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"Hamlet" and the Renaissance, 2006.
A review of the representation of Renaissance ideals in William Shakespeare's "Hamlet".
1,453 words (approx. 5.8 pages), 2 sources, MLA, £ 34.95
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Abstract
This paper takes a look at "Hamlet" by William Shakespeare and looks at how he uses his work to display Renaissance thought and concerns. It examines how, through Hamlet's contemplation of death, his character is solidly connected to the ideals of the Renaissance.
From the Paper
"One such archaic belief that was left behind in the previous centuries was the sense that tragedies, both personal and widespread, were great punishments for sins. In particular, a tragic and untimely death was often considered some kind of spiritual retribution passed down to the individual from God himself. This certainly made sense since the medical knowledge of the day could not explain the horrible plagues that wiped out entire populations, or other such tragic events. Often what is not understood is highly feared and attributed to a greater power, and so an early death or any death preceded by an agonizing illness was considered a terrible event since they were a clear indication of God's displeasure. These conceptions were replaced in the Renaissance, especially by the time Shakespeare was writing Hamlet."
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The Harlem Renaissance, 2008.
This paper discusses the Harlem Renaissance as a period of changing times, especially for African Americans.
990 words (approx. 4.0 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper explains that the Harlem Renaissance, also known as the Black Literary Renaissance and The New Negro Movement, began in the neighborhood of Harlem in New York City. The author points out that the Harlem Renaissance promoted changes in music, literature, poetry and architecture. The paper relates that these changes started in the black community following the abolition of slavery and were quickened as a consequence of World War I. The author underscores that the Harlem Renaissance can be seen as the African-American cultural response to the great social and cultural changes taking place in America in the early twentieth century under the influence of industrialization and the start of a new mass culture. The paper describes Georgia Douglas Johnson, who wrote poetry and plays as an important player in this literary and cultural movement.
Outline:
I. The History of the Harlem Renaissance
A. The way the Harlem Renaissance started
B. How the Harlem Renaissance got its name
II. The changes that were made
A. The change in politics
B. The changes in the arts
III. Georgia Douglas Johnson
A. A brief biography
B. Her influence on the Harlem Renaissance
From the Paper
"The Harlem Renaissance was a time of excitement and change for all of those who participated. It took many people to change the things that these people changed. Everything changed from music, art, movies, and politics. Many African- Americans from the southern states moved to Harlem during this time. The African- American community had established a middle class in many cities, with New York City being one. This time of movement can be referred to as the Great Migration. The Great Migration brought thousands of African- Americans to the northern cities like Cleveland, Chicago, and Philadelphia."
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The Renaissance Man and Woman, 2007.
This paper defines the qualities of the ideal Renaissance man or woman.
1,162 words (approx. 4.6 pages), 2 sources, MLA, £ 28.95
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Abstract
This paper examines the qualities deemed necessary for one to be considered a renaissance man or woman. These characteristics are taken from literary sources of the Renaissance. The features of the Renaissance man and woman suggest at once a superficial concern with appearances and at the same time an appreciation for the innate talents and abilities of every human being. The author takes issue with the lack of morality placed on the Renaissance man or women.
From the Paper
"Physical prowess and mastery of weaponry are essential skills for Castiglione's Renaissance man. Both men and woman are victims of their physical endowments. According to Castiglione, being too tall or too short can hinder the development of a man's athletic skills (p. 34). The Renaissance man is also literally well-rounded: he should be agile and strong, with "shapely" limbs (Castiglione, p. 30, line 26). Renaissance women must also fulfill specific requirements. Though they should develop their bodies as well as their minds, Renaissance women should not undertake strenuous activities, as even dancing too energetically can impede her "womanly sweetness," (Castiglione, p. 35, line 192). Neither men nor women should take sport--or anything else--too seriously because being well-rounded is more important than being a specialist. At the same time, both Castiglione and Alberti infer an appreciation for the diligent development of specific talents and skills, whether tennis, dancing, or archery. Therefore, the ideal person is not a dilettante. When the Renaissance man or woman becomes proficient at something, he or she can show that skill off in polite company, though without conceit. Being what modern people would call "cool" is a key component of the Renaissance ideal. Castiglione calls that feature "nonchalance," and the Renaissance man and woman should be talented and modest at the same time."
