scholarly journals On the creation of Croatian: The development of Croatian Latin orthography in the 16th century

2012 ◽  
pp. 269-320 ◽  
Keyword(s):  
16Th Century ◽  
The Creation

scholarly journals Accuracy, veracity, and theological truth in the 16th century atlas <i>Theatrum Terrae Sanctae</i>

2021 ◽  
Vol 4 ◽  
pp. 1-5
Author(s):  
Ioana Zamfir
Keyword(s):  
Intellectual History ◽  
Textual Analysis ◽  
16Th Century ◽  
The Political ◽  
Critical Cartography ◽  
Political Role ◽  
The Creation ◽  
Theological Understanding

Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.

scholarly journals Nimfes al Vinalopó. La poesia renaixentista d’un alacantí oblidat, Josep Gosalbes de Cunedo (S. XVI)

2013 ◽  
Vol 2 (2) ◽  
pp. 84
Author(s):  
Antoni Biosca Bas
Keyword(s):  
16Th Century ◽  
Latin Poetry ◽  
The South ◽  
The Creation

Resum: L’obra del poeta alacantí del segle XVI Josep Gosalbes de Cunedo ha passat a l’oblit. Alguns aspectes de la seua vida i obra mereixen atenció, com a mínim, per haver tractat temes propis de la seua terra. Alguns dels seus poemes tracten l’antiga Governació d’Oriola, al sud del regne de València, i celebren la creació del bisbat d’Oriola, motiu pel qual l’autor descriu el territori amb gust renaixentista. La seua amistat amb l’humanista Just Lipsi marca la seua biografia, on guerres i presó també estan presents.Paraules clau: poesia llatina; Renaixement; Oriola; Alacant; Just LipsiAbstract: The work of the 16th. century poet from Alicante Joseph Gosalbes of Cunedo has been forgotten. Some aspects of his life and work deserve attention, at least because he had written about topics of their own land. Some of his poems deal with the former Region of Orihuela, in the south of Valencia kingdom, and celebrate the creation of the diocese of Orihuela, so the author describes this territory in a Renaissance style. His friendship with the humanist Justus Lipsius mark his biography, where wars and prison are also present.Keywords: Latin poetry; Renaissance; Orihuela; Alicante; Justus Lipsius

'de beste Schilders van het gantsche Nederlandt' Karel van Mander en het Haarlemse cultuurbeleid 1603-1606

1991 ◽  
Vol 105 (4) ◽  
pp. 291-305 ◽  
Author(s):  
Truus Van Bueren
Keyword(s):  
Cultural Policy ◽  
City Council ◽  
The Other ◽  
16Th Century ◽  
Art Policy ◽  
The Creation ◽  
The City

AbstractKarel van Mander's Schilder-Boeck was published in 1604. During this period the Haarlem city council was pursuing an active cultural policy in which painting played a central role. In 1603, the porter at the Prinscnhof was instructed not to refuse admission to people who wanted to view the paintings and other objects of art housed there. That same year Hendrik Goltzius, Cornelis van Haarlem and Hendrik Vroom were commissioned to paint pictures of their own choice to commemmorate their art. The paintings were to hang in the Prinsenhof. In 1605 the council cndcavoured to ensure the city's claim to a number of paintings from the Jansklooster. This monastery, unlike others in Haarlem, had not been seized when the city became Protestant. The monks were allowed to keep their property until the last one died, but not to adopt any more monks. In 1605 the council demanded an inventory of the immovables and of the paintings too. The majority of the paintings in the inventory, which was supplied a year later, proved to be the work of highly esteemed artists. Although by no means all the art in the monasterey was listed, the city council did not protest. The intention had simply been to secure the important paintings with a view to placing in the Prinsenhof when the time came. Karel van Mander and his friends Cornelis van Haarlem and Hendrik Goltzius undoubtedly contributed to the creation of a climate in which such an art policy was feasible. Van Mander had spent years preparing his Schilder-Boeck, and had paid a great deal of attention to Haarlem painting. In his efforts to gather information the had established numerous contacts. He had carefully described he paintings in the Prinsenhof, and had also seen works by Haarlem painters belonging to private individuals. One such man was Gerrit Willemsz. van Schoterbosch, a burgomaster who had been on the council when that body commissioned Cornelis van Haarlem to make four paintings for the Prinsenhof during the last decade of the 16th century, and also during the period discussed here, 1603-1605. What were the aims of the city council in pursuing this cultural policy? There are two possibilities, both of which are encountered in the Schilder-Boeck. Van Mander wanted to elevate painting to a higher status than a craft. In his praise of painting he therefore dwelt at length on art lovers who collected paintings for art's sake. May not the city council have desired to assemble such a collection? If so, something very special was happening in Haarlem. Perhaps there is more to be said for the other possibility, to which Van Mander also refers: the council could have enlisted the Haarlem painters to sing the praises of the city.

