Renaissance Concept Research Articles

The Importance of Child Education in the Context of Establishing a New Nation and New Society in Bekir ÇOBANZADE’s Works

The idea of establishing a new nation and new society reflected in Bekir Sıtkı ÇOBANZADE’s ideology and poetry is an extension of İsmail Bey Gaspıralı’s national renaissance and rebirth movement. The concept of national renaissance and rebirth initiated by the Tercüman newspaper primarily influenced the children, who represented the new society that the Crimean Tatar people, seeking to return to their roots and escape Russian imperialism, aimed to establish. The Usûl-u Cedit education system was used to transform young Tatar children into heroic Turkish and Muslim people fighting against Russian imperialism. This system strengthened the rebirth process of Crimean Tatar children who were weakened by Russian imperialism. During this process, in 1905, Çobanzade initiated the Yaş Tatar movement along with young people like Numan Celebi Cihan and Hasan Mirza Cergeyev. In his poem “Anan Kayda,” published here, he aimed to raise Crimean Tatar children under Russian imperialism into children who would fight against fate and the Russification policy within the poetics of the New Nation and New Society to be established. For the Crimean Tatar people, avoiding the loss of their true selves, the only way out is to create an enlightened and educated segment built on their ideals and national identity. Therefore, in his poems, Çobanzade created a child prototype. The most well-known of these prototypes is a girl named Esma. The poet designed the political panorama of the era through Esma. He desired to raise a new nation and new society that were free from the calamities and oppression the people were facing.

Early Renaissance Concepts of Time and the Invention of Mechanical Clocks

Mechanical clocks appeared in Europe at the end of the thirteenth century and became widespread during the fourteenth century. Clocks utilized a periodic process – the oscillation of a verge – for accurate time measurement, which is consistent with the Aristotelian concept of time defined by motion. The concept was at the center of debates among scholastics and theologians, which culminated in the Church's Condemnation of Aristotelian teaching in 1277. The debate also led to the discovery of Impetus (inertial motion) by Buridan and Oresme. Sand clocks became a popular device at about the same time. The pendulum clocks invented by Huygens in the 1650s utilized linear oscillations, which, unlike the earlier verge mechanism, had their natural frequency. Both mechanisms are analyzed to explain why the introduction of the linear oscillator led to a 30-times accuracy improvement of the clock.

The Embodiment and Interpretation of Greek Mythology in The Renaissance: Analyzing Perseus with The Head of Medusa

Greek mythology had a significant influence on the arts and literature in the Renaissance. From the epic poems of Iliad and Odyssey and the ancient Theogony, to the well-known plays of Greek tragedy and modern adaptations of the gods and heroes in both literature and screens, Greek mythology is foreign to no one. This dissertation aims to discuss the embodiment and the inventive interpretation of Greek mythology in a piece of Renaissance artwork Perseus with the head of Medusa. It looks into the original story from Hesiod’s Theogony and Ovid’s Metamorphoses and analyzes the symbolic influence of classical traditions. Expanding the contextual perspectives puts the artwork on a wider stage of the society of the time and examines the semiotics within this sculpture that show the unique Renaissance interpretation. The Renaissance concept about secularism, rationalism, and individualism is also explained through the iconography analysis and the comparison with the ancient artwork. With the help of useful references, this dissertation incorporates aspects like art, mythology, literature, politics, social psychology, and ideology to offer some knowledge of the sculpture by Cellini as well as the Renaissance world.

Zarządzanie i popularyzacja dziedzictwa kulturowego na przykładzie military reenactmentu jako przykład działań służących edukacji patriotycznej i budowaniu poczucia tożsamości regionalnej

Aim: The aim of the article was to present the concept of military renaissance in relation to the implementation of sustainable development goals in the area of caring for cultural heritage through grassroots initiatives understood as the activities of organizations dealing with historical reconstruction in Poland.Methods: The research covered groups actively operating in the Pomeranian Voivodeship in 2023. It included an in-depth analysis of data obtained through online research, literature review, observation.Results: The article introduces the concept of military renaissance and presents the types of activities that promote patriotic education and build a sense of regional identity in the promotion of military history. During the considerations, the issues of the activities of this type of organizations and their impact on the implementation of the assumptions of the 2030 Agenda in terms of preserving, protecting and promoting cultural heritage were raised.Coclusion: Grassroots initiatives of organizations to which historical reconstruction groups belong are among the important activities aimed at promoting global and regional cultural heritage, as well as maintaining traditions.Oryginality: Research addressing the problem of the functioning of organizations such as historical reconstruction groups in Poland from the perspective of management and quality sciences is basic research with interesting research potential. Keyword: cultural heritage, organizations, grassroots initiatives, military history, patriotism, historical reconstruction groups, sustainable development