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High Renaissance, 2004.
An insight into the High Renaissance era of art history.
1,168 words (approx. 4.7 pages), 10 sources, MLA, £ 28.95
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Abstract
This paper discusses the Renaissance movement, which took place in Europe from the early 14th to late 16th century, and witnessed a revival of interest in the values and artistic styles of classical antiquity, especially in Italy. In particular, it looks at how the culmination of the artistic revolution of the Early Renaissance led to what is now known as the High Renaissance to signify the period of explosion of creative genius, producing as it did the work of great artists, such as Leonardo da Vinci, Raphael, and Michelangelo. It examines how High Renaissance Art touched unparalleled heights of creative expression because it brought the artist?s personal expression into well-established techniques and style, thereby increasing the dramatic force and physical presence of a work of art . It also shows how an essential characteristic of High Renaissance Art is seen as its unified balance between technical skill and the artist?s intuition or personal expression.
From the Paper
"Leonardo da Vinci?s The Madonna of the Rocks exists in two, nearly identical versions; one, entirely credited to Leonardo, in the Louvre, Paris and the second, considered a collaboration because of its distinctly sixteenth century characteristics of larger figures, in London?s National Gallery. Both versions depict a supposed meeting of the Christ Child and the infant saint John. The painting shows the infant Baptist, sheltering under Mary?s cloak, venerating the Christ Child in a cool, watery wilderness. The figures, grouped in a pyramid, are glimpsed in a dimly lit grotto setting of rocks and water, a setting that inspired the work?s name."
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Renaissance, 2007.
This paper provides an examination of the Renaissance period.
1,730 words (approx. 6.9 pages), 3 sources, MLA, £ 39.95
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Abstract
In this article, the writer notes that for most historians and scholars, determining exactly when the Renaissance Period began has proven to be very difficult, but the majority believe that the embryo of the Renaissance era began in the early 15th century. The writer discusses the Renaissance period when the most influential men and women were those who, as a combined force, literally changed the way that humans think about the natural world and their existence within it. The writer maintains that the Renaissance period was indeed a time of triumph and artistic mastery and greatly shaped and convoluted the then known world. Further, the writer relates that it witnessed the growth and development of architecture, sculpture and painting as never before in the history of Western civilization. The writer concludes that the masters of the Renaissance created what today is called fine art.
From the Paper
"The grandson of Cosimo de Medici was Lorenzo the Magnificent who went far beyond his grandfather in regards to accumulating masterpieces of art and the men who created them. As a poet, Lorenzo gathered about him an immense plethora of artists from all fields of study and extended his grandfather's library at Florence which helped to establish one of the first European centers for academic instruction in the arts, known as the Platonic Academy of Philosophy. Lorenzo also spend huge sums of money on the refurbishment of buildings and festivals dedicated to the arts."
"Thus, through the combined power and influence of the de Medici, the city of Florence became one of great beauty and stood as the capital of all the arts in Europe for more than two hundred years. Also, this flourishing of the arts in Florence resulted in tremendous growth in other European cities and extended well into the northern regions of Europe to create what is known as the Northern Renaissance."
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, £ 24.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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Irish Renaissance, 2005.
A look the Irish Renaissance of literature and culture at the end of the nineteenth and beginning of the twentieth centuries.
1,203 words (approx. 4.8 pages), 3 sources, MLA, £ 29.95
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Abstract
This paper explains that many of the writers of the Irish Renaissance often memorialized the new nationalist sentiments arising in Ireland and the increased tensions between Ireland and Britain in their writings. The paper notes that the Irish Renaissance was both a renaissance of Irish themes and a reminder that Ireland was not a full country with full autonomy, creating a tension that many of the writers would explore in their works.
From the Paper
"For example, William Butler Yeats is identified with the mythology of early Ireland, and his works feature the stories of the Irish hero Cuchulain in particular. This mythic background is part of what gives the poet his distinctive voice. At the same time, the poet often chafes against the mythology, as if the truths it shapes for him were false. Yeats made reference to other mythologies as well, notably those of the ancient Greeks and Romans, but he seemed less concerned with those references, perhaps because he knew that those mythic stories were better known to the world at large. He may have feared that his poetry was understandable only to the Irish and not to the world at large. Yeats expresses his love for his country and its people and does so in poetry that elevates nature while finding the other-worldly in that nature at the same time, which is often where the mythology enters as well."
