Search results - CEJSH

1

Organization and Regulation of Fencing in the Realm of France in the Renaissance

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Dupuis O.

Acta Periodica Duellatorum

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2014

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vol. 2

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issue 1

233-254

EN

During the nineteenth century, many sources were published about the regulation of fencing in Renaissance France. Comparing those sources shows significant though incomplete uniformity in the formalities observed in the training of students of fencing, particularly in the process followed by the neophyte in his passage to mastery of the art of defence.

2

The significance of the Renaissance in Poland according to tourists’ opinions on TripAdvisor concerning three major Renaissance landmarks

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Niezgoda A., Wyszowska I.

Studia Periegetica

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2020

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vol. 30(2)

45-59

EN

The purpose of the study was to analyze the role of the Renaissance in Poland and the way it is reflected in tourists’ reviews. The authors focused in particular on tourists’ awareness concerning the importance of three major Renaissance landmarks located in three Polish cities, namely the Wawel Royal Castle in Cracow, the Town Hall in Poznań and the Old Town in Zamość. Methods used in the empirical part include an analysis of reviews posted on the TripAdvisor website by Polish tourists who have visited these sites, taking into account the historical conditions underlying the development of the Renaissance in Poland and its characteristic features. The authors used the desk research method. The pilot study described in the article is an introduction to further, in-depth qualitative research. The results indicate that only 10% of all tourists’ reviews referred to the Renaissance character of the sites. The reviews indicate that most tourists lack a solid knowledge of history and architecture, and were most likely not inspired to visit the analyzed sites because of their links to the Renaissance. No reviews were found demonstrating any personal background in history or suggesting that the Renaissance was the reason for visiting these particular sites. So far, references to the Renaissance in tourists’ reviews of Polish landmarks have not been discussed in the literature. The article can, therefore, be regarded as a first contribution to the study of this issue.

3

The Power of the Word and the Mastery of Nature: Renaissance Magic and Francis Bacon

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Špelda D.

Acta Comeniana (International review of Comenius studies and early modern intellectual history)

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2005

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vol. 19

7-36

DE

In seiner Schrift Valerius Terminus schreibt Francis Bacon, dass Adam die Dinge mittelst ihrer wahrhaften Namen habe beherrschen können. Dieser Gedanke wird oft als magisches Motiv bezeichnet und die vorliegende Studie befasst sich damit, ob die Idee der Beherrschung der Dinge durch die Namen in der Renaissance-Magie vorkam und ob Bacons philosophisches Projekt der grossen Erneuerung der Wissenschaften von dieser Magie beeinflusst wurde. Der erste Teil der Studie befasst sich mit der natürlichen Magie (Porta, Ficino, Campanella), der zweite behandelt die kabbalistische und neoplatonische Magie (Mirandola, Agrippa von Nettesheim). Im dritten Teil werden Bacons Ansichten über Magie wiedergegeben. Die Analyse dieser Ansichten belegt, dass sich Bacons philosophisches Projekt von der Renaissance-Magie in mehreren Hinsichten deutlich unterscheidet. Im letzen Teil versucht der Verfasser nachzuweisen, dass die Erwähnung der Macht der Wörter nicht als Folge eines Einflusses der Magie auf Bacon interpretiert werden darf. Vielmehr handelt es sich um den Ausdruck einer idealen Form der menschlichen Macht über die Natur, die der Mensch nach seinem Sündenfall jedoch nie vollkommen erreichen kann. Bacon stimmt mit der damaligen protestantischen Auffassung überein, dass die Folgen des Sündenfalls wettgemacht werden könnten und dass der Mensch zu seiner paradiesischen Souverenität und Macht durch „unreine“ Mittel wie Arbeit, Technik, und forchungswissenschaftliche institutionelle Verwaltung zurückfinden könne.

4

Técnicas de interpretación cabalística en Cántico espiritual de San Juan de la Cruz

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Krupa M.

