What was (and is) the Point of Macaronics? Historical and Typological Considerations

This study aims at investigating the most important Machiavelli’s work The Prince- written in 1513 and first published in 1531 - the idea of the State configuration, specially connected with the governor’s (prince’s) configuration and with their historical influences; yet the modern foundation of the Political Science as scientific knowledge. The historical context where Machiavelli lived, specially Florence his town, is indispensable for the understanding of his political thoughts, mainly of virtú and fortuna. The importance of the theme may be easily showed by both direct and indirect unfluence, which he exerted on subsequent political science, and other adverse reactions. Niccolò Machiavelli (1469 - 1527), a great political philosopher of Renaissance, is considered the great founder of the Modern State Theory. His writings have the founders’ character and should not be neglected for being such a classic of the political knowledge. Thus, his thougts connection with the other areas should be public. Besides searching for understanding Machiavelli’s thought, we can also explain the great Political and Philosophical themes such as State and Government, specially observed in the political history scenary of Renaissance in Italy.

Linguistic Hybridity in the Poetry Translation of Hong Lou Meng

The concept of medievalism has, during the past few decades, given rise to a new subfield within literary and cultural studies. This is the introductory chapter of this book Early Modern Medievalisms , is divided into three sections. The first first section reflects on the notions of continuity and discontinuity between the medieval and the early modern. It largely focuses on the Italian Renaissance and its European reception. The second section discusses the manifold ways in which artists in the early modern period made use in their works of elements identifiable as 'medieval'. It also discusses ways in which the medieval was invoked by the early moderns, in different national and historical contexts, as an instrument of political and religious legitimation. The final section examines how the medieval was explicitly conceptualized in the early modern period. Keywords: early modern medievalism; European reception; Italian renaissance

This article explores the formation of Vulgar Latin as a metalinguistic concept in the Italian Renaissance (1435–1601) considering its continued, although criticized, use as a concept and term in modern Romance and Latin linguistics (1826 until the present). The choice of this topic is justified in view of the divergent previous modern historiography and because of the lack of a coherent historical investigation. The present study is based on a broad selection of primary sources, in particular from classical antiquity and the Italian Renaissance.Firstly, this article traces and clarifies the prehistory of the concept of Vulgar Latin in ancient and medieval linguistic thought. Section 2 demonstrates that the concept of Vulgar Latin as a low social variety does not exist in pre-Renaissance linguistic thought.Secondly, this article describes and analyzes how, why and when the concept of Vulgar Latin emerged and developed in the linguistic thought of the Italian Renaissance. Section 3 surveys the historical intellectual contexts of the debates in which this concept was formed, namelyquestione della linguain the Latin and Vernacular Italian Renaissances. Section 4 demonstrates how the ancient concept and term ofsermo vulgarisas a diaphasic variety was revived, but also modified, in the Latin Renaissance of the fifteenth century, when the leading humanists developed new ideas on the history, nature and variability of ancient Latin. Section 5 demonstrates how a diglossic concept of Vulgar Latin was formed in the vernacular Italian Renaissance of the sixteenth century, when Italian philologists more carefully approached the topic of the historical origin and emergence of Italian.Thirdly, Section 6 presents a synthesis of the historiographical results that are attained and revises modern historiography on some important points.

At the Volksbühne am Rosa-Luxemburg-Platz in central Berlin, directors René Pollesch, Christoph Marthaler, Herbert Fritsch, and Dimiter Gotscheff employ comical elements of slapstick, irony, black humour, exaggeration, bluntness, vulgarity, and absurdity. Sound often proves to be significant to the comical effect of the performances as the use of music, sound effects and a specific way of speaking are characteristic for each of their individual directing styles. Even though their styles are comparable in that they all use of a vast array of acoustic elements, they nevertheless differ greatly from each other. The aim of my article is to categorize their use of comical sounds by consideringhowandto whateffect they are employed. The comical aspect of sounds, situations or actions is not necessarily universal or trans-historical, but rather always depends on the specific cultural and historical context that also coins the specific contemporary theatre practice. The article focusses on these connections and on the shifts of attention that are mainly caused by the comical effects of sound and can cause further comical effects.