Displacing perspectives on Renaissance: Cultural translation and the politics of Italian literature at the onset of the Cold War

ABSTRACT While the popularity achieved by several Italian cultural objects in the United States during the aftermath of World War Two has been largely acknowledged, the meanings these artefacts took on in their new cultural context are yet to be understood. To unravel the complex, multi-layered processes of cultural translation at play in transatlantic transfers at the onset of the Cold War, this article explores the U.S.-American reception of Italian culture from the vantage point of translated fiction. Retracing the public discourse around new Italian books in the United States means to recognize the emergence of a new framing narrative, that of a novel Renaissance taking place in Italy after the end of the Fascist period. Understanding the concept of a new Renaissance from a transnational perspective, at a time in which the public discourse was being reorganized across all media in response to the new geopolitical order, allows us to identify the politics of newly translated Italian fiction in the U.S. I argue that, through its framing, Italian fiction was made an ally in the cultural Cold War, coming to represent Western democracy, freedom, and creativity.

An artistic perspective on individual space–time flows

ABSTRACT Cartographically, there are now many ways of depicting the spatiotemporal life of human individuals, from flow and animated maps to 3D space-time cubes. However, these scientifically led representations have limited expressive potential for the emotional and inner life of these individuals. Artistic visual forms have been identified as a resource to bring such qualitative communication to and alongside maps. In the ‘Journey as a Flow' project we attempt to represent the geometry and motivation of everyday human motion in relation to various points in the environment and within an environment of other individual flows. We have produced various visual artwork sketches in order to understand the wide range of environmental flows of an individual as well as one's perception of them. We used the space-time cube (i.e. time-geographic aquarium) as a starting point, dictated by the need to create a functional tool in which space and time were both visible, as well as having potential as a 3D tangible object for physical exhibition. This forms the basis for analyses of displacement, interaction and perception. All the modifications of this established geospatial visualisation are inspirations and incorporations from art disciplines. The project outputs therefore include inspirations from cine-plastic art and Escher’s perspective drawings, but the main part of it draws from the Italian renaissance concept of the image conceived as a framed window through which we look at the world. The idea of central perspective has also been used to portray spaces as a flow toward a specific destination. The overall set of representations depict a dynamic version of human lives, while the set of various metaphors deployed drive an artistic interpretation of how some people can perceive (their own / other) flows during their journey. A transformation has therefore occurred from a temporal flow would be conventionally spatial to one that assumes platial properties (i.e. an individually led geography of place).

How to be reflexive: Foucault, ethics and writing qualitative research as a technology of the self

ABSTRACT This paper explores reflexivity in qualitative research, challenging conventional perspectives that revolve around the binary of ‘insider’ and ‘outsider’ positioning. While traditionally reflexivity has been understood through the lens of a researcher's socio-historical positionality, we argue for a more dynamic understanding, emphasizing that academic self-formation is an ongoing process of self-creation. Drawing inspiration from the ancient Akadēmía, where writing was a method of self-reflection, we recontextualize reflexive qualitative writing, aligning it with Foucault's interpretations of Ancient Greek and Renaissance concepts. We posit that writing, especially in doctoral research, is not just a tool for communication but a means of self-formation. This perspective redefines reflexivity as a transformative intellectual and existential process. The paper critically examines the prevailing insider/outsider binary in the research literature, suggesting that researcher identities are fluid and constantly shaped by interactions. By integrating Foucault's later work on ethics, we explore the ethical dimensions of reflexivity and the formation of the ethical subject. Ultimately, this paper contributes to the academic discourse on reflexivity, offering a more fluid, transformative view of the doctoral process and reflexive writing in qualitative research.

What is at stake in the psychedelic renaissance?

