Emblems (Renaissance) Research Papers - Academia.edu (original) (raw)

Egy operaszerű passió és egy passiószerű opera egymásraolvasásának chiazmusában Isten művei (opera) egyedül a kereszt és a szenvedés által (per crucem et per passionem), önmaguk ellentétében (sub contrario specie) válhatnak hozzáférhetővé. A kereszt testbe íródó tapasztalata azonban nem történet – az önmagáról való beszéd ellehetetlenítése révén olyan nem-narratológiát igényel önmaga elbeszélésére, mely csak egy, kereszt előtti/mögötti valóság már érvénytelenített nyelvén szólalhat meg. Miről tehet tanúbizonyságot a Máté-passió és a Hálátlan dögök keresztalakzata, ha az azt leíró nyelvet a kereszt eseménye folyton érvényteleníti? Ha a tanúság egy távolléten, egy idegenné vált testen alapszik, szétroncsolva ezáltal a jelenlét, a tanú önazonosságát? Milyen seb rajzolódik ki a beáramló sztázis, anarratív halál által a saját testen, amelyet a passiónak és operának folyton hordoznia kell?

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- Comparative Literature, Narratology, Baroque Music, Negative Theology
- by Satoru Kato
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- Intellectual History, Rhetoric, History of Science, Emblems (Renaissance)
- by Tomas Kleisner
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- Habsburg Studies, Numismatics, Emblem studies, Commemoration and Memory
- by Beatriz Antón
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- Renaissance Humanism, Symbolism, Italian Literature, Italian Humanism

La structure énigmatique du décor de la Galerie François 1er de Fontainebleau repose sur inventions relevant du serio ludere, très prisé au début du 16e siècle pour ses différentes fonctions qui induisent les fonctions secrètes du décor,... more

- by Fabrizio Bondi
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- Emblem studies, Emblems (Renaissance), Iconology, Emblematic studies
- by Luis Merino-Jerez
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- Emblem studies, Emblems (Renaissance), Garcilaso De La Vega, Emblematic studies

(con la collaborazione di Marilisa Morrone - Gioiosa Jonica, Edizioni Corab 2012 [revisione 2015])
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Il volume raccoglie circa 150 stemmi presenti in Santa Severina (Crotone), località eminente dell'ex Regno di Napoli, antica sede arcivescovile e (dal Rinascimento) feudo di importanti famiglie che la tennero anche con il titolo di principe. Il testo raccoglie le schede di stemmi laici e religiosi, blasonati e accompagnati da un ricco apparato di note, e da illustrazioni a colori.
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The book contains about 150 coats-of-arms present in Santa Severina (Crotone), eminent location in the former Kingdom of Naples, ancient archbishopric and (from the Renaissance) fief of important families who held it also with the title of prince. The text collects boards coats-of-arms both lay and religious, emblazoned and accompanied by a rich array of notes, and color illustrations.

- by Maurizio Carlo Alberto Gorra
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- Heraldry, Emblem studies, Emblems (Renaissance), Emblematic studies

Автор монографии, сопоставив гербы на каменных плитах генуэзского нобилитета XIV-XV вв. с их изображениями в гербовниках, прослеживает, как реализовывались задачи геральдической практики в генуэзских факториях Крыма.
Публикация представляет интерес для специалистов в области вспомогательных исторических дисциплин, для медиевистов-итальянистов и всех тех, что интересуется историей Северного Причерноморья.

- by Elena Yarovaya
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- History, Cultural History, Economic History, Cultural Studies

In addition to occasional special-topic editions, Laberinto accepts unpublished academic article submissions on an ongoing basis. With a transoceanic perspective, Laberinto seeks interdisciplinary works that focus on a variety of literary and cultural texts and themes. Articles that focus on marginalized authors and figures, worldwide cultural interactions, African Diaspora Studies, Indigenous Studies, Asian Studies, Women and Gender Studies, Queer Studies, and Colonial and Postcolonial Studies, among others, are especially welcome. Laberinto also seeks submissions that analyze visual arts in relation to the early modern period. Areas of particular interest include painting, architecture, maps, book illustration and illumination, film, videos, gaming, photography, and websites. Pedagogical articles of substance are also welcome, especially regarding Digital Humanities or Digital Storytelling. Submissions should be complete articles with works cited.

