The Ideal Hero: A Seventeenth-Century Choice

1965 ◽  
Vol 4 (2) ◽  
pp. 54-65
Author(s):  
F. K. Dawson
Keyword(s):  
Seventeenth Century ◽  
The Ideal

Biblical Philology and Hermeneutical Debate in the Dutch Republic in the Second Half of the Seventeenth Century

2017 ◽  
Author(s):  
Jetze Touber
Keyword(s):  
Seventeenth Century ◽  
Human Dignity ◽  
Dutch Republic ◽  
Biblical Scholarship ◽  
The Enlightenment ◽  
Conflicting Interests ◽  
The Ideal ◽  
Held Back

Spinoza’s time was rife with conflicts. Historians tend to structure these by grouping two opposing forces: progressive Cartesio-Cocceian-liberals versus conservative Aristotelian-Voetian-Orangists. Moderately enlightened progressives, so the story goes, endorsed notions such as human dignity, toleration, freedom of opinion, but shied away from radicalism, held back by the conservative counterforce. Yet the drift was supposed to be inevitably towards the Enlightenment. This chapter tries to capture theological conflicts in the Dutch Republic of the Early Enlightenment in a triangular scheme, that covers a wider range of conflicting interests. Its corners are constituted by ‘dogmatism’ (Dordrecht orthodoxy), ‘scripturalism’ (Cocceianism), and ‘rationalism’ (theology inspired by Cartesianism, Spinozism, or any other brand of new philosophy). Dogmatics and rationalists battled in terms of philosophy, whereas the scripturalists and their respective opponents fought each other rather in the field of biblical scholarship. This multilateral conflict within Dutch Calvinism made the ideal of a unified church untenable.

Commentary: Why Opera? The Politics of an Emerging Genre

2006 ◽  
Vol 36 (3) ◽  
pp. 401-409 ◽  
Author(s):  
Dennis Romano
Keyword(s):  
Seventeenth Century ◽  
Musical Form ◽  
Social Transformations ◽  
Family Strategies ◽  
The Ideal

The reason why opera became the preeminent musical form of the seventeenth century not only in Venice but also throughout Europe lies in the profound changes among European elites at the time, particularly regarding notions of nobility and individual roles within family strategies. The lyricism of operatic music became the ideal vehicle to express the era's social transformations.

The Artifice of Syphilitic and Damaged Female Bodies in Literature

2018 ◽  
pp. 56-82
Author(s):  
Encarnación Juárez-Almendros
Keyword(s):  
Seventeenth Century ◽  
Female Body ◽  
Common Representation ◽  
Female Prostitutes ◽  
Female Bodies ◽  
La Lozana Andaluza ◽  
The Ideal

This chapter examines the literary depiction of the broken and contaminated corporality of female prostitutes as illustrated in Francisco Delicado’s La Lozana andaluza [Portrait of Lozana: The Lusty Andalusian Woman] (1528), Miguel de Cervantes’s Casamiento engañoso [The Deceitful Marriage] (1613), La tía fingida [The pretended aunt], a novel attributed to Cervantes, and Francisco de Quevedo’s satiric poetry written in the first half of the seventeenth century. These works share a common representation of syphilis as a gendered metaphor of physical and moral decay that functions in opposition both to male embodiment and to the ideal of the integrity of the female body, expressed in the concept of virginity and chastity. Furthermore, they exemplify the development of the syphilitic trope through the century as well as the diverse solutions to taming alterity.

Court, Salon and Republic of Letters

2018 ◽  
Author(s):  
David Randall
Keyword(s):  
Seventeenth Century ◽  
Subject Matter ◽  
Western Europe ◽  
Republic Of Letters ◽  
Political World ◽  
The Enlightenment ◽  
The World ◽  
The Republic ◽  
And Behavior ◽  
The Ideal

The humanist educational project to educate the elite of Western Europe produced as one of its dizzy successes the application of conversation to the speech and behavior of nobleman at court. This, the development of the ideal of the courtier, took conversation from the leisurely retreat from the ancient political world to the courtly heart of the Renaissance political world. The salons of seventeenth-century France further transformed the conversational tradition of the court: in principle, the conversation of the salons began quietly to set itself to rival the world of oratory, to address itself to the same worldly subject matter. The Republic of Letters provided an alternate social matrix for sermo, scholarly rather than courtly—and one which migrated away from its Ciceronian roots towards the mode of Baylean critique. Where the courtly and scholarly traditions of sermo acted as complementary modes during the Renaissance, the increasing scope of salonnier conversation and the increasing abandonment of sermo by the Republic of Letters set them at odds with one another in the opening of the Enlightenment. Both now harbored universalizing ambitions, which would set these sibling modes to fierce conflict.