Although it is generally acknowledged that homosexuality experienced renewed popularity as a topic of artistic investigation during the Italian Renaissance, the prevalence and purport of homoeroticism in the works of the era’s male artists have been subjects of greater speculation. This paper focuses specifically on representations of the Greek mythological figure Ganymede, whose tradition as an icon for homosexual desire can be traced back to antiquity. In my analysis of the Ganymedean iconography used by artists like Donatello and Michelangelo, I exemplify how homoerotic subtext reveals itself in Renaissance art through mythological imagery. To ground my visual analyses within the artworks’ historical context, I also refer to classical and Renaissance literature to identify contemporary ideas about love between men, which were shaped by the rise of Neoplatonism and its glorification of Greek pederasty. Identifying the homoeroticism in Renaissance illustrations of the Zeus and Ganymede myth thus upholds the latter’s status as an iconic figure in the history of queer art. More importantly, however, this paper’s analysis demonstrates that Ganymede’s iconographic function was ultimately to visually reinforce the resurrected Florentine version of pederasty and the troubling power imbalance of its lover-beloved relationship model.

The theme of this paper concerns the main aspects of translating a linguistically and culturally hybrid text, using the example of two Dubravka Ugrešić’s books (1949–2023), Karaoke culture and Europe in Sepia. The author addresses contemporary themes in a globalised and increasingly virtual world, while constantly revisiting the Soviet and Yugoslav communist past through her personal experiences. Existing between languages and interpreting such a diverse literary world requires a profound understanding of historical, linguistic, and cultural contexts, as well as translation strategies aimed at bridging the inevitable spatiotemporal gap that arises between the two versions of the text. The main research questions are: what are the criteria for including or excluding different elements of heterolinguism/ plurilingualism in a translated text? By what linguistic means is it domesticated in a culturally and linguistically hybrid text?

This Thesis explores the scenographic and classical architecture of the Greenwich Royal Hospital for Seamen, founded in 1694 and designed under the supervision of the architect Christopher Wren. While the scenography at Greenwich performs ably as a device for architectural display and presentation, Wren's unorthodox handling of the classical vocabulary has often been criticized as a failure to comprehend the rules governing the terms of its use. However, Wren was no amateur; he had an unshakeable faith in the architecture of antiquity and had a high regard for the theorists and architects of the Italian Renaissance. Moreover, he was virtually legendary for his scholarship in many branches of knowledge, and as a man of great erudition. Thus it is unlikely that his departure from convention was a result of any facile interpretation. Rather, Wren’s break from both the canon of architecture and the sources available to him was deliberate; moreover, it shows that he was filtering his design process though criterion external to architecture. As such, a strict architectural interpretation of Greenwich would leave many questions unanswered. Thus, it is argued, a fair analysis of Greenwich can only be given in conjunction with its historical context. By broadening the scope of our inquiry beyond the parameters of architecture we can begin to understand how Wren's variations reflect, in particular, the political, religious, scientific, philosophical, and economic circumstances of England during the 17th century. Viewed within this broader historical framework we will see how the ideas that influenced England's development as a nation were the very same ideas that influenced the way Wren conceived and evaluated his architectural project at Greenwich. In addition, this article plays close attention to the origins of scenographic and classical architecture during the Italian Renaissance; specifically, it addresses how perspective was used by both artists (in paintings) and theater designers (in stage sets) as an organizational device for rendering convincing three-dimensional architectural environments. As off-shoots of the pictorial realm and stage design it will also be shown that scenography and classicism contain some of there characteristics. Also, a look will be given at how scenography and classicism manifest themselves in different political, religious, socio-economic, and philosophical contexts.

This article examines male cross-dressing in Italian Renaissance comedies with a particular emphasis on II Ragazzo by the Venetian writer Lodovico Dolce.Without challenging the traditional readings of cross-dressing plotsthat view their licentiousness and their reversals of gender and sexual roles as comic conventions typical of this genre and of the festive time of carnival, it is suggested that such plots offered a particularly rich opportunity for imaginative play. This study posits a connection between a historical social formation-the changing sexual status of young males as they pass from feminized youth to full masculine adulthood-and the representation of male characters dressed as women.The texts of these comedies, seen in their social and historical context, provide an interesting basis for discussion of issues of gender and masculine identity in a highly structured patriarchal society.

Gülru Necipoglu brings together largely unpublished sources, both written and visual, along with information derived from the architectural remains to uncover the processes through which the meaning of the palace was once produced, before it came to represent a stereotyped microcosm of oriental despotism imbued with the exotic otherness of the East. Today the Topkapi Palace in Istanbul seems a haphazard aggregate of modest buildings no longer capable of conveying imperial power. Yet it is at once the most celebrated of all Islamic palaces and the least understood. Gülru Necipoglu brings together largely unpublished sources, both written and visual, along with information derived from the architectural remains to uncover the processes through which the meaning of the palace was once produced, before it came to represent a stereotyped microcosm of oriental despotism imbued with the exotic otherness of the East. She relocates the Topkapi in its historical context, a context that included not only the circumstances of its patronage, but the complex interaction of cultural practices, ideologies, and social codes of recognition. Necipoglu focuses on the imperial iconograpy of palatial forms that lack monumentality, axiality, and rational-geometric planning principles to decipher codes of grandeur that are no longer obvious to the modern observer. She reconstructs the architectural and ceremonial impact of the palace through a step-by-step tour of its buildings, demonstrating how the palace was experienced as a processional sequence of separate courts and seemingly disjointed architectural elements that were nevertheless integrated into a coherent whole by passage through time and space. Far more than an analysis of the architectural program of the palace, Architecture, Ceremonial, and Power raises questions and provides answers to fundamental concerns about the ideology of absolute sovereignty, the interplay between architecture and ritual, and the changing perceptions of a building through the centuries, a building that drew upon a wide range of Palatine traditions, mythical, Islamic, Turco-Mongol, Romano-Byzantine, and Italian Renaissance.

