scholarly journals Ovid’s urban metamorphosis

Sederi ◽  
2019 ◽  
pp. 85-108
Author(s):  
Clark Hulse
Keyword(s):  
Early Modern ◽  
Ancient Rome ◽  
Ethical Obligation ◽  
The Arts ◽  
Early Modern London

In Book XV of Ovid’s Metamorphoses, Pythagoras meditates on the rise and fall of cities and foresees that the survival of Rome requires turning from war to the “arts of peace.” Once ancient Rome has fallen, its urban imagery hybridizes with a Biblical counter-imagery in which God wills the ruination of Rome and other centers of wickedness. Through this Ovidian/Pythagorean lens, this essay then examines how Spenser confronts the fall and rise and possible fall again of early modern London, with glances also at Shakespeare and Dryden. This Ovidian model creates challenges of identity, belief, and ethical obligation that result in an “outward turn” of the theme of metamorphosis toward its social boundary.

[I] ‘did write this Wyll with my own hand’

2020 ◽  
Vol 32 (4) ◽  
pp. 66-77
Author(s):  
Vassiliki Markidou
Keyword(s):  
Early Modern ◽  
Urban Landscape ◽  
Nation Building ◽  
Early Modern London ◽  
First Time ◽  
Shed Light

This article attempts for the first time to shed light on the politics of simulation and dissimulation in Isabella Whitney’s ‘Wyll and Testament’. It also argues that the poem both reflects its creator’s awareness of the celebrated English historical and topographical narratives and deviates from them by crucially omitting a seminal part of London’s history, namely its Troynovant tradition. In so doing, as well as by defining a paradoxical urban landscape, Whitney presents a tale not of the (mythic) founding of the English capital with its patriarchal and nation-building connotations, but of its (satiric) bequeathal by benevolent femininity, as such offering its reader a different angle from which to explore and interpret early modern London.

The Folly of the Cross

2018 ◽  
Author(s):  
Richard Viladesau
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Theology Of The Cross ◽  
The Enlightenment ◽  
Modern Period ◽  
The Arts ◽  
Modern Thought ◽  
Fourth Volume ◽  
The Cross ◽  
Satisfaction Model

This work surveys the ways in which theologians, artists, and composers of the early modern period dealt with the passion and death of Christ. The fourth volume in a series, it locates the theology of the cross in the context of modern thought, beginning with the Enlightenment, which challenged traditional Christian notions of salvation and of Christ himself. It shows how new models of salvation were proposed by liberal theology, replacing the older “satisfaction” model with theories of Christ as bringer of God’s spirit and as social revolutionary. It shows how the arts during this period both preserved the classical tradition and responded to innovations in theology and in style.

scholarly journals CONTESTED LEGITIMACY AND THE AMBIGUOUS RISE OF VESTRIES IN EARLY MODERN LONDON

2011 ◽  
Vol 54 (1) ◽  
pp. 25-45 ◽  
Author(s):  
J. F. MERRITT
Keyword(s):  
Early Modern ◽  
State Formation ◽  
Legal Framework ◽  
Royal Commission ◽  
The Political ◽  
Religious Authority ◽  
Multiple Sources ◽  
Legal Challenges ◽  
Early Modern London

ABSTRACTStudies of the rise of London's vestries in the period to 1640 have tended to discuss them in terms of the inexorable rise of oligarchy and state formation. This article re-examines the emergence of the vestries in several ways, moving beyond this traditional focus on oligarchy, and noting how London's vestries raised much broader issues concerning law, custom, and lay religious authority. The article reveals a notable contrast between the widespread influence and activities of London vestries and the questionable legal framework in which they operated. The political and ecclesiastical authorities – and in particular Archbishop Laud – are also shown to have had very mixed attitudes towards the legitimacy and desirability of powerful vestries. The apparently smooth and relentless spread of select vestries in the pre-war period is also shown to be illusory. The granting of vestry ‘faculties’ by the authorities ceased abruptly at the end of the 1620s, amid a series of serious legal challenges, on both local and ideological grounds, to the existence of vestries. Their rise had thus been seriously contested and stymied well before the upheavals of the 1640s, although opposition to them came from multiple sources – Laudians, Henry Spelman and the royal Commission on Fees, and local parishioners – whose objectives could vary.

Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe. Edited by Pamela Smith and Paula Findlen. New York: Routledge, 2002. Pp. ix, 437. $27.95.

2003 ◽  
Vol 63 (1) ◽  
pp. 250-251
Author(s):  
Margaret C. Jacob
Keyword(s):  
New York ◽  
Los Angeles ◽  
Early Modern ◽  
Natural Philosophy ◽  
Modern Science ◽  
Arts And Sciences ◽  
Science And Art ◽  
The Arts ◽  
Modern Capitalism ◽  
Natural Philosophers

The Marxists had it right all along, they just got tripped up by their materialism. Early modern capitalism opened vast new worlds, particularly in the arts and sciences, only the traffic went both ways. Creative agents invented new markets and pushed commerce in directions that favored enterprises immensely cosmopolitan and innovative, often solely for the sake of beauty and display. Commerce offered a context but the nobility, and not an imagined bourgeoisie, had the edge when it came to exploiting the market for objets. Paintings could be traded for property, land, and houses. Princes could sponsor natural philosophers, and the fluidity in values meant that good investors, like good practitioners of the arts and sciences, took an interest in all aspects of learning. The interrelatedness of the representational arts and natural philosophy stands as one of the central themes in this tightly integrated collection of essays. We now have a vast historiography telling us that we should no longer teach early modern science without reference to the art of the time, and vice-versa. The point is beautifully illustrated by an exhibition recently held at the J. Paul Getty Museum in Los Angeles (spring 2002) on the art of Pieter Saenredam. Working in Utrecht in the 1630s, he used geometry to regularize and make precise the angles and corners found in the exquisite paintings he made of the city's churches. He knew as much about geometry as he did about chiaroscuro. At precisely the same moment, an hour or two away by barge, Descartes in Leiden put the final touches on his Discourse on Method (1637). In effect he explained to the world why precision and clarity of thought made possible the kind of beauty that Saenredam's paintings would come to embody.

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