scholarly journals Piotr skarga w nauczaniu Jana Pawła II w jego podróżach do ojczyzny /

2012 ◽  
Vol 53 (6) ◽  
pp. 711-730
Author(s):  
Jan Okoń
Keyword(s):  
Systematic Review ◽  
16Th Century ◽  
Pope John Paul Ii ◽  
John Paul Ii ◽  
The Creation

Summary This article is continuation of the writer’s research into the role of Piotr Skarga in the thought and teaching of Pope John Paul II. The results of the initial investigations focused on the creation of the character of Skarga in Karol Wojtyła’s juvenile drama Jeremiah (1940) were presented in a paper read at a conference on Piotr Skarga at the Ignatianum Academy in Cracow in May 2012. Now, having assumed that Karol Wojtyła read Skarga’s Sermons already in his schooldays, the writer of this article combs all of John Paul II’s statements for references to the famous 16th-century Jesuit preacher. Then the references are traced to the original and subjected to a systematic review aimed at establishing their structure and role in articulating John Paul II’s message for his audiences, and in a broader sense, for Poland. The article also considers other, analogous occasions when the Pope chose not to reach out to the Skarga armory, although he could well have done so.

scholarly journals The breviary of Ercole I d’Este and the classical tradition in Ferrara illumination of the end 15th – the beginning 16th century

2019 ◽  
pp. 96-104
Author(s):  
D. A. Churkina
Keyword(s):  
Classical Tradition ◽  
16Th Century ◽  
Court Culture ◽  
Renaissance Art ◽  
Leading Role ◽  
15Th Century ◽  
Local Tradition ◽  
The Creation ◽  
The Stability

The article presents one of the masterpieces of Renaissance Ferrara illumination – the Breviary of Ercole I d’Este (1502–1505). This manuscript was created during the active development of printing, and this fact underlines its special status and importance for the customer, and also demonstrates the stability of artistic traditions at the Ferrara court. At the same period – the first years of the 16th century – the artistic language of the Early Renaissance was changed for completely different traditions of the High Renaissance art. First of all, it was expressed in the leading role of classical motifs. The Breviary of Ercole I demonstrates the development of the classical tradition in Ferrara illumination. The article presents the manuscript in the context of the court culture of Renaissance Ferrara, providing the stylistic and iconographic analysis of the manuscript decor. The creation of the Breviary of Ercole I reflected the identity of his customer, Duke Ercole I d’Este, who contributed to the development of the humanistic culture in Ferrara. At the same time, Ercole I was a very religious man, and his personal religiosity became an important virtue of a ruler. Matteo da Milano, a representative of the Lombard school of book illumination, characterized by the classical ornamental decoration, created the most impressive elements of the manuscript decor. Besides him, there were other artists to decorate the Breviary, but their miniatures are more connected with the 15th century local tradition. In the art of Ferrara, the classical tradition took part of the «politics of magnificence». The abundance of classical motifs in this manuscript, thus, could be the goal of the customer who wished to glorify himself in this special way.

scholarly journals Reformation, Mikael Agricola, and the Birth of the Finnish Literary Language

Nordlit ◽  
2019 ◽  
Author(s):  
Kaisa Häkkinen ◽  
Kirsi Salonen ◽  
Tanja Toropainen
Keyword(s):  
Linguistic Analysis ◽  
Source Material ◽  
16Th Century ◽  
Literary Language ◽  
Historical Source ◽  
Printed Books ◽  
History Of ◽  
The Creation

This article revisits the traditional history of the birth of the Finnish literary language in the aftermath of the Lutheran Reformation in the first half of the 16th century. Contrary to what earlier scholars have assumed, the article argues that the creation of the Finnish literary language cannot be attributed exclusively to the Bishop of Turku, Mikael Agricola, who is known as “the father of the Finnish literary language” because he published the first printed books in Finnish. The article will show that although the first Finnish publications were printed in the name of the Bishop of Turku, they were based on the translations of more authors. The article will also propose answers to the question, who these until now unknown authors could have been. The article is based on the study of relevant contemporary historical source material and close linguistic analysis of the early translations of ecclesiastical texts into Finnish.

scholarly journals El pasado en las claves del presente: el significado histórico para comprender y analizar el mundo actual con rigor / The Past in the Keys to the Present: the Historical Meaning to Understand and Analyze the Today’s World with Rigour

2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Isidoro Jiménez Zamora
Keyword(s):  
21St Century ◽  
16Th Century ◽  
Modern State ◽  
Academic Rigor ◽  
New Techniques ◽  
Current Passing ◽  
The Past ◽  
The Creation ◽  
Relationship Of ◽  
The Relationship

