Art and Science in Renaissance and Early Modern Historical Writing

2012 ◽  
pp. 4-28
Keyword(s):  
Early Modern ◽  
Historical Writing ◽  
Art And Science

The Oxford History of Historical Writing

2018 ◽  
Keyword(s):  
Early Modern ◽  
Korean Peninsula ◽  
Comparative Approach ◽  
Modern World ◽  
Historical Writing ◽  
North West ◽  
The Past ◽  
History Of

How was history written in Europe and Asia between 400–1400? How was the past understood in religious, social, and political terms? And in what ways does the diversity of historical writing in this period mask underlying commonalities in narrating the past? The volume tackles these and other questions. Part I provides comprehensive overviews of the development of historical writing in societies that range from the Korean Peninsula to north-west Europe, which together highlight regional and cultural distinctiveness. Part II complements the first part by taking a thematic and comparative approach; it includes chapters on genre, warfare, and religion (amongst others) which address common concerns of historians working in this liminal period before the globalizing forces of the early modern world.

The Birth of the National Historical Writing in England and France

2021 ◽  
Author(s):  
Anastasia Palamarchuk ◽  
◽  
Ekaterina Terenteva ◽  
Sergey Fyodorov ◽  
Keyword(s):  
Early Modern ◽  
Western Europe ◽  
Complex Analysis ◽  
Legal Consciousness ◽  
Historical Writing ◽  
The Past ◽  
Historical Past ◽  
Different Levels ◽  
Prevalent Form ◽  
Xviith Century

The monograph is a study of main trends of emergence and evolution of the national historical writing in Western Europe in the XVIIth century. Based on a complex analysis of several phenomena which defined the development of the Early Modern historical writing, it provides a comparative analysis of the regional schools of historical writing (particularly those of the English antiquaries and French érudits) in the process of their respective growth and formation accomplished by the end of XVIIth century with the advent of the national historiography. The conceptual unity of the book is verified within the context of the rise of the national states in England and France, which stipulated a consistent demand for reinforcing the nationally orientated discourses not only in a historical writing but also in legal and political thought. The perception of England as an empire, entrenched in the insular historical and legal consciousness, recurring during the reigns of the Stuarts and extending to the whole British archipelago, determined the establishment of chorography as a prevalent form characteristic of the English historiography. Chorographic structure of the narrative unfolding the space of the territorial “empire” to the reader corresponded to the method of “intellectual appropriation” of the British Isles by the English antiquarians which could be defined as “cultural-historical”. A considerable role was devoted to reactualization of ethnogenetic myths at different levels: while some of them (primarily – the Galfridian myth) were regarded as relevant to the pan-British cultural and historical past, others emphasized autonomous dimensions of the past and present of distinct composites (Scotland, Ireland, Wales) The continental French variant of proto-national historiography also utilized the idea of empire but in a different mode defined by the formula “rex in regno suo imperator est”. The emerging school of érudits modelled principles of its narratives on patrimonial structures rooted in the feudal medieval society (dynasty; royal family; aristocratic lineages; seigneurial rights and vassal obligations; the system of offices created by the monarch stemming from the royal household etc.). The unity of the subjects of the French kingdom was ensured not by the shared territorial commonality but by their loyalty to the king. Therefore, the French variant of “intellectual appropriation” was developed in a socio-political direction in contrast to the territorial.

Art and Science in the Early Modern Netherlands

2013 ◽  
Vol 72 (1) ◽  
pp. 131-133
Author(s):  
Mark A. Waddell
Keyword(s):  
Early Modern ◽  
Art And Science

Plus çça change……. Ancient Historians and their Sources

2003 ◽  
Vol 22 (2) ◽  
pp. 167-198 ◽  
Author(s):  
A. BRIAN BOSWORTH
Keyword(s):  
Early Modern ◽  
Historical Writing ◽  
Forensic Rhetoric

This article addresses the problem of veracity in ancient historiography. It contests some recent views that the criteria of truth in historical writing were comparable to the standards of forensic rhetoric. Against this I contend that the historians of antiquity did follow their sources with commendable fi delity, superimposing a layer of comment but not adding independent material. To illustrate the point I examine the techniques of the Alexander historian, Q. Curtius Rufus, comparing his treatment of events with a range of other sources that reflect the same tradition. The results can be paralleled in early modern historiography, in the dispute between J. G. Droysen and K. W. Krüüger on the character of Callisthenes of Olynthus. Both operate with the same material, but give it different ““spins”” according to their political perspectives. There is error and hyperbole, but no deliberate fiction.