Estudios Hispánicos

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2013

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vol. 21

87 - 112

EN

The aim of the article is to represent the importance of kabala in European Renaissance, point out the possible ways of Saint John of the Cross’s contact with the Jewish culture and analyse the elements of his Spiritual Canticle’s poetry which can be interpreted as conscious or unconscious literary devices inspired by kabala.

5

Mag znaczy filozof, czyli magia Giordana Bruna w świetle jego traktatu 'O magii'

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Karnowska M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2011

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vol. 21

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issue 2

181-189

EN

Magic, though dismissed by modern science, has throughout ages been more influential than we tend to admit. Only recently some attempts have been made to return magic to it’s rightful place in the history of philosophy. Giordano Bruno, commonly known as natural philosopher burnt at stake for his Copernican beliefs, apart from his cosmological writings is also an author of a number of treatises about magic. The article is intended as introduction to the subject of Brunian magic. It provides the summary of the treatise 'On magic', including descriptions of different kinds of magic, the way in which Bruno understands magic and what are bonds and how to create them. The article is followed by a fragment of the first polish translation of the treatise 'On magic'.

6

A hackbut from the Museum in Jarosław – a contribution to our knowledge of the hand-held firearms of the Polish infantry in the 16th c.

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Strzyż P.

Przegląd Archeologiczny

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2019

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vol. 67

307-312

EN

Hackbuts as infantry weapons lose their military importance in the late 15th c. in favour of handgonnes, but they still play an important role as siege defence weapons in fortresses. On the other hand, sporadic mentions of hackbuts appear in registers of infantry detachments as late as the first half of the 16th c. These hackbuts were light, smaller calibre weapons that could be easily operated by a single soldier. An example of such a weapon is offered by a barrel safeguarded at the Museum of Jarosław, which is the subject of this paper.

7

Maciej Rybiński à la recherche du sermo humilis: le Psautier Marot-Bèze en polonais (1605)

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Marczuk B.

Studia Litteraria Universitatis Iagellonicae Cracoviensis

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2012

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vol. 7

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issue 2

PL

The Book of Psalms – translated in Polish by Maciej Rybiński, preacher of the Bohemian Brothers (Hussites linked with Polish Calvinists) – was the fourth Psalter of the Reformed Church in Poland. These psalms were sung with the melody of the French psalms by Marot and Bèze, and were used in liturgy until the end of 18th century. The article tracks a method which the translator adopted while adapting the French texts for the Polish language as well as Rybiński’s reliance on an earlier Catholic paraphrase of the Psalter completed by Jan Kochanowski (1579). The intention of the Polish translator was to work out his own poetics in accordance with the Calvinist principles sermo humilis.

8

Fortune et Providence dans trois nouvelles tragiques des Comptes du monde adventureux de A.D.S.D. (1555)

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Marczuk-Szwed B.

Studia Litteraria Universitatis Iagellonicae Cracoviensis

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2018

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vol. 13

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issue 4

285-295

EN

The Fortune is a one of basic concepts functioning both in literature and in moral discourse of the Renaissance. The main difficulty that Christian writers are facing while dealing with this concept, is the definition of the Fortune’s prerogatives: it is responsible for unpredictable and changeable course of human life, yet it is also subject to the rational and just Divine Providence. The paper investigates this problem in three tales (10, 42, 57) from the collection Les comptes du monde adventureux signed by A.D.S.D. The author proves that, according to the moralist narrator, the protagonists who follow their own passions, are unconditionnally subject to whims of the hostile and cruel Fortune. Those who choose as guides God and reason, can count on Providence intervention. This position distinguishes A.D.S.D. from the views of Masuccio Salernitano, whose tales he has adapted in this collection.

9

La récriture protestante du Psautier de Baïf : les Pseaumes en vers mezurez d’Odet de La Noue sur une musique de Claude Le Jeune (2e partie)

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GARNIER I.

Studia Litteraria Universitatis Iagellonicae Cracoviensis

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2012

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vol. 7

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issue 1

PL

Isabelle Garnier, starting from the recurrence of the holy name « grand Dieu » to refer to God,compares La Noue’s paraphrase to Marot’s and Baïf’s texts, and defi nes it on both theologicaland poetical levels as a kind of musical epexegesis, which leaded the singer to the core ofreformed faith.