What is at stake in the psychedelic renaissance? Professor Erika Dyck, Canada Research Chair in the History of Health & Social Justice, discusses the extensive history and growing medical application of psychedelics known as the psychedelic renaissance. British psychiatrist Ben Sessa re-introduced the concept of the psychedelic renaissance in 2011, suggesting that it was perhaps time to rethink the role of psychedelic drugs in medicine. The idea has gained momentum, especially in places like the United States and Europe, where psychedelics had been part of psychiatric reforms in the middle of the twentieth century. However, the focus on the global north and western biomedicine does not capture the diversity of psychedelic history that has led to this moment.

Müverrih Ebü’l-Ferec’in Yahudi Kökeni ve İbnü’l-İbrī Nisbesi Hakkında

The renowned thirteenth-century Syriac historian Gregory Abū al-Faraj was an encyclopaedic and prolific author, writing in fields as diverse as theology, history, literature and philosophy. This multifaceted approach makes him a forerunner of the Renaissance concept of “homo universalis”, embodying the quest for “universal knowledge”. Among his notable works, the Makhtebhanūth zabhne, written in Syriac by Abū al-Faraj, is a cornerstone of Turkish and Islamic historical studies. The article explores the semantic nuances behind his relativity, Ibn al-Ibri, and summarises the prevailing discussions. It also examines the claims made by European orientalists to Abū al-Faraj’s Jewish ancestry, as well as the counter-arguments put forward by opposing scholars. Most importantly, this article offers fresh and original insights into this complicated subject, thus broadening the discourse surrounding Abū al-Faraj’s background.

:The Pursuit of Style in Early Modern Drama: Forms of Talk on the London Stage

:<i>The Pursuit of Style in Early Modern Drama: Forms of Talk on the London Stage</i>

Русско-украинский дискурс киевских шестидесятников

In soviet culture the Sixties' Generation was the genuine phenomenon: energic, brave and open to the whole world. There were many discussions about them in the previous century and nowadays. The natural will for freedom was a familiar feeling among the Sixties' Generation. The definition of freedom itself was a concept of freedom in any possible forms, such as freedom of speech and thoughts or freedom in the choice of clothes to wear. The Sixties' Generation was convinced that they had a natural right to their ideas, culture and language. The Ukrainian sixties were sharing the similar ideas as others, but their activities were mostly tied with the conception of the national renaissance, the manifest for national identity and straightening of position of their native language. Leonid Kiselyov was one of the Ukrainian sixties who had all of these ideas and was an eminent author among the sixties movement.

O programskom zasnivanju zbirki portreta umetnika i njihovih dela u XVI veku

The origin of the idea to establish art collections in various socio-cultural contexts represents a special topic of the museum history, on one hand, and of the institutionalization of art, on the other. The expressions of the intentions to form certain collections, especially art collections, in order to preserve the memory of the art works and the likeness of their creators still stir the scholarly debates. The creation of art collections as such, and along with them the collections of artists' portraits and self-portraits, is the result of several trends in the renaissance concept of art. One is the status of liberal arts, which the fine arts, especially painting, gradually assumed since the beginning of 15th century, owing to Leon Battista Alberti's Treatise on Painting. Another phenomenon that contributed to this process is the formation of the value system of art in the 16th century art theory, with Giorgio Vasari as its main proponent. We would like to point to certain other instances that anticipated the tendency to form art collections. One such instance is the collection of portraits of famous men that Paolo Giovio, the prominent humanist, started to acquire in 1521. Another instance is the room in Giorgio Vasari's house in Arezzo with the portraits of artists, which he had painted in early 1540s. Yet another is the cycle of graphic representations of artists' portraits that appeared in the second edition of Vasari's Lives, in 1568, as mnemonic devices to accompany the literary portraits. Concurrent with the design of the illustrated edition of the Lives were the preparations for the establishment of the Academy of the Arts of Drawing (Accademia del Disegno), founded in 1563, whose Statute introduced the need to form a collection of artists' portraits and an art collection featuring their works. These were supposed to serve didactic purposes, in the first place, but also to preserve the memory of the artistic forebears. It paved the way for the future academic art collections, such as the Borromeo's Milan Ambrosiana that was created as an art academy. All these played important roles in the establishment of a visible history that grew into museum that shaped the memory of art and its history, not only by exhibition of the art works, but also by exhibition and preservation of the portraits of their creators. Moreover, they established the practice, the obligation, of artists to leave to their artistic progeny not only their works but also their likeness that became the image and the guarantee of a newly established history, the history of art.

