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& Gordon Raeburn
A report on the one-day seminar hosted at the University of Melbourne, in association with the Australian Research Council Centre of Excellence for the History of Emotions (CHE), organised by Dr Gordon Raeburn (University of Melbourne) and Dr Katherine Heavey (University of Glasgow) and with the keynote lecture delivered by Professor Cora Fox (Arizona State University).
Rachel Delman & Phoebe Linton
Conference Report. Though nominally a conference on the Middle Ages, papers spanned the 9th to the 16th centuries, and the sometimes disconnected subdivisions of early-medieval, late-medieval and early modern studies were considered in close relation to each other. Keynote speaker Dr Sarah M. Dunnigan addressed the late medieval/early modern divide explicitly…
Anindya Raychaudhuri & Hannah Fitzpatrick
PODCAST SPECIAL in collaboration with State of the Theory. Many early modernists object to representations of Shakespeare’s life and works that elide a myriad of messy issues. Anindya and Hannah take up the politics of the commemoration of Shakespeare on the 400th anniversary of his death, and discuss conflicting representations of Shakespeare…
In his recent BBC4 television series rethinking the art of the Renaissance, Waldemar Januszczak began with Giorgio Vasari. According to Januszczak, that ‘Michelangelo groupie’ was responsible for inventing the Renaissance in his use of the term rinascita to describe what was happening around him artistically. The tale which Vasari wove in his Lives of the Artists was one of cultural triumph…
PeterlAuger et al.
Most researchers studying multilingual and transnational aspects of Renaissance literary culture work within departments centred on individual languages and national canons. The co-authors of this piece, for instance, include a specialist in the Spanish New World who teaches Cervantes…
In the learned discourse of the Renaissance, the North was not just depicted as a geographical location, but also contained a set of qualities which characterised its nature as well as the people who lived there: ‘Northernness’. It was a rough, wild place…
WWW Ed Simon
According to the Italian, the English were just as unimpressed with him as he was with them. On an Ash Wednesday in 1583 they sat in this dark-wood panelled dining room, tapestries keeping out the chill of late winter even as the cold couldn’t help but enter through the leaded window with its multicoloured glass diamonds…
On July 16, 1945 an assembled group of scientists saw a false sun rising in the west. Here, in the Jornardo del Muerto scientific myths of progress and religious myths of the last days were finally fused in a terrifying transmutation of mass into energy. They witnessed an alchemical nightmare at Alamogordo, New Mexico where man’s fear and desire for apocalypse was finally matched by man’s technical ability.
The Journal of the Northern Renaissance is delighted to welcome you to Polaris, a new feature dedicated to short polemics, position pieces, interviews, and conference and research reports. We hope these pages will provide a forum for dialogues and debates to develop, offering our authors and readers the chance to come together to discuss the Renaissance in the North. Posts are open to comments: please contribute!
Renaissance Studies has always been a multidisciplinary affair. Renaissance Studies are mostly defined by time (i.e. the various possible meanings of ‘Renaissance’) sometimes in combination with spatial boundaries (e.g. ‘the Italian Renaissance’ or ‘the Northern Renaissance’, as is the case with the journal associated to this blog), but never by object.
The 2000s have seen a proliferation of scholarship on the so-called global Renaissance. Seen as originating from sources as diverse as Fernand Braudel’s The Mediterranean and the Mediterranean World in the Age of Phillip II and scholarly and curatorial attention to the 500 year anniversary of Columbus’s voyage to the Americas, geo-political events of the early 2000s, particularly in the wake of 9/11, are seen as providing a particular stimulus.
Michel de Montaigne’s Essays are not an apology or a vindication of a particular theory or state order. Montaigne was a member of a wealthy French merchant family, whose title and land were actually bought, not inherited and he was always careful to maintain a distance from his king, drawing a line between allegiance and blind obedience.
In the British Museum – away from the Rosetta Stone and Elgin Marbles with their legions of selfie-taking tourists – is a shiny, jet-black obsidian mirror. Not much bigger than any standard hand mirror, the artifact is circular with a hole-bored handle at the top. A beautiful, dark, reflective black, it was forged from volcanic Mexican obsidian which the Aztecs associated with their god Tezcatlipoca, lord of divination (among other things).