- by Daniel Holcombe and +2
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- Postcolonial Studies, Queer Theory, Illumination (Manuscripts, Books), Spain (Mediterranean Studies)

Joachim Camerarius the Younger’s (1534-1598) Symbola et Emblemata (1590-1604) presents us with both an overview of natural history and moral wisdom, offering biological information and emblematic interpretations, supported by an array of references to emblematic and non-emblematic literature and various imprese. While other connections are often more explicitly expressed, both in the biological element and in terms of emblematic and literary references the work shows a strong connection to Conrad Gessner’s encyclopaedic work of natural history, Historiae Animalium. Similarities in both text and image suggest that this work was kept at hand during the production of both text and image of the Symbola et Emblemata. While distinctly different, there are important overlaps in content and approach between Gessner’s work of natural history and Camerarius’ emblem book.

- by Tomas Kleisner
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- Cultural History, Visual propaganda, Art History, Renaissance Studies

Η εργασία ασχολείται με την περιγραφή των εμβλημάτων στις περικεφαλαίες των ιπποτών που λαμβάνουν μέρος στην γκιόστρα στο Β΄ Μέρος του "Ερωτόκριτου". Στόχος είναι να διερευνηθεί κατά πόσον πρόκειται για «εμβλήματα» ή «ιμπρέζες» και για τον λόγο αυτό εξετάζονται οι βασικές εικονο-γλωσσικές μορφές αναπαράστασης στην Αναγέννηση: ο γρίφος, το ιερογλυφικό, το έμβλημα και η ιμπρέζα (με συγκεκριμένα παραδείγματα). Η εξέταση επικεντρώνεται στα ιδιαίτερα χαρακτηριστικά που διαφοροποιούν την ιμπρέζα από το έμβλημα. Με βάση αυτά τα χαρακτηριστικά διαπιστώνεται ότι ο Κορνάρος χρησιμοποιεί μια εικονο-γλωσσική μορφή που είναι μεταξύ ιμπρέζας και εμβλήματος συνδυάζοντας στοιχεία της «γραμματικής» και των δύο μορφών. Στην κατακλείδα του άρθρου γίνεται αναφορά στη γνώση που είχε ο Κορνάρος (όπως και ο Χορτάτσης) για την ιμπρέζα "ψαλίδι κόβει τη γλώσσα φιδιών" στον Orlando Furioso, γνώση την οποία οι δύο ποιητές αξιοποιούν, ομόλογα με τον Ariosto, σε προβεβλημένα σημεία του έργου τους (στην προμετωπίδα ο Ariosto, στην αρχή [αφιέρωση] του έργου ο Χορτάτσης, στο τέλος του έργου ο Κορνάρος), προκειμένου να προστατεύσουν την πνευματική τους εργασία από τους «κακόγλωσσους» κριτικούς και ανταγωνιστές. Το άρθρο αποδεικνύει έτσι ότι οι κορυφαίοι εκπρόσωποι της Κρητικής λογοτεχνίας, ο Κορνάρος και ο Χορτάτσης, συντονίζονται με τα νέα δεδομένα της αναγεννησιακής έντυπης λογοτεχνίας (προστασία της πνευματικής ιδιοκτησίας) χρησιμοποιώντας ανάλογα ρηματικο-εικονιστικά μηνύματα.

We analyse main characteristics of the different subgenres comprised on Emblematics (emblems, devices or imprese, hieroglyphics) as a cultural demonstration that flourished between 16th and 18th centuries in Europe and America by joining word and image to transmit a message. These subgenres were disseminated not only in books of emblems but in public festivals, theatre, satirical lampoons, portraits, engraved title pages, printers devices, ceilings or walls ornaments.
RESUMEN: Se detallan las características de las principales modalidades que comprende la Emblemática como manifestación cultural que se desarrolló entre los siglos XVI y XVIII en Europa y América y que se difundió tanto en los llamados libros de emblemas como en la fiesta pública, el teatro, los pasquines satíricos, los retratos, las portadas de libros, las marcas de impresor, los adornos de techos o paredes en las casas, palacios, conventos o navíos, que reflejaban por diversos procedimientos el hermanamiento de palabra e imagen para transmitir un mensaje.

