Renaissance Studies

In Renaissance Italy women played a more central role in providing health care than historians have thus far acknowledged. Women from all walks of life-from household caregivers and nurses to nuns working as apothecaries-drove the Italian medical economy. In convent pharmacies, pox hospitals, girls' shelters, and homes, women were practitioners and purveyors of knowledge about health and healing, making significant contributions to early modern medicine. Sharon Strocchia offers a wealth of new evidence about how illness was diagnosed and treated, whether by noblewomen living at court or poor nurses living in hospitals. She finds that women expanded on their roles as health care providers by participating in empirical work and the development of scientific knowledge. Nuns, in particular , were among the most prominent manufacturers and vendors of pharmaceutical products. Their experiments with materials and techniques added greatly to the era's understanding of medical care. Thanks to their excellence in medicine, urban Italian women had greater access to commerce than perhaps any other women in Europe. Forgotten Healers provides a more accurate picture of the pursuit of health in Renaissance Italy. More broadly, by emphasizing that the frontlines of medical care are often found in the household and other spaces thought of as female, Strocchia encourages us to rethink the history of medicine. Sharon T. Strocchia is Professor of History at Emory University. Her research focuses on the social and cultural history of Renaissance Italy, gender and sexuality in early modern Europe, and the history of health and medicine. Her most recent book, Nuns and Nunneries in Renaissance Florence, won the Marraro Prize for the best book on Italian history from the American Catholic Historical Association.

The article analyzes the publishing history of the poetic works by Antonio Veneziano, the main exponent of Sicilian Petrarchism. Among the most important of the sixteenth century, Veneziano's poetry had actually very little publishing fortune. The first edition of his poetic anthology was printed in Palermo in 1637, almost fifty years after the poet's death. The second edition, more accurate and published with the title of "Celia", was printed in the same city in 1645 and edited by Francesco Baronio Manfredi, the official pamphleteer of the municipality of Palermo. These two publications constitute the first and only printed anthologies directly ascribable to Veneziano.

Entre la fin du Moyen Âge et le XXe siècle, il s'est produit en France une sorte de révolution culturelle et culinaire dans la consommation de l'huître. Cet article montre ainsi, à partir des traités culinaires et autres sources historiques, comment les Français sont passés d'une consommation cuisinée de l'huître à une consommation crue. / Between the end of the Middle Ages and the 20th century, a sort of cultural and culinary revolution in oyster consumption occurred in France. This article thus shows, from culinary treatises and other historical sources, how the French went from a cooked consumption of oyster to a raw consumption.

Quando la biblioteca diventa un confessionale. Nel 1585, Giordano Bruno ritorna a Parigi dopo il soggiorno londinese, e comincia a frequentare l’abbazia di Saint Victor, famosa per la sua ” libraria “, immortalata da Rabelais. Il bibliotecario, Guillaume Cotin, trasforma lo “scriptorium” in un confessionale, dove il filosofo dà libero sfogo ai suoi ricordi e al suo impetuoso carattere.

When the library becomes a confessional. In 1585, Giordano Bruno, returns to Paris after his stay in London, and begins to attend the abbey of Saint Victor, famous for his library, immortalized by Rabelais. The librarian, Guillaume Cotin, transforms the scriptorium into a confessional, where the philosopher gives free rein to his memories and his impetuous character.

A bibliographical article on the definition of "academy", its representation through the ages, and selected bibbliography on the academic movement in the following cities: Bologna, Siena, Rome, Padua, Venice. Separate entires are devoted to "Women and Academies", "Fictitious Academies", and "Music in Academies".

https://www.amazon.com/Critical-Insights-Access-Card-Hamlet/dp/1642650269/ref=sr_1_1?keywords=robert+c.+evans+hamlet&qid=1570807879&sr=8-1

About This Volume_____________________________________________________________ Robert C. Evans