The Concept and Characteristics of Classical, Renaissance and Modern Tragedies

Greek tragedy developed from rituals associated with the god Dionysus and remained religiously oriented throughout history. The tragedies were therefore, dramatic recreations of myths about conflict between generations as represented by gods and heroes. The characters of tragedy wore their mythical and legendary origins- except when Euripides stripped them of their glory and they retained the stature of historical figures from the heroic age. Thus, the tragic ideas of the playwrights include a conception of tragedy based on the religious views of the time period. Renaissance brought a secularization of the arts, literature and theatre. There was absolutely no connection between theatre and religion. It also brought the individualization of the human being as distinct from society in general. In Renaissance tragedy therefore, the entire emphasis is laid upon human action independent of destiny and the responsibility of the individual in bringing about his ruin. In keeping with Renaissance emphasis upon the infinite capacities of the individual, the Elizabethan tragedies particularly Shakespeare’s explore the limits of man’s action in this universe. Modern implies more than that which is current. It suggests a disinterest in the past and in the values and forms of that past. With the emergence of Ibsen in the late Nineteenth Century came the concept of middle class tragedy growing out of social problems and issues. The little man has gradually taken the place that the illustrious man presided over for many centuries. This paper examines the relationship between the concept and the characteristics of tragedy in the classical, Renaissance and the modern periods. The historical research methodology is employed to dissect the diversity of the tragic conception and characteristics of tragedy in the periods under study. It is established that the tragic conception and characteristics from the time of the Greeks to the present has undergone a metamorphosis in definitions and experience.

Africana Intellectual/Pedagogical Work: Teaching to Answer the Call to the African Renaissance in the African Diaspora Context

In this article we examine what selected online audiovisual and text resources teach about Africa using Africana/Black Studies scholarship to interrogate and assess opportunities such educational materials provide for African American students to identify with Africa and the African Renaissance concept. Popularized by Cheikh Anta Diop and promoted by Thabo Mbeki, the African Renaissance envisions the transformation of Africa’s future and how Africa’s histories, peoples, and contributions to the world are understood. Using the Afrocentric method of duo autoAfronography, we suggest ways educational resources can promote identify affirming African diaspora literacy consciousness and connectedness to Africa and the idea of the African Renaissance.

David McKitterick. The Invention of Rare Books: Private Interest and Public Memory, 1600–1840.

David McKitterick. <i>The Invention of Rare Books: Private Interest and Public Memory, 1600–1840</i>.

Humanities Studies and Jesuit Principles of Education

RESEARCH OBJECTIVE:The objective of the study is to identify key features of the concept of analysing humanitarianism and, eventually, humanity as an important sociogenic factor and its meaning for contemporary education.&#x0D; RESEARCH PROBLEM AND METHODS: This work focuses on recognizing the conceptual core in the humanist tradition through the analysis of the ancient and Renaissance idea of the study of humanitarianism that dominated in the educational paradigm in the period of the Renaissance humanism and in the development of Jesuit education.&#x0D; THE PROCESS OF ARGUMENTATION: The study indicates interpretative inconsistency in the concept of modern humanism. Trying to explain what is unclear in the humanistic discourse, the author will, first of all, focus on the origin of the Renaissance humanism with its outdated concept of the study of humanitarianism, and then he will present the analysis of the concept of the original, ancient understanding of the study of humanitarianism in the inspiring text of the Renaissance humanistic movement Pro Archia Poeta Oration by Cicero. Finally, the author presents the connection between the analysis of humanitarianism and the Renaissance educational system of Societas Jesu, as well as the perspectives of this tradition and its influence on the present time.&#x0D; RESEARCH RESULTS: In the research, the author identified the ancient and Renaissance concept of studying humanitatis as a key sociogenic factor necessary for the morphogenesis of cultural identity.&#x0D; CONCLUSIONS, INNOVATIONS, RECOMMENDATIONS: Humanistic studies, as a lifelong process of cultivating cura personalis according to Jesuit principles, are an important condition for upgrading humanity which is characterized by the fulfillment of the moral dimension of an individual integrated with social and cultural processes of the society. The study indicates the meaning of the epideictic approach to analysing humanitarianism in its function of articulating the cultural identity of the polis.&#x0D;

