Study Guide: Weeks 4-6
Study Guide: Weeks 4-6 ITAL 150
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This 30 page Study Guide was uploaded by Morgan Miller on Saturday November 8, 2014. The Study Guide belongs to ITAL 150 at University of Oregon taught by Psaki in Fall2014. Since its upload, it has received 109 views. For similar materials see Cultural Legacies Italy in Humanities and Social Sciences at University of Oregon.
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ITAL 150 Cultural Legacies of Italy Study Guide Weeks 46 Readings Sprezzatura Essay 19 pp 137142 and 21 RM Lett s The Renaissance Nature Space and Reality 2943 Temple of the High Renaissance 9094 Italian Renaissance Reader Leonardo Notebooks pp 185196 and Introduction Sprezzatura Essay 25 Preface and Chapters 68 1519 2526 of Machiavelli s Prince Metamorphoses page 234237 The Story of Orpheus and Eurydice and 256261 The Death of Orpheus Movie La Traviata Sprezzatura Essay 32 Peri s Eurydice and 35 Monteverdi page 255256 Opera Synopsis Readings Renaissance the shift in representation 1 periodization is there a renaissance 2 Giotto and the early 14 century revival 3 Medieval and Renaissance Painting space in landscape interiors perspective and relief Periodization 0 Division of time into periods based on particular criteria such as styles in art architecture design historical events bigpicture interpretations of the ebb and flow of human history shifts in economic demographic political etc patterns Concrete lnnovations 14001600 0 Movable type printing press 0 Exploring western hemisphere 0 Protestant reformation catholic counter reformation 0 Flourishing merchant capitalism 0 Discoveries in empirical science gunpowdercanon heliocentric universe earth rotating around the sun Copernicus Innovations in the Arts 14001600 0 centralized one point perspective as the eye sees 0 Rise of representation of everyday life 0 Oil painting 0 The nude 0 Rise of representation of classical subjects myth history allegory instead of primarily religious subjects 0 Pinturicchio Return of Odysseus 1509 representation of costumes looking out onto seascape perspective technique illusion of depth by rendering lighter colors further away aerial perspective Innovation in the Visual Arts 0 Two engines for innovations observation and imitation of the natural world 0 Study of the natural world empirical study of the physical world Giotto 0 Lett s emphasizes 15 century northern artists in the revival of realistic representation 0 The illusion of artistic progress not better or worse just different 0 Space Painted interiors Example Assisi Pietro Lorenzetti golden plates behind heads ceiling and floor shown servants shown in another room Example Padova Giotto di Bondone Cappella Degli Sorovegni 13041306 two painted chapels illusionistio piece 0 Verisimiitude lifelikeness 0 Leonardo man the measure of all things often misunderstood as an expression of a paradigm shift 0 Painting Rome oratorio di san silvestro o 1248 all same facial expressions horse is floating flat building 2D rather than 3D main figure is much bigger than the rest iobig figures two separate periods of time Nativity Scene I J rquot quot vquotquotquot39quot39 Between middle age and renaissance more continuity than rapture focus on classical antiquity myth history style in art focus on individuals and daily lifeincluding illusionistic techniques studycopy of nature Nature Space and Reality don t care about actual representation in real life 0 Medieval artists are interested in showing means and symbolism of things 0 Leonardo has true to life drawings and believes we have to study the human body and know nature verisimiitude 7 H 7 F Vquot 5 7 my quot quot quot39 39 V I J 4 in 39 m V v 2 VVorks 0 Assisi Anon crucifixion 12 century no muscle definition absent gaze head is straight up 0 Cimabue crucifixion 1288 Less business in background than Assisi s crucifixion Emotional intensity Depth Exaggeration in body form He isn t covered Affective piety emotional piety 0 Masaccio Florence SMN 1427 real life background Colorful 0 Perugino 1471 M body form represents reallife looks as though actually hanging from a cross Niccolo Miachiavelli and the Prince 14691527 and the Renaissance A new political theory to go along with new arts Machiavellian dubious The Prince Machiavelli offers to the Medici Prince Lorenzo a book containing the know of the deeds of great men which I have learned from a long experience in modern affairs and a continuous study of antiquity IRR page 260 Florence at the End of