This paper addresses the symbolism of redoubtable beasts in princely heraldic badges of the late Middle Ages. It consists of three parts: first, a quantitative study of 894 heraldic badges dating from 1370 to 1520 which allows to apprehend the population and evolution of redoubtable beasts occurring in these badges; second, a series of four case-studies, namely Giangaleazzo Visconti’s leopard, Jean de Berry’s bear, Richard III’s boar and Louis XII’s porcupine, in order to shed light on the relationship between a prince and his emblematic animal; third, a study of the animal badges that can be found in the first modern treaty on heraldic badges, namely Paolo Giovio’s Dialogo dell’imprese militari e amorose (Rome: Antonio Barre, 1555), in order to discover the metamorphosis of the medieval heraldic badge into the early modern times.

- by Vassilieva Olga
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- Heraldry, Emblem studies, Emblems (Renaissance), Cheetah
- by Tomas Kleisner
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- Cultural History, Visual propaganda, Renaissance Studies, Renaissance Humanism

In 1616, the Nuremberg goldsmith Christoph Jamnitzer completed a commission for one patrician, Ernst Haller von Hallerstein, that served as a gift to another, Jacob Stark von Reckenhoff. In depicting at the cup’s stem the image of the ancient wrestler Milo of Croton carrying a bull, Jamnitzer alluded to an emblem decorating the city hall to pun on the associations with strength in the recipient’s last name. The iconography of the vessel thus bound the owner of the object to the virtues promoted in the building of governance at the same time that it demonstrated the goldsmith’s virtuosic balancing of weight. The cup thus makes visible the material and metaphorical links between the skills of the goldsmith’s craft and the ethics and politics of the free imperial city.

- by Shira Brisman
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- German Studies, Secular Humanism, Early Modern History, Renaissance Studies

This is the introduction to the book _Emblems of Death in the Early Modern Period_ that Peter Daly and I co-edited and that came out with Droz in October 2014. This document gives you an idea of the main theme of the book, the perspectives from which the editors and contributors interpreted this theme, and the content of each essay included in the book.

- by Monica Calabritto
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- Death Studies, Word and Image Studies, Emblem studies, Emblems (Renaissance)
- by Natalia Agapiou
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- Renaissance Art, Manga and Anime Studies, John Lyly, Galileo Galilei
- by Alberto Giorgio Cassani and +1
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- Visual Studies, Iconography, Art History, Renaissance History
- by Charles Henebry
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- Emblem studies, Emblems (Renaissance), Alciato
- by Michel Weemans
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- Game Theory, Labyrinths, Tennis, 16th Century Netherlandish Art

Viene illustrata la probabile genesi di un emblema umanistico nelle sue due versioni latina e greca: «Ne quid nimis» e «μηδὲν ἄγαν», "nessun eccesso", mettendo in successione cronologica una miniatura presente nella cinquecentina dell'Apologia in Plautum di Achille Bocchi, stampata a Bologna nel 1508 ed oggi conservata nella Biblioteca Casanatense di Roma con uno dei peducci del cortile del castello di Carpi e gli Adagia di Erasmo da Rotterdam. Viene quindi suggerita l'ipotesi che molto probabilmente il primo ideatore dell'emblema fu il letterato bolognese Achille Bocchi segretario del principe Alberto III Pio da Carpi. Sullo sfondo di questa migrazione di immagini simboliche la complessa questione della presenza del motto similare «Semper festina tarde» nell'Hypnerotomachia Poliphili di Francesco Colonna romano signore di Palestrina, stampata nel 1499, opera di cui si evidenziano i legami con l'Accademia Romana di Pomponio Leto ed Angelo Colocci molto probabilmente frequentata da Achille Bocchi durante il suo soggiorno romano del 1513.

