Renaissance Revivals examines patterns in the London revivals of two English Renaissance theatre genres over the past four centuries. Griswold's focus on revenge tragedies and city comedies illuminates the ongoing interaction between society and its cultural products. No cultural object is ever created anew, she argues, but is instead constructed from existing cultural genres and conventions, the visions and professional needs of the artist, and the interests of an audience. Thus, every "new play" is in part a renaissance and every "revival" is in part an entirely new cultural object.
The Second Renaissance Revival in American Architecture: A Brief Style Guide
The Renaissance Revival Style in American Architecture: A Brief Style Guide
First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Acid Revival presents new information about the so-called psychedelic renaissance and highlights the cultural work involved with the reassembly of dormant areas of medical science.
Renaissances Before the Renaissance: Cultural Revivals of Late Antiquity and the Middle Ages
See John Hollander, TheGazer's Spirit: PoemsSpeaking to Silent Worksof Art (Chicago: University of Chicago, 1995), 3ff.Hollander distinguishes between “notional” ekphrasis,which enlivens imaginary works ofart, and ekphrases that depend ...
... nature of Western society without discounting the work of earlier scholars with different models and interests, working in different contexts. The best that has been thought and said here moves beyond Arnold's classless society, ...
This book opened new vistas in political, ideological and social history as well as in historical theology and jurisprudence and showed how relevant knowledge of the past is for the understanding of the present.
This book then proposes to recover some of the multi-dimensionality of the reaction to, transformation of and commentary on the Italian Renaissance and its ties to nineteenthcentury modernity, as seen both from within (by Italians) and from ...
This book answers that question by showing how the Victorian coupling of criminality with self-fashioning under the sign of the Renaissance provided queer intellectuals with an enduring model of ruthlessly permissive individualism.