10

Just another Renascence? Max Dvořák’s formulation of an early Renaissance

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Buebl S. R.

Umění (Art)

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2024

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vol. 72

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issue 4

334-344

EN

Max Dvořák is well known for his conception of Mannerism and its relation to Expressionism, while little thought has been given to his vision on the development of early Renaissance between the 14th and 15th centuries. Without giving too much weight to the conventional division into “an early and a late Dvořák”, several stages of intellectual maturity and different historiographical frameworks will be considered to address a specific notion as far-reaching and yet still equivocal as the birth of the Renaissance. This article focuses on Max Dvořák’s thoughts on the transition from the late Middle Ages to the Renaissance. His conclusions are presented based on an analysis of three different writings concerning the emergence, development, and significance of the Renaissance. Some of the material selected for this article is unpublished, permitting to present hitherto unknown works by the art historian. The first text, a manuscript of a lecture cycle Über die Hauptepochen in der Entwicklung der modernen Kunst (On the Main Epochs in the Evolution of Modern Art, 1898), reflects on the medieval preconditions that initiated the Renaissance. The second text, a lecture on Giotto (1910), marks the differentiation that Dvořák made between the history of modern painting, of which he saw Giotto as the first representative, and the phenomenon of the Renaissance, which was subordinate to this process. Finally, as the third source, the first two chapters of the renown Geschichte der italienischen Kunst im Zeitalter der Renaissance (History of Italian Art in the Age of the Renaissance, 1918–19), published posthumously in 1927, will be used to trace the trajectories of Dvořák’s Renaissance principle.

CS

Dvořákovo pojetí manýrismu a jeho vztahu k expresionismu jsou dobře známé, ovšem jen málo pozornosti bylo věnováno jeho pohledu na vývoj rané renesance mezi 14. a 15. stoletím. Bez přikládání přílišného důrazu na konvenční dělení mezi „raným a pozdním Dvořákem”, se studie zabývá několika etapami Dvořákovy intelektuální zralosti a různými historiografickými rámci, abychom se vypořádali se specifickým pojmem, tak zásadním, a přesto stále nejednoznačným, jako je zrod renesance. Článek se zaměřuje na úvahy Maxe Dvořáka o přechodu od pozdního středověku k renesanci. Prezentace jeho závěrů se opírá o analýzu tří různých textů týkajících se vzniku, vývoje a významu renesance. Část pramenů zvolených za východisko pro tento článek nebyla publikována, nabízí se zde tedy možnost představit dosud neznámé Dvořákovy práce. První text, rukopis přednáškového cyklu Über die Hauptepochen in der Entwicklung der modernen Kunst (O hlavních epochách ve vývoji moderního umění, 1898), se zamýšlí nad předpoklady vzniku renesance ve středověku. Ve druhém textu, přednášce o Giottovi (1910), Dvořák rozlišuje mezi dějinami moderního malířství, za jehož prvního představitele pokládal Giotta, a fenoménem renesance, která byla tomuto procesu podřízena. Jako třetí pramen budou využity první dvě kapitoly proslulého spisu Geschichte der italienischen Kunst im Zeitalter der Renaissance (Dějiny italského umění v období renesance, 1918–1919), který vyšel posmrtně v roce 1927. V nich budou sledovány trajektorie Dvořákova principu renesance.

11

‘Ein neuer, universal weltlicher Idealismus’: Max Dvořák’s visible reality of the Renaissance

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Murár T.