- by Stefano Colonna
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- Emblems (Renaissance), Achille Bocchi, Illuminated manuscripts, Ne quid nimis
- by Grantley McDonald
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- German Studies, German Literature, Ficino, Walter Benjamin

The aim of this bachelor thesis is recognition of the various ideas of the symbolic decorations of the Kratochvíle château. The analysis of the figural stucco scenes in the Golden Hall is compared to the inner world of the renaissance nobleman. The interpretation of the symbolic emblems based on the Livy's History of Rome helps with the understandings of the self-presentation of Wilhelm von Rosenberg.
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Cílem bakalářské práce je poznání rozdílných motivů symbolické výzdoby zámku Kratochvíle. Analýza figurálních štukových scén ve Zlatém sále povede ke srovnání s vnitřním světem renesančního šlechtice. Interpretace symbolických motivů z římských dějin podle Tita Livia pomůže s porozuměním sebeprezentace Viléma z Rožmberka.

"Les différents aspects de l’évidence du mal “immédicable” qu’est la mort sont déclinés inégalement et sans aucun ordre ni hiérarchie dans les recueils d’emblèmes. Il faut cependant noter la profonde transformation dont y bénéficient les thèmes habituels de la mort inéluctable, égale à chacun, inopinée. Le constat pessimiste voire désespéré auquel se borne le plus souvent l’imagerie de la mort si présente au XVIe siècle, cède la place à une réflexion éthique sur l’expérience existentielle intime de la finitude et de la fuite des jours; c’est cette dimension de l’intimité de la conscience qui permet la plupart du temps à l’emblème de poursuivre sur le thème de la vie bonne. "

- by Paulette Choné
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- Death Studies, Emblem studies, Emblems (Renaissance), Emblems

A complex allegorical late fifteenth-century picture of which the original is lost survives only in a series of variously degraded
copies, be they either German woodcuts or Italian engravings. This image has remained unsatisfactorily explained, no doubt
because of its unconventional iconography. Instead of the usual interpretation of the picture as a satirical comment on the
contemporary political situation, we propose to understand it as a prophetic image announcing the imminent coming of the
Second Charlemagne – a French king who would become the Last World Emperor – turning thus an anachronistic journalistic
picture into a more convincing image of eschatological hope.

- by Vassilieva Olga
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- Heraldry, Emblem studies, Emblems (Renaissance), Jerusalem
- by Enrico Parlato
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- Emblems (Renaissance), L'Aquila

In this article, I explore the potential of style concepts, and especially the concept of the baroque, for the history of science. I argue for a pragmatic theory of style that avoids the traditional problems of essentialist or idealist style concepts. A pragmatic style concept is very useful for describing larger cultural structures, based on resemblances between different practices, especially if evidence of concrete circulations of knowledge is lacking. Style concepts such as the ‘baroque’ are not only relevant for discerning large scale structures, but they can also be an indispensable tool for historians of science to make sense of particular practices or objects. I illustrate this by analysing one of the most striking marvels of the baroque: a clock made from a sunflower plant. The historiography has analysed this object as part of the controversy around copernicanism. In order to come to grips with this object, however, it is important to embed it in its baroque context. From studying the meanings of clocks, magnetism and sunflowers in different practices, certain resemblances come to the fore. These resemblances point at a broader ‘baroque culture’, which in its turn helps us to better contextualise and understand the sunflower clock

- by Koen Vermeir
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- History, History of Science and Technology, Cultural History, Cultural Studies

The present article combines an individual, object-based approach with digital technologies with the aim to define the relation of verbal and visual inscriptions in Leonardo da Vinci's technical-scientific and literary-artistic works. By conducting a comparative analysis of Leonardo's folios featuring fables, emblems, and engineering projects, I identify the archetypes of this interaction in the books contained in his personal library and examine the convergence of his use of empirical, diagrammatic, and pictorial strategies toward the investigation of nature. The material component of this study consists in a series of analytical drawing tables which examine recurrent patterns, and textual and visual connections in Leonardo's manuscripts. The identified patterns are subsequently cataloged and examined through the web-publishing platform "LILeo" created in collaboration with the Rutgers Digital Humanities Laboratory as part of my dissertation project. By digitally highlighting the interaction of elements on the space of the page, and enabling the layering of drafts belonging to similar projects in Leonardo's works and sources, this study traces the formal patterns of the artist's analytical thinking in order to uncover the origins of his interdisciplinary research.

