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Benedetto Varchi, by Titian. Paragone (Italian: paragone, meaning comparison), was a debate during the Italian Renaissance in which painting and sculpture (and to a degree, architecture) were each championed as forms of art superior and distinct to each other. [1]
These "new" poems appeared in such magazines as Poetry, Others, and later, The Liberator, and they marked a progression from "commonplace traditionalism to the most revolutionary naturalism, from the rhymed, carefully scanned line to free verse, from conventionalized Negro dialect to the brawny language of [Carl] Sandberg’s Chicago Poems."
In Renaissance poetry, and particularly in sonnets, the contrast was similarly used as a poetic argument. In such verse, the entire poem argues that two seemingly alike or identical items are, in fact, quite separate and paradoxically different.
Medieval debate poetry was a genre of poems popular in England and France during the late medieval period. The same type of debate poems broadly existed in the ancient and medieval Near Eastern literatures. Essentially, a debate poem depicts a dialogue between two natural opposites (e.g. sun vs. moon, winter vs. summer). [1]
Renaissance literature refers to European literature which was influenced by the intellectual and cultural tendencies associated with the Renaissance.The literature of the Renaissance was written within the general movement of the Renaissance, which arose in 14th-century Italy and continued until the mid-17th century in England while being diffused into the rest of the western world. [1]
Historian John Monfasani credited the book with "grace and learning" but found Greenblatt's Voltairean and Burckhardtian interpretation of De Rerum Natura and the Renaissance as "eccentric", "questionable" and "unwarranted". [20] Greenblatt responded to this critique by reiterating his view of the importance of the Renaissance in history. [21]
He wrote the first dictionary of musical terms (the Diffinitorium musices); a book on the characteristics of the musical modes; a treatise on proportions; and three books on counterpoint, which is particularly useful in charting the development of voice-leading and harmony in the transitional period between Du Fay and Josquin. The writings by ...
A more dangerous attack came from Joseph Ritson, whose pamphlet Observations on the Three First Volumes of the History of English Poetry, bitterly tore into Warton for the many mistranscriptions, misinterpretations, and errors of fact that his book, as the very first attempt to map the Middle English world, inevitably contained. [16]