The 2012 Josephine Waters Bennett Lecture: The Eighteenth-Century Invention of the Renaissance: Lessons from the Uffizi*

2013 ◽  
Vol 66 (1) ◽  
pp. 1-34 ◽  
Author(s):  
Paula Findlen
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Historical Narrative ◽  
Historical Writing ◽  
Cabinet Of Curiosities

This essay explores the role that the eighteenth-century Uffizi gallery played in the invention of the Renaissance. Under the Habsburg-Lorraine rulers, and especially during the reign of Grand Duke Peter Leopold (r. 1765–90), changes to the Medici collections and the gallery’s organization transformed an early modern cabinet of curiosities, paintings, and antiquities into a space in which a historical narrative of art, inspired by rereadings of Giorgio Vasari’s Lives, became visible in a building he designed. A succession of Uffizi personnel was increasingly preoccupied with how to see renaissance, and more specifically Tuscan rinascita, in the collections. The struggles between the director Giuseppe Pelli Bencivenni and his vice-director Luigi Lanzi highlight how different understandings of the Renaissance emerged in dialogue with antiquarianism and medievalism. At the end of the eighteenth century the Uffizi would definitively become a museum of the Renaissance to inspire new forms of historical writing in the age of Michelet and Burckhardt.

scholarly journals Rembrandt's Textural Agency: A Shared Perspective in Visual Art and Science

Leonardo ◽  
2010 ◽  
Vol 43 (2) ◽  
pp. 145-151 ◽  
Author(s):  
Steve DiPaola ◽  
Caitlin Riebe ◽  
James T. Enns
Keyword(s):  
Early Modern ◽  
Visual Art ◽  
Scientific Evidence ◽  
Early Modern Period ◽  
Human Vision ◽  
Art And Science ◽  
The Gaze ◽  
Modern Period ◽  
Image Detail ◽  
Viewing Experience

The authors hypothesize that Rembrandt developed new painterly techniques in order to engage and direct the gaze of the observer. Although these methods were not based on scientific evidence at the time, they are nonetheless consistent with a contemporary understanding of human vision. The authors propose that artists in the late early-modern period developed the technique of textural agency—selective variation in image detail—to guide the observer's eye and thereby influence the viewing experience. They conclude with the presentation of laboratory evidence that Rembrandt's techniques indeed guide the modern viewer's eye as proposed.

The Concept of Kingship in the ‘Book of Emperors’ (‘Kaiserchronik’)

Traditio ◽  
1971 ◽  
Vol 27 ◽  
pp. 205-230 ◽  
Author(s):  
Henry A. Myers
Keyword(s):  
Early Modern ◽  
Middle Ages ◽  
Art And Science ◽  
Simple Question ◽  
The Right ◽  
The Middle Ages

Kingship has always been conceived to be either the totality of royal functions or the art and science of discharging them well. If we attempt to narrow down specifically medieval kingship a bit more, we find that its conception had more to do with the monarch's will and his faith in the right things, while conversely it had a shade less to do with his knowledge than did ancient and early modern kingship; however, there is every reason to minimize this distinction, since medieval kings were very well supposed to be wise, or well advised on pertinent matters, or, preferably, both. The total being of the medieval king was so nearly identical with the royal office that in the Middle Ages the question ‘What are the functions of the king?’ is really the more simple question ‘Who is the king?’ If the man looked at is a true king, his functions — his practice of kingship — will follow as a matter of course.

Literature

2016 ◽  
Author(s):  
Sverre Bagge
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Middle Ages ◽  
Early Modern Period ◽  
Great Emphasis ◽  
The Other ◽  
Historical Writing ◽  
Early Nineteenth Century ◽  
Modern Period ◽  
The Middle Ages

There is a continuous tradition of historical writing from the Middle Ages to the present day in all three of the Scandinavian kingdoms, as well as in Iceland, though admittedly it began later (not until the early fourteenth century) in Sweden than in the other countries. The works dating from the Middle Ages have already been discussed. Those of the Early Modern Period are of interest as evidence of learning and for an understanding of how “history” was viewed at the time, and also because they contain a number of documents from the Middle Ages whose originals have been lost. However, the beginning of modern scholarly historical writing is usually dated to the early nineteenth century, in Scandinavia as in the rest of Europe. The professionalization of history, which started in Germany, quickly spread to Scandinavia. Throughout Europe, this professionalization was related to a national revival that typically placed great emphasis on a nation’s medieval past....

Sign in / Sign up

Export Citation Format

Share Document