By Peter Burke
Peter Burke n'est pas un peintre de l. a. Renaissance. Et pourtant son livre est celui d'un artiste. Portrait de los angeles Renaissance en mouvement. Au loin, en arrière plan, les frontières de l'Islam qui lui aussi connaît un réveil, un peu plus loin, ce qui reste de Byzance qui jouera un rôle capital dans l. a. transmission de l'Antique et, en ligne de fuite, les vieux inspirateurs Platon, Cicéron et Virgile. Au moment plan, les plus jeunes, parmi lesquels Pétrarque, Boccace et Giotto. Ils sont dans des décors urbains - Avignon, Florence, plus tard viendront les villes des Flandres, celles de France et d'Angleterre - mais aussi dans los angeles nature regorgeante de formes, de sons et de couleurs. Du tableau, les limites sont vastes, de l'Europe du Nord aux will pay slaves, et sa lumière touche chaque objet animé par une vie renaissante devenue règle générale. Au optimal plan, bien sûr, le printemps de l'Italie avec les deux sœurs en gloire, Rome et Florence. los angeles Renaissance invente l'Europe ou un rêve d'Europe. Elle est toujours devant nous par ce qui fait d'elle un dynamisme incessant d'imitation et de création.
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Additional resources for La Renaissance européenne
Summoned to the Introduction II 27 seemingly private (yet monitored) space of Gertrude’s chamber, Hamlet endeavours to produce for his mother a new relationship with her immediate surroundings and indeed with her past, as he proceeds to conjure up a fantasy of dispossession – a Claudius-less world. However, ultimately in this tragic universe, Hamlet is only able to realize this fantasy through violence which extends beyond Claudius to those he wishes to redeem. It is surely significant at the close of the play that when Hamlet does decide to kill Claudius it would appear to have more to do with his mother’s murder than that of his father: Heere thou incestuous, murdrous, Damned Dane, Drinke off this Potion: Is thy Vnion heere?
This proliferation of duplicating narratives may link to a wider sense of this culture’s dissatisfaction in its relations with the past. Indeed, it is tempting to conjecture that we are being presented with a society locked into a relentless cycle of human experience, mourning for a lost integrity. When the players arrive in Elsinore, Hamlet’s powers of recollection are racing. His creative collaboration with the company regarding new 40 Diegetic Space and Belonging in Hamlet entertainment for the new court yields not only the possibility of baiting Claudius but also, most importantly, of verifying the tidings of the ghost.
14 In this sentiment, Petrarch is not unrepresentative of succeeding generations of early modern intellectuals across Europe. Interestingly, by the beginning of the seventeenth century, Ben Jonson was envisaging a dynamic engagement with the classical heritage whereby the literary forefathers of Rome and Greece were still viewed as an inevitable point de départ but should not be seen as having exhausted all forms of textual creativity. He confided in Discoveries: I Know Nothing can conduce more to letters, then to examine the writings of the Ancients, and not to rest in their sole Authority, to take all upon trust from them .
La Renaissance européenne by Peter Burke