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Italian Renaissance and Artists, 2004.
An examination of the influence that Leonardo da Vinci, Michelangelo, and Raphael had on the European culture during the Renaissance.
2,508 words (approx. 10.0 pages), 9 sources, MLA, £ 54.95
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Abstract
Renaissance (?Rebirth?) refers to the period after the Middle Ages when a series of dynamic intellectual, cultural, and artistic movements, from the 14th to 16th century, catapulted Europe towards rapid development, leading to the Age of Enlightenment, the Industrial Revolution and modern times. During this rich period of exciting developments in arts, sciences, and politics, Italy was the major catalyst and became the cultural leader of Europe. It also produced several outstanding artists, such as Leonardo da Vinci, Michelangelo, and Raphael, who changed the face of European art forever and are worthy representatives of the Renaissance era. This paper is about the Italian Renaissance and the impact of the three great artists on European culture.
Outline
Background
Italian Renaissance and its Emphasis on Art
Leonardo da Vinci (1452-1519)
Michelangelo Buonarroti (1475-1564)
Raphael (1483-1520)
Conclusion
From the Paper
"The period following the eclipse of the Roman Empire around 500 AD until the start of the ?Renaissance? at the start of the 14th century is known in history as the Middle Ages of Europe. The period saw the rise of Christianity and the power of the Church that became a major influence in culture as well as politics. The Christian doctrine focused on salvation and the life hereafter and de-emphasized the worldly life and possessions. The period also saw the rise and spread of Islam, although most of Europe remained under the Byzantine Empire and a fragmented West. Italy?s cities and towns in general became largely depopulated and the country, as a whole, became a rural society after the fall of the Roman Empire. This situation lasted until the 11th-12th century when Italy?s strategic location on the trade routes between Western Europe and the Muslim world and Asia helped revive commercial and trade activity in the region."
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The Renaissance, 2002.
This paper examines the cultural, social and political transition of Medieval Europe through the Renaissance.
1,845 words (approx. 7.4 pages), 2 sources, MLA, £ 42.95
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Abstract
This paper explains that the Medieval Europeans wanted to restore their ancient heritage because of problems within their society; thereby, they molded parts of the Renaissance culture on the revival of their lost Greek and Roman heritage to find answers of faith, art and philosophy. The author points out that, because the Christian church was being overrun by corruption and he saw the need to revert back to a pure faith, Pico, a Renaissance philosopher, reconciled Platonic and Christian philosophy, stressing both the classical emphasis on human responsibility in shaping society and the religious trust in God's divine plan. The paper stresses that the Renaissance not only brought about imitation but also created new philosophies and saw the beginning of a religious revolution challenging the Catholic Church such as Martin Luther and John Calvin.
From the Paper
"The Renaissance saw the re-establishment of Greek and Roman culture. This revival of the "Golden Age" blossomed from the hope of a better society. During the Middle Ages, a period of chaos and problematic situations began to evolve. Such catastrophes as the Black Plague, famine, holy wars, and political upheavals, led many people to seek comfort and answers from ancient Greece and the great Roman Empire. Turning to these civilizations, they found great significance in areas such as art, family, education, economic and political stability, as well as religion. These pieces of the "old world" proved important due to the disarray that their societies existed in. The model of Greek and Roman life became a solution in the hunt for a more peaceful and intellectual existence. Many humanists were the catalyst for an education and literary rebirth of Roman writings."
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Comparing the Renaissance and Baroque Eras, 2006.
This paper explores and details items that may be found in a time capsule that reflect world events and cultural patterns from the Renaissance and Baroque eras.
1,079 words (approx. 4.3 pages), 6 sources, APA, £ 26.95
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Abstract
This paper examines the art and cultural developments during the Renaissance and Baroque eras. The writer of this paper describes articles that could be found in a time capsule from the Renaissance era as a rebirth of culture and a renewed interest in the ancient civilizations of Greece and Rome while explaining that the Baroque era grew from the Renaissance to promote an individualistic connection with God and spirituality as well as more appeal to emotions and drama. The items from art, music, architecture, philosophy and literature found in the time capsules are indicative of the events taking place during these two time periods.
