This monograph demonstrates why humanism began in Italy in the mid-thirteenth century. It considers Petrarch a third generation humanist, who christianized a secular movement. The analysis traces the beginning of humanism in poetry and its gradual penetration of other Latin literary genres, and, through stylistic analyses of texts, the extent to which imitation of the ancients produced changes in cognition and visual perception. The volume traces the link between vernacular translations and the emergence of Florence as the leader of Latin humanism by 1400 and why, limited to an elite in the fourteenth century, humanism became a major educational movement in the first decades of the fifteenth. It revises our conception of the relationship of Italian humanism to French twelfth-century humanism and of the character of early Italian humanism itself. This publication has also been published in hardback, please click here for details.

This book examines the life and political career of Albertino Mussato (1261–1329), a Paduan poet, historian and politician. Mussato was one of the first writers of the late medieval period to begin reviving classical Latin in his works. His classical style tragic drama Ecerinis, inspired by the writings of Seneca, paved the way for him to be crowned as the first poet laureate since antiquity. This work outlines how Mussato depicted the course of his own career, from being an impoverished teenager of insignificant birth to becoming a celebrated poet and scholar, as well as an influential political figure. It looks specifically at the years leading up to Mussato’s public coronation, on 3rd December 1315, as poet laureate for his city. His writings are a key component of his political manoeuvres as he tried to navigate through the troubled waters of northern Italian politics. The book demonstrates how the sources pertaining to Mussato’s life and career are part of an exercise in self-promotion and self-fashioning, intended to secure his position within factional politics, but rooted in a philosophical approach derived from his early classical studies. Accordingly, this book acts as a fully-fledged account of the interaction between Mussato’s writings and his political career, and how this contributed to his rise to fame.

A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience.

It is a misconception that Christianity and Humanism are in any way in conflict with each other. The present book shows that through many centuries, and especially in the Renaissance, the two stood in a relation that was mutually complementary. The contributions in this volume treat aspects and manifestations of this cultural symbiosis, and they throw new light on authors and texts both more and less familiar. The subject-areas discussed include: religion, history, philosophy, literature and education. The age of Renaissance and Reformation is the central focus, but earlier and later periods are also featured. The contributions comprise a Festschrift for Professor Arjo Vanderjagt, whose work deals centrally with both Christianity and Humanism. Contributors are Fokke Akkerman, István P. Bejczy, Alexander Broadie, Chris-toph Burger, Marcia L. Colish, Albrecht Diem, Stephen Gersh, Berndt Hamm, Volker Honemann, Adrie van der Laan, Alasdair A. MacDonald, Peter Mack, Zweder von Martels, Matthieu van der Meer, Hans Mooij, Simone Mooij-Valk, Just Niemeijer, John North, Willemien Otten, Jan Papy, Detlev Pätzold, Rob Pauls, Marc van der Poel, Burcht Pranger, Peter Raedts, Han van Ruler, Rudolf Suntrup, Jan R. Veenstra, and Ronald Witt.

Covering a period from the late-fourteenth to mid-sixteenth century, Aileen A. Feng’s engagingly written work identifies and analyzes a Latin humanist precursor to the poetic movement known as Renaissance Petrarchism. Though Petrachism is usually read solely as a vernacular poetic tradition, in Writing Beloveds, Feng recovers the initial political purposes in Latin prose and traces how poetry set the terms for gender, agency, and power in early modern Italy. By revealing the literary motifs in men’s and women’s writing about gender she maps how certain figures in Petrarch’s writing transmitted gendered ideas of power and reflected a growing anxiety about women as public figures. This work includes nuanced analyses of poetry, linguistic treatises, debates on imitation, representations of gender and epistolary correspondence in Latin and Italian. Writing Beloveds is a landmark study that highlights the new social reality of women writers in early modern Europe.

In Forged in the Shadow of Mars, Peter W. Sposato traces chivalry's powerful influence on the mentalitè and behavior of a sizeable segment of the elite in late medieval Florence. He finds that the strenuous knights and men-at-arms of the Florentine chivalric elite—a cultural community comprised of men from both traditional and newly emerged elite lineages—embraced a chivalric ideology that was fundamentally martial and violent. Chivalry helped to shape a common identity among these men based on the profession of arms and the ready use of violence against both their peers and those they perceived to be their social inferiors. This violence, often transgressive in nature, was not only crucial to asserting and defending personal, familial, and corporate honor, but was also inherently praiseworthy. In this way, Sposato highlights the sharp differences between chivalry and the more familiar civic ideology of the popolo grasso, the Florentine mercantile and banking elite who came to dominate Florence politically and economically during the thirteenth and fourteenth centuries. As a result, in Forged in the Shadow of Mars, Sposato challenges the traditional scholarly view of chivalry as foreign to the social and cultural landscape of Florence and contests its reputation as a civilizing force. By reexamining the connection between chivalric literature and actual practice and identity formation among historical knights and men-at-arms, he likewise provides an important corrective to assumptions about the nature of elite violence and identity in medieval Italian cities.