Gene Brucker offers insight into the lives and minds of 15th century Italy through a court case about Giovanni and Lusanna’s involving the legality of their marriage. He utilized several primary sources to provide a descriptive narrative of this case. Even though Brucker used primary sources, primarily notarial sources, these show clear evidence of bias, and in turn these biases are reflected in his work. To begin with, Brucker’s primary material falls into the legal category, notarial sources, from Ser Filippo Mazzaei. Although these legal works supply the evidence and court battle that occurred, these don’t provide a clear voice to the defendant, Giovanni, nor the plaintiff, Lusanna.
Self-sacrifice is a common theme throughout Steven Galloway’s novel “The Cellist of Sarajevo”. The novel itself is a combination of fiction and nonfiction, while based on true events, Galloway’s imagination has vividly created four distinct character that each make sacrifices for their own ideal. They all share one vision, the vision being their city, Sarajevo, in a state of peace, rather than war. Each of the four characters attempt to survive in their war torn city in their own way. Amidst sniper fire, and bombing of markets, homes and even hospitals, each of them continues on with their lives, in what seems to be an unrelated chain of events.
This suggests that these encounters or stories of people having a connection or workshop with the devil was not unheard of or unusual during that era, it was just generally looked down upon because that person would be punished not only by the Church but by God. The ability to control the weather or locate lost items would have been highly improbable and dismissed as mere coincidences or trickery. However, it is important to acknowledge that the allegations against Luis may not be entirely accurate, as the testimonies of the witnesses were based on hearsay and personal biases. The magistrate himself acknowledges that he arrested Luis based on information received from others rather than personal
In the time of the renaissance, magic still existed in the world. Not “real” magic, but a belief in supernatural abilities, witches, and trances. Such a people were the benandanti of the Friuli region of Italy. Though they often were devout Christians, their lives centered on their nocturnal supernatural journeys. They believed that their spirits left their bodies and flew into the countryside, where they would do battle with malevolent witches who threatened the local harvests.
The bright sounds of trumpets ring out, punctuating the sweet melodies of the violins. The guitarist steps forward and begins belting out the lyrics to a son, or traditional Mexican folksong. Meanwhile, a guitarron—a huge bass guitar—provides a steady rhythm, accented by the much smaller five-string vihuela. This is mariachi music! Mariachi music originated hundreds of years ago in colonial Mexico.
Giorgione and his impact on the Renaissance Art World Renaissance Research Project Eighth Grade Mr.Citrin Humanities Roberta Elena Donnarumma The American School of Milan April , 2015 Historical Introduction Giorgione was born in the year about 1477 in Venice, Italy , in the town Castelfrance in Veneto Italy. Giorgione is also know as Giorgione da Castelfranco. Biography.com states: “ Though little is known of Giorgione's childhood, Italian painter and biographer Giorgio Vasari believed that Giorgione was born into humble circumstances”. Even though Giorgione came from a poor family, with not many possibilities for success and wealth, Giorgione showed his interest in art at an early age.
Matthew Lewis’ The Monk and Ann Radcliffe’s The Italian are two of the most iconic Gothic novels of the Eighteenth Century, both written only a year apart and one in response to other. It is of no surprise that both novels have various subjects in common—one of these, the Supernatural. Ghostlike forces, specters, demons and locations are approached differently in The Monk and The Italian, one uses the supernatural deliberately—and in a much larger role—while the other uses the supernatural to heighten certain scenes of terror. Certainly, both novels use it as a shock factor, but furthermore both use it for different reasons in their novels.
The terror cause by sudden incidents can be identified a few lines down as, ‘The monk was gone, and the darkness of the hour baffled’ (Radcliffe 15). Not only does this sudden disappearance startled the characters of Vivaldi and Bonarmo but confuses the reader as well. The suddenness deployed by Radcliffe in this text regarding the disappearing monk confuses the reader as we, and the characters, are left to ponder whether the monk is a spectre or not. Radcliffe uses the technique in a way that suggest the powers of supernatural forces are at play, bringing about the heart stopping terror that stops Vivaldi in his tracks.
It’s a perfect night for a concert, warm, calm, and overall elegant. On Friday, September 11 in the Nightingale Concert Hall, a fabulously performed concert called the Argenta Concert Series, The Fifth Anniversary Season, directed by Dmitri Atapine and Hyeyeon Park, took place. In this performance the following musicians performed; Stephanie Sant’Ambrogio on the violin, Dustin Budish on the viola, and James Winn on the piano. Not only that, there was also a guest appearance by Jonah Kim on the cello. Although not the best turnout, there was still a decent audience.
Portraits drawn by Raphael are a vital source for the analysis of his artistic motives. “Lady of the Unicorn” (fig. 3), one of Raphael’s earliest Florentine portraits, owes much to Leonardo’s “Mona Lisa” in its design. However, the clarity of light which infuses even the shadows with colour not only recalls Raphael’s early exposure to the paintings of Piero della Francesca, but also in itself a statement he wanted to make through his art. Raphael’s obsessive experiments with clarity of features cannot be construed as a mere influence of his teachers or contemporaries. Somewhere deep down, deliberation to do away with the mysterious haziness associable with divine or religious mystification must have inspired the Italian great to incorporate
Leonardo Da Vinci 's The Last supper is a popular work of art that is Da Vinci 's rendition of the last supper as told in the bible. This paper will include an in depth visual analysis of the painting as it appeared on the original canvas. The paper will also address the cultural and religious significance of this work of art in that time period. I chose to do the analysis on The Last Supper because it is an artwork that i have seen many times in my life, but oddly enough do not know a lot about. In this paper i plan to not only inform you , but inform myself on the many aspects of The Last Supper by Leonardo Da Vinci.
6. Take a single act from the Marriage of Figaro and, using particular examples, show how Mozart structures the act in terms key, form and texture. How does the opera critique the social order of the time? This essay looks at the first act of Mozart’s opera buffa ‘Marriage of Figaro’ in detail, specifically focussing on the key, form and texture used within this act.
As written by Arthur Miller, “the Devil [works] again (...) just as he [works] within the Slav who is shocked at (...) a woman’s disrobing herself in a burlesque show. Our opposites are always robed in sexual sin, and it is from this unconscious conviction that demonology”. The Devil “gains both its attractive sensuality and its capacity to infuriate and frighten,” which displays the control he holds over the society in that he can lure in a pure soul, but frighten one as well
The original score of Mozart (1791) gives Sarastro and the Queen of the Night, the two most rhetorically powerful figures presented to the audience, distinct and conflicting personas of music. Sarastro's music is characterised by ideals of rational order where “one knows not revenge and should a person have fallen, love will guide him to duty”. The contrast of the Queen of the Night’s music is contained within two arias drawing on the expressive use of coloratura as well as Sturm und Drang to distinguish the divergence of the two entities. She has chromatic harmonies, abrupt and frequent changes, frequent intonation, melismatic content, and a vast vocal range embellish the significance of her values: “Gods of revenge, hear the oath I speak” (McCorkle et al., 1966). Where Sarastro's arias are constructed as rational and controlled vocalizations of greater principles, the Queen of the Night’s arias shadow the deviations of her passions, and the excessive means in the way she speaks becomes more apparent than the semantic content of her words.
There are several theories that regard where and when the music originated. The historiographers pointed out that there are different periods of music with each period having its own characteristics, its composers, its instruments, its rhythm and significance to the existing music today. The first three periods; Medieval, Renaissance and Baroque are expounded in this essay. The periods span through different times albeit some overlapped one another. The essay also focuses on the common factor that triggered the existence of the music periods and its impacts on each period.