From the Paper
"The Renaissance represents the time period between the Middle Ages and the Reformation - roughly the 14th century through the 15th century. Many historians view the Renaissance as a period of intellectual and artistic rebirth in which European culture thrived. The arts would likely be represented in the Renaissance time capsule by oil paintings on canvas or by sculpture. The work of artists such as Da Vinci who use shadow and light to portray three dimensions in their paintings are likely to be found in the time capsule. As such, we could expect to find Da Vinci's Mona Lisa painting. We may also find a sculpture by Michelango such as his famed David sculpture which represents beliefs during the Renaissance about beauty in the nude form being a reflection of God's power."
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The European Renaissance, 2005.
This paper discusses that the influence of the classical world on the European Renaissance was considerably more profound than is often realized.
2,690 words (approx. 10.8 pages), 12 sources, MLA, £ 57.95
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Abstract
This paper explains that the Renaissance marked the first time in centuries that Europeans had launched anything like a concerted and scientific attempt to investigate and record the past. The author points out that, in rediscovering the works of the great Classical historians such as Tacitus, Livy and Herodotus, the scholars of the later Middle Ages and Early Renaissance were digging into more than simply a huge treasure-trove of information; they were also unearthing a long-lost method of logic and inquiry. The paper stresses that, in reexamining these ancient histories, the great minds of the Renaissance were beginning to set limits on what was acceptable and what was not acceptable in academic research, to be critical of the material, not always automatically assuming that all was correct, the recorder of that material had been unbiased or had even been properly qualified to give the information at hand. Several long quotations.
From the Paper
"The Renaissance's discovery of the concept of historical perspective was to have dramatic consequences at the time, but even more astounding consequences for the future. The realization that actions had direct consequences, that a provable pattern actually existed, forced human beings to look at, and analyze their actions. Things could be seen to work because they truly made sense; and those things that "did not make sense" could be dispensed with - dispensed with the full understanding of what it was that was wrong with them. Our generation has inherited the taste for scientific experimentation that began in those far-off centuries. A reliance on the firm belief that there is a real logic to the world, and the cosmos, has permitted us to make discoveries that would have been impossible for our ancestors."
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Pope Martin V and The Roman Renaissance, 2001.
Examination of the life of Pope Martin V after his coronation as Pope in what began the Roman Renaissance.
7,168 words (approx. 28.7 pages), 9 sources, MLA, £ 114.95
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Abstract
This research paper focuses on the life of Pope Martin V after his coronation as Pope in 1417, thus beginning the era of the Roman Renaissance. The paper examines how he laid the foundations for the Renaissance, the radical changes that took place in culture and society during the Renaissance and how Pope Martin V continued to influence these changes even after his death.
From the Paper
"The Renaissance was an exciting, albeit confusing for some, time in European history. It produced many great masters of artistry and influenced later reformations of the church and of government. It is proof that radical changes in culture and society are long-standing and affect many generations to come. Pope Martin V could not possibly have known that his election would go down in history as the end of the Great Schism and the beginning of what history would call the ?Renaissance.? Those who are living during a time period cannot fathom that someday, that era will be famous for its culture, art, ideals, and diversions. Had Pope Martin V lived to see the Renaissance, he might have been a bit alarmed at the radical change from a focus on the religious to a focus on the secular. Being an open-minded man, however, Martin most likely would have appreciated the great artistry of the Renaissance. Even if he didn?t embrace it with open arms, Martin would have come to an understanding with those who did."
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Renaissance Sculpture, 2002.
Compares the "Davids" by Donatello and Michelangelo to show how both pieces epitomize their periods and styles.
1,722 words (approx. 6.9 pages), 4 sources, MLA, £ 39.95
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Abstract
The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of ?High? signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello?s earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period?s hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello?s and Michelangelo?s statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper
"Moreover, Donatello?s David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo?s later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero?as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello?s, Michelangelo?s David sports a barely noticeable sling."
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