and his endless focus on himself. Drawing on both Petrarch’s Italian and Latin writings, this is a revealing portrait of a figure of paradoxes: a man of mystique, historical importance, and endless fascination. It is the only book on Petrarch suitable for students, general readers, and scholars alike.
This book publishes and discusses a hitherto unedited text from one of Renaissance Florence's most tumultuous periods, the Savonarolan era of the end of the fifteenth century. Thus it illuminates the changing, dramatic nature of the cradle of the European Renaissance.
This volume sheds light on the transitions in the intellectual life of Renaissance Florence in the last quarter of the fifteenth century. Its point of departure is a hitherto unedited Latin text, the Symbolum Nesianum, whose original version was written by Giovanni Nesi, a follower of the famous Platonist Marsilio Ficino and then of the austere, fiery reformer, Girolamo Savonarola. The first part of the book presents a lengthy introductory study that illuminates the text’s cultural context. The second part offers a critical edition, translation, and commentary for the text. The book will be of use to historians and to all scholars interested in the culture of the city often called the cradle of the Renaissance as it underwent one of its most difficult times.
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