Umění (Art)

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2024

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vol. 72

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issue 4

345-355

EN

The late period of Max Dvořák’s art history is believed to be a departure from the developmental principles of art forms to spiritual changes visible in individual art works. This method of art history is particularly associated with Dvořák’s October 1920 lecture on El Greco, first published in 1922 and then again in 1924, as a key argument for labelling Dvořák’s late art history as Kunstgeschichte als Geistesgeschichte. However, the study of El Greco, and its parallel in Dvořák’s interest in the art of Oskar Kokoschka from the same year, is only part of his broader view of the transformation of art history in the second half of the 16th century. By investigating Dvořák’s argument from his unpublished or lesser-known works on 16th-century art, such as posthumously published study on Joachim Bueckelaer or a manuscript Über das Verhältnis der Kunst im 17. und 18. Jahrhundert zu den gelichzeitigen geistigen Strömungen, the study will show that Dvořák elaborated a broader concept of the Renaissance transformation of one’s relationship to visible reality that irreversibly changed the view of human reality in general and created a new, global concept of idealism in the visual arts valid not only for Mannerism but also for Modernism. Such a complex view of Dvořák’s understanding of the late Renaissance can both disrupt the historiographical paradigm of the divergence between his early and late interpretations and show its relevance for contemporary art historical research in the possibility of conceiving artistic transformations in terms of world art history.

CS

Pozdní koncepce dějin umění Maxe Dvořáka je pokládána za odklon od vývojových principů uměleckých forem směrem k duchovním změnám, jež jsou zjevné v jednotlivých uměleckých dílech. Tato uměleckohistorická metoda je spojována zejména s Dvořákovou přednáškou o El Grecovi z října 1920, publikovanou poprvé v roce 1922 a poté znovu v roce 1924, na jejímž základě bylo Dvořákovo pozdní pojetí dějin umění označeno jako dějiny ducha (Kunstgeschichte als Geistesgeschichte). Studie o El Grecovi i její analogie ve Dvořákově zájmu o tvorbu Oskara Kokoschky v témže roce jsou však pouze součástí jeho obecnějšího pohledu na proměny dějin umění ve druhé polovině 16. století. Článek zkoumá Dvořákovu argumentaci v nepublikovaných nebo méně známých pracích o umění 16. století, jako je například posmrtně vydaná studie o Joachimu Bueckelaerovi nebo rukopis Über das Verhältnis der Kunst im 17. und 18. Jahrhundert zu den gleichzeitigen geistigen Strömungen. Studie ukazuje, že Dvořák vypracoval širší koncepci renesanční proměny vztahu člověka k viditelné skutečnosti, která nevratně změnila pohled na pozemskou skutečnost a přinesla nový, globální pojem idealismu ve výtvarném umění platný nejen pro manýrismus, ale i pro modernismus. Tento komplexní pohled na Dvořákovo chápání pozdní renesance může jednak narušit historiografické paradigma divergence mezi jeho ranými a pozdními interpretacemi, jednak poukázat na jeho význam pro současný uměleckohistorický výzkum spočívající v možnosti uvažovat o proměnách umění z hlediska světových dějin umění.

12

Between Baroque and the high Renaissance: two theoretical concepts in the thought of Max Dvořák

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Bottura F.

Umění (Art)

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2024

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vol. 72

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issue 4

356-366

EN

Within the historical-critical reflection advanced by Max Dvořák in the field of Geisteswissenschaften and cultural history, Italian art, and especially Italian Renaissance art, assumes a key role to an artist in his expression of the Zeitgeist in the age of profound transformations in the initiation of a “subjective” vision of the work of art with significant implications for the centuries to follow. Two major posthumous publications, edited by Dvořák’s students Johannes Wilde and Karl M. Swoboda, are devoted to the Renaissance: Geschichte der italienischen Kunst im Zeitalter der Renaissance, I and II. The first volume (1927) focuses on the 14th and 15th centuries, the second one (1928) on the 16th century, albeit with extensive spill over into the 17th century. The chronological division, and the choice to include the 14th century and in the same time excluding the 18th century, is significant for investigating related terms and concepts of the lectures. In particular, the distinction between “High Renaissance” (Hochrenaissance) and “Baroque” (Barock) will be examined in this in-depth study of Dvořák’s thought, focusing on Dvořák’s preparatory material for his university lectures, still preserved in the archive of the Institut für Kunstgeschichte of the University of Vienna. Through a renewed study of the mostly unpublished material derived from the courses conducted by Dvořák at the University of Vienna since 1902 until his death is possible to delineate more precisely what Dvořák meant by the concepts of “High Renaissance” and “Baroque” and to understand the theoretical ideas revolving around them.