ABSTRACTThe 21st century should bet on a transmission of the History differently. Without losing the academic rigor we can serve this discipline for use in explanations of any event or crisis that occurs in today's world. There are new techniques that allow us to explain the sense of history in every moment of our life. Taking as an example the 16th century and the Empire of Carlos V, we can make an exercise in analysis that easily leads to keys to current passing through the birth of the modern State, its territorial configuration, or the relationship of Spain with America. The didactic eagerness of everything that we have must be fundamental. We must avoid distortions due to the knowledge of yesterday. History will help us to bring coherence to the message and delve into the creation of a rigorous, tolerant, plural and respectful society.RESUMENEl siglo XXI debe apostar por una transmisión de la Historia de manera diferente. Sin perder el rigor académico podemos servirnos de esta disciplina para su uso en las explicaciones de cualquier acontecimiento o situación de crisis que se produce en el mundo actual. Existen nuevas técnicas que nos permiten explicar el sentido de la Historia en cada momento de nuestra vida. Tomando como ejemplo el siglo XVI y el Imperio de Carlos V podemos hacer un ejercicio de análisis que nos conduce fácilmente a claves de actualidad que pasan por el nacimiento del estado moderno, su configuración territorial o la relación de España con América. El afán didáctico de todo lo que contamos debe ser fundamental. Hemos de evitar distorsiones gracias al conocimiento del ayer. La Historia nos ayudará a aportar coherencia al mensaje y a profundizar en la creación de una sociedad rigurosa, tolerante, plural y respetuosa.

scholarly journals From China to the World: The main media pilgrimages of Sun Wukong and Son Gokū

2021 ◽  
pp. 21-50
Author(s):  
Giovanni Ruscica
Keyword(s):  
Martial Arts ◽  
Chinese Literature ◽  
Literary Work ◽  
16Th Century ◽  
The West ◽  
The World ◽  
The Creation ◽  
Journey To The West ◽  
Sun Wukong ◽  
Broad Outline

The ‘Journey to the West’, also translated as the’ Pilgrimage to the West’, is one of the masterpieces of ancient Chinese literature. Published anonymously by the putative author Wu Cheng'en in the late 16th century, the story traces in broad outline the journey taken by the monk Tripitaka in the year 629 a.D. to India to acquire Buddhist scriptures, and it is the result of reworking antecedent works, such as ‘Poetic notes on the pilgrimage of Tripitaka of the Great Tang to acquire the Sutras’ and ‘‹Journey to the West› Opera’. In this fiction, the writer moves away from the authenticity of the traditional pilgrimage: here the monk is escorted by sinful-followers (i.e., a dragon-horse, a pig, a demon, and a monkey) capable of removing malevolent beings throughout the journey. Sun Wukong is the wild and skillful monkey that ascends to Buddhity, becoming a ‘Victorious Fighting Buddha’ at the end of the literary work. Later on, the Chinese work of fiction was used as a source of inspiration for the creation of Dragon Ball, a Japanese fantasy & martial arts manga. Published in 1984 as a manga and then adapted into an anime, Dragon Ball sketchily follows the Chinese work of fiction. After coming across Bulma, young Son Gokū decides to escort the girl in her quest to collect seven magic dragon spheres. The series’ success allowed the manga’s author, Akira Toriyama, to continue the story arc and launch a new series in 2015. Since 1986, several videogames with a monkey character have entered the market. The purpose of this article is to highlight the main affinities between Sun Wukong and his Japanese counterpart Son Gokū first, and then attempt to explain how the monkey character has become a world-famous symbol, and contextualise it into the phenomenon of ‘worldwide pilgrimage’.

Einen Zedel fechter ich mich ruem/Im Schwerd vnd Messer vngestuem. Fechtmeister als Protagonisten und als (fach-)literarisches Motiv in den deutschsprachigen Fechtlehren des Mittelalters und der Frühen Neuzeit

2014 ◽  
Vol 19 (2) ◽  
Author(s):  
Matthias Johannes Bauer
Keyword(s):  
16Th Century ◽  
Creation Myth ◽  
The Creation

AbstractThe group of fencing masters of the 14th to 16th century is investigated according to their function as a literary motif in fencing treatises written in German. One example is the attribution of a particular set of instructions to ‘mystical’ founding figures like Johannes Liechtenauer‚ who serves as an authentication strategy and proof of authority of the particular record. The texts themselves claim to record mnemonics of traditional teachings that were originally only passed down orally in an encrypted language. Here the mnemonics attributed to the original master remain unchanged and are merely interpreted and commented on. Analogies to bible exegesis that support the creation myth surrounding Johannes Liechtenauer become apparent. This phenomenon exists side by side with a synchronic polemic against false masters (

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