the Medici Peak 0 signoria Florence39s form of citystate government in which a ruling family dominated 0 Lorenzo d Medici 14941512 a Republic is proclaimed in Florence employing Machiavelli from 1498 until its fall 1512 Machiavelli was dismissed for collaborating with Republic 1513 Machiavelli was tortured and imprisoned Two New Engines for Innovation 0 Experienoe Vaohiavei s experience with the politics 0 study Imitation of the vestiges of Greeks and Romans Remember in Medieval Visual Arts imitating nature was not so important Political Theories 0 Medieval Political Theory Specuum principis genre mirror of princes Depicted the ideal prince devout moral altruistic fair just temperate Imagined optimistically 0 Machiavelli s New Political Theory emphasizes how they really are he states there are no frills plF although Machiavelli says he doesn t want to make his work p D elaborate he does so in an elaborate manner g i 39 V 1 I 4 i I 39 V i 39 f p n Machiavellian Keywords 0 virt capacities 0 fortune unpredictabe Persuasion Techniques 0 Procedures 0 Rhetorical Devices lots of evidence 0 Surprising Claims by Machiavelli Generosity leads to politioalsooial disadvantages IRR page 276 Better to be feared than loved IRR page 277 What makes people follow a leader is whatever serves an individual s personal interest You can fight with brain or force If it s good for the prince it s good for the people Chapter 14 0 a prince therefore must have no other object or thought nor must he adopt anything as his art but war its institutions and its discipline because that is the only art befitting one who commands 50 0 llust train himself for war through physical exercise 51 and by study 52 Elements influencing political outcomes virta ability 0 Fortuna chance 0 Occasione opportunity Rhetorical Devices Employed 0 Analogy 0 Extended metaphor 0 Binary opposites 0 Controlled redundancy 0 Calculated lexical repetition 0 Calculated surprise 0 Paradox 0 Aphorism 94 0 T W0 rd 393 ay The Story of Orpheus and Eurydioe Ovid Heart of Opera 0 Walk through The Story of Orpheus and Eurydioe permanent adoptability of myth Recap Orpheus s bride dies on their wedding day and he follows her to the Underworld Look for gaps in the story because that s what makes it timeless Q u est i o ns love has conquered he is speaking to the King of underworld he cannot live without her he would rather be dead than alive without her 0 Why does the God relent neither the King nor consort had harshness to refuse him combination of speech and music offers his own life to be able to join her Persuasive Power of Art song has power to move the Gods Why does the King of Hell set a condition on giving Eurydice back not to undermine his power there is always one condition test of faith Why this specific condition that he may not look at her AXVants to pass that big boundary 0 Why does Orpheus get Eurydioe back afraid she may falter eager to see her look back in love 0 Why does Orpheus forsake the love of women because he made a promise When a story tells too much it s the same as when a story doesn t tell enoughit s adoptable and timeless 0 Orpheus and Eurydioe Story Power of Exclusion doesn t give us all of the information Page 237 Trees pick up sticks and move to listen to song every kind of tree extension of him moving the underworld Cyparissus is turned into a Cypress tree the other trees can be the symbols of those also turned into trees Page 260 Death musio demonstrates the domination of time and death Opera an enormous collective enterprise Florentine blend of speech and song Peri s 1600 Opera dedicated power of music to conquer death and Monteverdi s Opera both employ happy endings La Traviata 0 La Traviata tragedy how does the music change with the story mood and situation When thinking ofove music is more upbeat and more playful When they are at a party it is more soothing and is like background music costu me and settings ornate and elaborate comparison with scenes in Pretty Woman how does the same idea of love carry over to more modern times Guest Lecture 0 Professor Laura Esquivel 0 La Traviata Beginning is slow the film focuses on buildings and there are no people or music It sets up the scene It employs darker and gloomier colors When the party begins warmer and lighter colors in the atmosphere Opera Yesterday and Today 0 Origins The Florentine Camerata based on their concept of Greek Tragedy first meeting was in 1573 Members were Giovanni de Bardi Coooini Strozzi and Galilei development of monody and stilo reoitativo pitches f in voice 39 M