Myths of Renaissance Individualism (Early Modern History) by Martin

By Martin

The concept the Renaissance witnessed the emergence of the trendy person continues to be a strong delusion. during this vital new publication Martin examines the Renaissance self with consciousness to either social background and literary conception and provides a brand new typology of Renaissance selfhood which used to be without delay collective, performative and porous. whilst, he stresses the layered features of the Renaissance self and the salient function of interiority and notions of inwardness within the shaping of id.

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Myths of Renaissance Individualism (Early Modern History)

The concept the Renaissance witnessed the emergence of the fashionable person continues to be a robust fantasy. during this very important new publication Martin examines the Renaissance self with cognizance to either social heritage and literary thought and gives a brand new typology of Renaissance selfhood which used to be right now collective, performative and porous.

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By presenting a likeness of Bartolomeo from three different angles, it is difficult not to think that the artist was referring, at least obliquely, to his subject’s prudence, studiously cultivated in a city in which a person of his convictions had always to be careful, had always to look out in different directions while quietly keeping his own counsel. A measure of performance was also present in the painting; Carpan is presented as a dignified, self-composed presence. In this sense Lotto appears to explore what we might call the layered self – at once social and conforming, prudential, and performative.

And, to be sure, such portraits were intended as likenesses of particular persons. Bartolomeo’s family members, friends, and acquaintances would have recognized him in the painting. Moreover, the artist Lotto had used his craft to point to a sense of psychological depth. Bartolomeo’s eyes, wide open, do not meet our own, but it is difficult not to read them as external reflections of some interior trait; though what that trait is – sadness or thoughtfulness, arrogance or intelligence – we simply do not know.

35 Such a view was hardly confined to the elites. ’36 One wonders how inquisitors ever believed they could possibly penetrate this barrier? It was a relatively easy thing for the accused person to say one thing but mean another. Words and thoughts needed not coincide, nor did actions and beliefs. We find, therefore, in the practice of the Inquisition an important clue to the nature of identity in the Renaissance. The inquisitors were continually aware both of the importance of social location and of the inevitable opacity of beliefs.

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