Евгений Ананьин о проблеме итальянского Ренес­санса

A reevaluation of the dogmas and canons rooted in the Renaissance historiography was а сommon trend in the studies in this field in the first half of the 20th century. At that time, there appeared many original concepts that corrected or completely refuted the previous ones. The present article is devoted to the participation of the Russian historian Evgenij Anan’in, who lived and worked in Italy, in the debates around the notion of the Italian Re­naissance and to his attempts to contribute to the elimination of various cliché from the field of Renaissance studies (primarily to abolish the postulated opposition of the Middle Ages and the Renaissance and the idea of the Renaissance as the revival of antiquity). A signifi­cant part of Anan’in’s publications in Italian scientific journals consists of polemic articles and reviews that reveal a panorama of Renaissance concepts in Europe in 1920–1930s. The Russian researcher was strongly opposed to foreign historians who denied the originality of the Italian Renaissance. He was also against all kinds of attempts to use the concept of the Renaissance ad usum proprium (national, ideological, etc). The article focuses on the con­cepts of the Renaissance and their authors (Burkhard, Burdach, Papini, Walser, Zabughin, Neumann, Nordström), which Anan’in analized (or, conversely, сlearly ignored) in his texts as well as on his own views that are hidden inside his critical remarks. The publication also deals with a campaign that began in Italy in the mid-1930s against a foreign “occupation” of the Renaissance field (according to that campaign, the primacy in the Renaissance stud­ies belonged to Italians). Finally, the paper explores the case of an open confrontation be­tween Anan’in and Giovanni Papini, who became the head of the National Institute of the Renaissance studies established in Florence in 1937.

Review

Review

UNIÃO AFRICANA: A POLÍTICA DA ÁFRICA DO SUL DE MBEKI PARA A ÁFRICA

Marcada por calamidades que enfatizam visões estereotipadas sobre si, a África se apresenta ao século XXI com uma crescente expectativa pessimista em relação a seu futuro e potencial no campo internacional. Como resposta a este desafio, dentre outros, Thabo Mbeki, presidente da África do Sul no período, populariza o conceito de Renascença Africana, cuja proposta oferece soluções, na esfera política e econômica, para enfrentar as adversidades. Para além da orientação política e econômica, a Renascença Africana, entendida como parte da estratégia de Pretória para a África, também possui notável atuação na estruturação da União Africana, criada em 2002 como aprofundamento da Organização da Unidade Africana. Dessa forma, o presente trabalho busca analisar o papel sul-africano na alteração da dinâmica política e econômica observada na África no início do século XXI.

Allama Iqbal: A Thinker Poet of Islamic Renaissance

The brief yet most precise introduction of Allama Muhammad Iqbal could be summarized in one sentence: “Iqbal is the thinker poet of Islamic Renaissance.” His all concepts, thoughts, and ideology emanate from Islamic renaissance. It remains a fact that the rise and regaining by Muslims and the Islamic Ummah of their lost glory, dignity, and prosperity are directly linked with the Islamic renaissance. This very ideology is precisely and abundantly reflected in the thoughts, lectures, and poetic work of Allama Iqbal. The concept of “ego” is the most significant dimension of his thoughts, wherein he throws light on the characteristics of a true Muslim or Mo’min. On the other hand, Allama, through his concept of Islamic nationhood, expounds the ideology of an exemplary Islamic state. Therefore, in the context of the Sub-continent, his concept heralds the ideology of Pakistan. Within the perspective of Islamic renaissance in our modern age, if we delve deep into his work and thoughts, we conclude that his concept of renaissance truly represents the very Islamic renaissance. Allama Iqbal’s exceptional farsightedness and intellectual eminence could well be gauged by the fact that not only did he espouse the core ideology of the Islamic renaissance but he also presented a clear and practical framework and roadmap to realize this cherished goal. This article discusses in detail the salient features of Allama’s thoughts and ideology on the concept of Islamic renaissance in the present time.