CS

Max Dvořák prosazoval v oblasti Geisteswissenschaften a kulturních dějin historicko-kritickou reflexi, v níž zaujímá italské umění, a zejména italské renesanční umění, klíčovou roli pro umělce vyjadřujícího ducha doby (Zeitgeist) v období hlubokých proměn v počátcích „subjektivního“ pojetí uměleckého díla, které mělo významné důsledky pro následující staletí. Renesanci je věnována významná dvoudílná publikace Geschichte der italienischen Kunst im Zeitalter der Renaissance vydaná po Dvořákově smrti, editovaná jeho žáky Johannesem Wildem a Karlem M. Swobodou. První díl (1927) je zaměřen na 14. a 15. století, druhý díl (1928) na 16. století, byť s výrazným přesahem do 17. století. Chronologické členění spolu s rozhodnutím zahrnout 14. století a zároveň vyloučit 18. století jsou významné pro sledování souvisejících pojmů a koncepcí Dvořákových přednášek. Tato podrobná studie o Dvořákově myšlení zkoumá zejména rozlišení „vrcholné renesance“ (Hochrenaissance) a „baroka“ (Barock) a zaměřuje se při tom na Dvořákovy přípravné poznámky k univerzitním přednáškám, které se dochovaly v archivu Uměleckohistorického institutu (Institut für Kunstgeschichte) Vídeňské univerzity. Díky novému studiu převážně nepublikovaných materiálů pocházejících z kurzů, které Dvořák vedl na Vídeňské univerzitě od roku 1902 až do své smrti, je možné přesněji vymezit, co Dvořák rozuměl pod pojmy „vrcholná renesance“ a „baroko“, a pochopit teoretické koncepce, které se kolem nich odvíjejí.

13

Girolamo Fracastoro – renesansowy uczeń Wergiliusza

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Sapota T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2024

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vol. 34

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issue 2

67-79

EN

Girolamo Fracastoro (1476/78–1553), an Italian scholar, physician, and poet, has been celebrated throughout the ages as the author of Syphilis sive morbus Gallicus, a hexametric poem discussing the symptoms and the origin of the epitomical venereal disease. The term was modelled on one of the poem’s fictional characters, a pastor called Syphilus. Although Fracastoro was profoundly influenced by Lucretius’ rendition of the Democritus and Epicure’s theory of the world, which can be traced in similes, he undoubtedly regarded Vergil as the ultimate paragon of poetic accomplishment. This text explains how Fracastoro tried to emulate the hallowed oeuvre of his great predecessor.

14

Retelling Orpheus: Orpheus in the Renaissance

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Beattie L. I. H.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

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2014

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vol. 2

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issue 1

1-8

EN

This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the “Metamorphoses” and the “Georgics” respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.

15

89%

Sitko A.

Śląskie Studia Polonistyczne

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2019

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vol. 14

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issue 2

279-292

EN

The article presents Stadło małżeńskie by Jan Płoczywłos Mrowiński (1514–1580) as one of the inspirational sources of Kazanie przy przyjmowaniu świątości małżeństwa by Józef Wereszczyński (b. after 1531, d. 1598). In the latter work, the quotations taken from the first work on marriage in the Polish language are intertwined with excepts from Żywot człowieka poczciwego [Life of an Honest Man] by Mikołaj Rej (1505–1569). As an author of the sermon in question prepared for the occasion of Stanisław Piotrowski’s betrothal, Wereszczyński rarely utilised the excerpts from Mrowiński’s treatise mechanically. He rather tends to abbreviate the fragments of Stadło małżeńskie, translocate them, develop on their pattern, and device substitution (e.g. by replacing biblical quotes with proverbs). It has to be emphasized that the Catholic preacher shared Mrowiński’s conviction regarding the voluntariness of entering into marriage, which ought to be based on mutual love.

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