William Shakespeare's Hamlet may be the "most" play ever written-the most respected, the most influential, the most widely known, the most frequently echoed, the most often performed of any major tragedy, the most often filmed, and the one most widely considered a test of any great actor's acting abilities. Hamlet himself may be the "most" literary character-the most commonly recognized, the most often quoted, the most often parodied, and the one whose soliloquies are by far the most famous in the English language. For all these reasons and more, this latest contribution to the Critical Insights series may be of special interest to many readers. Like all the Critical Insights volumes, this one is divided into several major sections, including Critical Contexts, Critical Readings, and Resources. The book opens with a wide-ranging interview in which Maurice Hunt, a leading Shakespearean, discusses how and why he first became intrigued by this play and its central character and also how and why other readers may find the play worth knowing-or worth knowing better. Hunt's essay is then followed by a brief biography of William Shakespeare that lays out the main details of his life. The "Critical Contexts" section is designed to introduce readers to several different important aspects of Hamlet and Hamlet studies. In this volume, the "Contexts" section opens with an article by Marcus Höhne that discusses Hamlet in a major historical context: the context of European religious developments in the sixteenth century. Höhne's essay, in turn, is followed by a survey-by Eric Sterling-of major critical responses to the play. Sterling examines the introductions to significant editions of the work, explaining how editors of the text (themselves major scholars of Shakespeare in general and of Hamlet in particular) have explored its numerous dimensions. Sterling's essay is then followed by two related articles by Robert Evans. The first, offering a particular "critical lens," looks at Ophelia in light of recent developments in "trauma theory." The next examines numerous depictions of the traumatized Ophelia on film, from the 1948 Laurence Olivier screen adaptation right down to very recent productions. The "Critical Readings" section of each Critical Insights volume is designed to offer at least ten distinct, divergent approaches to the author, work, or theme to which that volume is devoted. In the present book, the "Critical Readings" begin with two by Nicolas Tredell. The first discusses various kinds and aspects of embodiment in the play; the second explores issues of birth, death, and rebirth in Hamlet, especially as these affect mothers and fathers. Next, Paul N. Duke, taking issue with frequently offered Freudian approaches to this tragedy, uses modern versions of Jungian psychology to discuss Hamlet as an introverted hero. Matthew Steggle then offers a wide-ranging examination of actual and metaphorical prisons and imprisonment in Shakepeare's culture as well as in Hamlet itself, while Graham Holderness compares and contrasts Shakespeare's play with his own novelistic version of the story. Holderness and Bryan Loughrey then explore a recent fascinating case in which a quotation from Hamlet was used by a British soldier who impulsively-and illegally-killed a captured prisoner in Afghanistan. In a series of three similarly structured essays, Bryan Warren, Robert Evans, and Jason Shifferd survey critics' reactions to three recent filmed versions of Shakespeare's play: the ones starring, respectively, Mel Gibson, David Tennant, and Maxine Peake. These films are very widely and easily accessible and thus are quite likely to be watched by people interested in the play, especially teachers and their students. The surveys of critical responses to these movie and/

The exhibition held in the Istituto italiano di Cultura, in Krakow, and curated by Alessandro Campi, was conceived in the wake on an important and historic anniversary: in 1513-14 in fact an exiled Niccolò Machiavelli write his most famous work The Prince. This book was the beginning of his extraordinary fortune throughout the world over the centuries.
After 500 years, this Author and his thinking have been presented to the entire world through new academic studies, scientific seminars, International meetings and exhibitions as those already held in the last years in Rome, New York, Washington, Perugia, Seoul, of course Florence, and now Krakow.
To remember the five centuries of the Machiavelli’s masterpiece, we offered a journey through time and space. It starts from the Renaissance to the present day. It starts from Italy to end up in the entire world, where Machiavelli ended up becoming a character in the popular culture, to the point of being present in comics, video games, advertising, music and literature.
But for this journey we have chosen a particular and original point of view: the portraits and images of Machiavelli made and published over the centuries: oil paintings, prints, postcards, graphics, frescoes, medals, pictures, trading cards, drawings, comics, stamps, coins, busts, caricatures, etc.
An original way to describe the fortune (and misfortune) of Machiavelli between myth and history.