English Benedictine Nuns in Exile in the Seventeenth Century

2017 ◽  
Author(s):  
Laurence Lux-Sterritt
Keyword(s):  
Seventeenth Century ◽  
The Body ◽  
Theory And Practice ◽  
Spiritual Guidance ◽  
Point Of Entry ◽  
Catholic Women ◽  
Personal Experiences ◽  
The World ◽  
History Of ◽  
The Ideal

Between 1598 and 1800, an estimated 3, 271 Catholic women left England to enter convents on the Continent. This study focuses more particularly upon those who became Benedictines in the seventeenth century, choosing exile in order to pursue their vocation for an enclosed life. Through the study of a wide variety of original manuscripts, including chronicles, death notices, clerical instructions, texts of spiritual guidance, but also the nuns’ own collections of notes, this book highlights the tensions between the contemplative ideal and the nuns’ personal experiences. Its first four chapters adopt a traditional historical approach to illustrate the tensions between theory and practice in the ideal of being dead to the world. They offer a prosopographical study of Benedictine convents in exile, and show how those houses were both cut-off and enclosed yet very much in touch with the religious and political developments at home. The next fur chapters propose a different point of entry into the history of nuns, with a study of emotions and the senses in the cloister, delving into the textual analysis of the nuns’ personal and communal documents to explore aspect of a lived spirituality, when the body, which so often hindered the spirit, at times enabled spiritual experience.

The Problem of Apodictic Proof in Early Seventeenth-Century Mechanics. Galileo, Guevara, and the Jesuits

1989 ◽  
Vol 3 (1) ◽  
pp. 67-87 ◽  
Author(s):  
William A. Wallace
Keyword(s):  
Tensile Strength ◽  
Seventeenth Century ◽  
Mathematical Physics ◽  
The Real ◽  
Catholic Faith ◽  
Long Run ◽  
The Subject ◽  
To Come ◽  
The Ideal

The ArgumentThe argument developed herein, a countertheme to the Merton thesis, is that the ideal of science pursued by Galileo and his contemporaries in Italy would be unaffected by their Catholic faith if it could achieve apodictic proof in the subject of its investigations, in which case it would attain truth – the very goal sought by that faith. Unfortunately such proof was hard to come by in early seventeenth-century mechanics. A case study is proposed to show Galileo's difficulty demonstrating the tensile strength of columns in mathematical physics on the basis of improper suppositions, contrasting these with the suppositions of a contemporary, Giovanni de Guevara. The case study casts new light on the subject of Galileo's atomism and its relation to the Eucharist, refuting Redondi's claim that this was the real motive behind Galileo's trial in 1633. A further lesson relating to the Merton thesis can also be drawn, namely, that while challenges to science from religious orthodoxy may appear as temporary obstacles, in the long run they are an aid to science in its efforts to bring mankind closer to the truth.

scholarly journals GIFTING CULTURES AND ARTISANAL GUILDS IN SIXTEENTH- AND EARLY SEVENTEENTH-CENTURY LONDON

2017 ◽  
Vol 60 (4) ◽  
pp. 865-887 ◽  
Author(s):  
JASMINE KILBURN-TOPPIN
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Civic Culture ◽  
Gift Giving ◽  
Gift Books ◽  
Wide Range ◽  
The Reformation ◽  
The Gift ◽  
Craft Guilds ◽  
The Ideal

AbstractThis article reconsiders the gift within London's sixteenth- and early seventeenth-century livery companies. Previous research into guild gift-giving cultures has focused exclusively upon substantial bequests of money and property by mercantile elites to the ‘great twelve’ livery companies. Through charitable gifts, citizens established godly reputations and legacies, perpetuated through the guild institution. It is argued here that a rich culture of material gift-giving, hitherto overlooked by historians, also thrived within London's craft guilds. Drawing on company gift books, inventories, and material survivals from guild collections, this article examines typologies of donors and gifts, the anticipated ‘returns’ on the gift by the recipient company, and the ideal spatial and temporal contexts for gift-giving. This material approach reveals that master artisans negotiated civic status, authority, and memory through the presentation of a wide range of gifted artefacts for display and ritual use in London's livery halls. Moreover, this culture of gift-giving was so deep-rooted and significant that it survived the Reformation upheavals largely intact. Finally, the embellishment of rituals of gifting, and the synchronization of gifting and feasting rites from the second half of the sixteenth century, are further evidence for the resurgence of English civic culture in this era.

Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper.

2004 ◽  
Vol 45 (1) ◽  
pp. 137-139
Author(s):  
André Torres Lepecki
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Modern Art ◽  
Art Form ◽  
Self Sufficiency ◽  
Aesthetic Autonomy ◽  
Late Renaissance ◽  
And Function ◽  
Role And Function ◽  
The Ideal

Western theatrical dance emerges in the late Renaissance as an increasingly autonomous art form. However, as theatrical dance strove toward the ideal of its own aesthetic self-sufficiency, toward an autonomy that would eventually confer it its place as a truly modern art form, dance developed a paradoxically intimate, intricate, and convoluted relationship with its other—writing. The historical persistence of a continuous dialoguing between dancing and writing indicates how dance's aspirations for aesthetic autonomy were precisely that: an impossible (modern) wishing. Historically, the role and function of writing in regards to dance has been one of partnering. This partnering has oscillated among three foundational modes of writings on dance: the archival (writing as the guarantor of dance's historical survival, as seen already in the late 1500s, in Arbeau's Orcheseography), the choreographic (writing as mode of composing dances directly on paper, as seen in the exams for the Académie Royale in late seventeenth-century France), and the writing of criticism. Of these three modes, criticism—understood as writing aimed at explaining or translating to an audience the opacity of dance's appearing—won't emerge in its incipient form until the late eighteenth century. This mode is today the most prominent role writing takes in relation to dance, in which the function of the critic is simultaneously to preserve and explain the dances she witnesses.

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