This article concentrates primarily on Venetian art and artists of the 15th and 16th centuries. In this period the achievements of the city’s painters, sculptors, and architects reached unparalleled heights. Though the tradition came back to life in the 18th century, most would agree that the “golden age” of Venetian art occurred in the two Renaissance centuries. The particular visual power of Venetian art in this period was immediately recognized, though it was often seen by outsiders as too naturalistic, sensual, or color based, or as insufficiently concerned with elevating intellectual ideas or forms. Many of the items listed in this bibliography bear witness to a remarkable revival of critical, scholarly, and public interest in the tradition over the late 20th and early 21st centuries. Though this upsurge initially began under the impact of Romantic, and then modernist, values, it has since taken on a new kind of historical objectivity under the impact of the foundation and development of art history as an academic discipline. Since the mid-19th century, study of the art of Renaissance Venice has been founded on close and systematic scholarly study, and to this extent it has represented a concerted attempt to understand the tradition on its own terms or in relation to its original artistic, social, and religious meanings and functions. This broad move toward historical contextualism has offered many new insights into the original material practices, processes, and discourses by and through which Venetian artworks were made and understood in their time. It has delivered a new understanding of just how far such works mirror the unique social, cultural, and physical environment of Venice itself, and of how far they represent an integral expression of the city’s emergent sense of itself.

This volume collects together lectures by distinguished scholars. One lecture examines medieval religious relics, focusing on what they actually comprised and asking how these paltry items came to be so highly valued. Another lecture takes the authentic medieval Welsh literary corpus associated with Owain Glyndwr, consisting in the main of bardic eulogies rather than prophecies, and examines them in their historical context. A lecture on Alexander Pope asks what part Shaftesbury's polite wit, Mandeville's cynicism, and Augustan sentimentalism played in the poetry of England's greatest satirist. Another lecture focuses on the Romantic poets' fascination with the lens-made and projected images that the modern world has come to think of as the virtual image. A further lecture examines the choices made by young musicians in Renaissance Italy. The next lecture examines how the paradoxical doctrine of ‘the one and the multiple’ was translated into visual language in Chinese Buddhist art. In some cases, groups related to certain numbers bearing metaphorical significances; while in others, objects were simply replicated in large numbers to create a sense of awe. The final lecture explores the way the natural history of the Americas was exported to 16th-century northern European scientists and how they reacted intellectually and politically.

This essay addresses several pertinent issues of interpretations of processes of autocratization pertaining to two different historical contexts. The authors seek to identify major arguments concerning theoretical backgrounds in the current agendas of research into the transitions from the polyarchic republican city-states to the authoritarian regimes of personal power in the Renaissance Italy and into the contemporary processes of autocratic reversals. The authors strive to show that it is useful to pay thorough attention to varying theoretical challenges characterizing agendas of research into historically diverse regime transitions. In such a way, it is possible to expose and assess limits and directionality of prevailing research programs. This seems important in order to gain new incentives for an advancement of thinking about both contemporary and historical processes of autocratization and to enhance a promising cross-fertilization of the study of regime changes conducted by political science, historical sociology and historiography.

A New Field:<i>History of Humanities</i>

Indian hybrid mythology, its historical context, its cultural connotations, and the ways in which Indian artists depict anthropomorphism in their works of Indian art and culture. Through an analysis of the artists' histories, ideologies, and methods, our research reveals how they have balanced innovation with tradition in their works. It demonstrates how artists use cultural themes, mythology, and folklore as inspiration to depict the intricacies of identity in society. The dissertation explores the impact of Indian hybrid forms and how they subvert societal norms that balance modernity and heritage in our culture. The research provides a thorough understanding of the rich Indian form and its significance on the international form arena by examining the techniques and symbols utilized by for designers and delving deeply into difficulties. In general, this study advances knowledge about hybrid form, its variety in India, and its relevance in the contemporary art scene.