La hidra, el prodigioso monstruo mitológico de múltiples cabezas, es la figura central en la pictura de varios emblemas, comenzando por el 138 del Alciato auctus (dedicado a los doce trabajos de Hércules). Ya desde la suscriptio de este emblema, la hidra se asocia alegóricamente a los sofistas y a sus trampas argumentativas; esa es la versión que se repite en los comentarios de Sánchez de las Brozas y de Mignault, que acuden como autoridad al Eutidemo de Platón y que identifican explícitamente la sofística con la retórica. En este trabajo se estudia la asociación (o la falta de ella) de la hidra con la retórica en las obras citadas y en los repertorios emblemáticos de Sambucus (Szambot), Villava y Fernández de Heredia, en los Hieroglyphica de Valeriano, así como en los manuales mitográficos de Conti, Cartari, Pérez de Moya y Vitoria. La extendida identificación de la hidra con la retórica aparece como síntoma de la actitud ambivalente de la cultura de la época hacia dicha disciplina, que es a la vez herramienta epistemológica principal y objeto de desconfianza por su carácter de técnica amoral.

- by Jorge Fernandez-Lopez
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- Rhetoric, Cultural Rhetorics, Emblem studies, Emblems (Renaissance)
- by Tomas Kleisner
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- Cultural History, Visual propaganda, Habsburg Studies, Numismatics

In Regards croisés sur la Lorraine et le monde à la Renaissance, Actes du colloque de l’Académie de Stanislas sous la direction de Bernard Guidot, Annales de l’Est, 1, 2014, p. 157-169.
One of the most intriguing and fascinating features of the early modern Europe emblem and device culture is its ability to use objects of the banal everyday realty, tools and instruments, chosen as visual metaphors to emphasize various intentions as well as moral, political and religious ideas. The meaningful density that is given to the least figure through the tension between picture (or illustration in the printed book) and text in the emblematic process, invites to consider the interesting case of a simple and empirical tool, the plane, analysed in every formal and symbolic collages. Emblems by Claude Paradin and Guillaume de la Perrière, referred to their historical and literary background, give a confirmation to the importance of this motif. It takes a variety of forms and serves a variety of purposes. The principal topoi associated with the plane - the opposition between the rough and the smooth, the search for a perfectly polished and measurable reality - are disconcerting and revealing. They provide a deep and positive meditation on a gesture familiar to every artist and craftsman, as it can be demonstrated through various examples (intarsia). Meanwhile, they express one of the main generic form of the humanism, the trend to improvement, as suggested in Jean Pèlerin’s device.

- by Paulette Choné
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- Renaissance Studies, Renaissance Humanism, Emblem studies, Emblems (Renaissance)

In Revue de la Société des Amis du Musée de l’Armée, 2011-1, n° 141, pp. 21-27 Parmi les motifs décoratifs visibles sur les armures et les armes des princes de la Renaissance, figurent les emblèmes comme la fameuse salamandre de François... more

In Revue de la Société des Amis du Musée de l’Armée, 2011-1, n° 141, pp. 21-27
Parmi les motifs décoratifs visibles sur les armures et les armes des princes de la Renaissance, figurent les emblèmes comme la fameuse salamandre de François Ier. Quelles sont l’origine et la portée de ces signes ?

- by Paulette Choné
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- Emblem studies, Emblems (Renaissance), Symbolism (Art History), Arms and Armour
- by Paulette Choné and +2
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- Emblem studies, Emblems (Renaissance), Emblems, Devises (emblematic badges)

"Emblèmes et pensée symbolique en Lorraine (1525-1633) : ""Comme un jardin au coeur de la chrétienté"" / Paulette Choné. - Paris : Klincksieck, 1991. - 830 p. : ill., cartes ; 25 cm. Sources p. 781-791. Bibliographie p. 693-807. Index p.... more

- by Paulette Choné
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- Art History, Renaissance Studies, Tridentine Catholicism, Emblem studies
- by Alexander Makhov
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- Emblem studies, Natural History, Emblems (Renaissance)
- by Armando Maggi
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- Renaissance Studies, Emblems (Renaissance)