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The Patronage System and Renaissance Literature, 2007.
An overview of the influence of the patronage system on English Renaissance writers.
2,603 words (approx. 10.4 pages), 11 sources, MLA, £ 47.95
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Abstract
This paper provides an overview of why, in "Self-Crowned Laureates," Richard Helgerson places English Renaissance writers within a patronage system that frequently influenced the content of their works. To this end, an analysis of Ben Jonson's poem "To Penshurst" and his "Masque of Blackness"; Aemilia Lanyer's poems "The Description of Cooke-ham" and "Salve Deus Rex Judaeorum"; John Milton's masque "Comus," and Mary Wroth's "Urania" is conducted to determine what or why these works were written, as well as the specific patrons that provided these Renaissance writers with political or social favors or monetary remuneration in exchange for their services. An assessment of how women writers from this era frequently dedicated their writings to powerful figures is followed by an analysis of how the appeal to a patron authorized these writers to act and the manner in which these poets advance themselves socially through their art. A discussion of how class difference troubled or enhanced these writers is provided in the conclusion.
Outline
Introduction
Review and Discussion
Conclusion
From the Paper
"The patronage system under which Jonson created was one in which he was compelled write for the gentry but he was not that happy about it, because he thought himself the better person because of his talent, whereas the aristocracy had money but not talent. Yet he had to write such works as "To Penshurst" just to make a living and in the hopes, too, that he could raise up in society. In this regard, Loewenstein and Mueller (2002) report that, "Literature became the unofficial currency of the patronage system - well-turned sonnets, graceful compliments and effusive book-dedications being among the recognized ways by which hopeful candidates would present themselves for the job. Patronage came in all shapes and sizes, from permanent positions to more sporadic offerings, gifts or payments in kind" (346). In this regard, Briggs (1997) emphasizes that Jonson's poem, "To Penshurst," is absolutely rife with effusive praise for one such landholder who was deemed benevolent simply by virtue of not being evil. "
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The Cultural Patronage of the De' Medici, 2002.
An examination of the contribution of the De' Medici family in 15th century Florence, Italy to the Renaissance.
1,687 words (approx. 6.7 pages), 7 sources, APA, £ 32.95
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Abstract
This paper discusses how in the early 15th century, the city of Florence took cultural command of Italy and inaugurated the Renaissance, a period highlighted by great achievements in the arts and architecture. It looks at how the Medici, bankers to all of Europe, became such lavish patrons of the arts that to this day the name of Medici connotes any generous patron of the fine arts and thus, the history of Florence cannot be separated from the House of the Medici.
From the Paper
"Scarcely any great architect, painter, sculptor, philosopher or humanist scholar was unknown or unaffected by the power and influence of the Medici family. Cosimo de' Medici began the first public library since the ancient world (comparable to that at Alexandria), and it has been estimated that in the course of thirty years that Cosimo de' Medici and other members of his family spent almost $20,000,000 for manuscripts and books, a clear indication of the financial power behind the establishment of humanism in the Renaissance era. However, Cosimo de' Medici, always the careful businessman with a keen eye for what was truly beautiful and worth supporting, was not sentimental about his endowment of art and scholarship, for he once stated that his good works were "not only for the honor of God but (also) for my own remembrance." "
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The Art of Kano Tanyu, 2002.
Explores the function of patronage and aesthetics in the art of 17th century Japanese artist Kano Tanyu.
1,150 words (approx. 4.6 pages), 3 sources, £ 26.95
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Abstract
This essay - discussing the life and art of Kano Tanyu (1602-1674) - will argue that Tanyu represents a classic example of the function of patronage in the production of art. In 17th century Japan the styles and subjects of art differed depending upon the class who were to be the designated audience for the art. The Kano family had tied its fortunes to the ruling Tokugawa clan from an early date; Tanyu's artist father having moved to Edo at the order of the shogun.
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Shakespeare, 2004.
An analysis of the literary work of William Shakespeare and the issue of patronage.
1,022 words (approx. 4.1 pages), 3 sources, MLA, £ 21.95
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Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.
From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."
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Medici Family, 2005.
A discussion of the art patronage of the Medicis during the Baroque period.
2,875 words (approx. 11.5 pages), 8 sources, MLA, £ 51.95
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Abstract
The history of the Medici family in Italy clearly illustrates the difference between a true patron and a collector of fine art. This paper explains that with the collector, new artistic movements are, at times, very difficult to locate, which inevitably leads to the collector amassing works of art based on certain styles and motifs or even specific painters or sculptors from various artistic periods. The writer points out however that with the patron, such as Cosimo I and Lorenzo the Magnificent in the Renaissance and Cosimo III and Cardinal Leopoldo in the Baroque era, the almost in-born desire to vigorously encourage the development and spread of fine art is without competition, for the patron is truly the purveyor of artistic history, at least in western civilization.
From the Paper
"Of course, when the Medici family did finally expire in the mid 18th century, the great artists, such as Michelangelo, Da Vinci, Brunelleschi and Bernini, had also expired and their successors, although very talented and inspirational, did not possess the genius of these men which may help to explain why patronage itself waned after the Baroque era. In addition, it could be said that without the Medici family and its enormous wealth and prestige the Renaissance and Baroque eras might never have existed. Thus, the Medici, along with other prominent art patrons, allowed for the formation of several outstanding art periods which not only helped to create and foster great talent but also made it possible for the common, everyday man or woman to gaze in awe at their works of wonder and contemplate the very nature of their creators and those that supported them without question or authority."
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Lorenzo De Medici & Italian Art, 1997.
Cultural background, role of Medici patronage in art of Renaissance in Florence, politics, humanism, major artists & works.
1,575 words (approx. 6.3 pages), 11 sources, £ 33.95
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From the Paper
"The purpose of this research is to examine Lorenzo de' Medici and the arts in Florence during the Italian Renaissance. The plan of the research will be to set forth the historical context in which Florence and the Medici family became relevant to the emergence of Italian Renaissance art, and then to discuss the shape and significance of Medici influence on the phenomenon.
In order to appreciate the significance of Lorenzo de Medici for the Renaissance and for the arts of the period, it is first necessary to examine how the concept emerged in Europe, setting the stage for Medici influence. The Renaissance refers to the period, beginning as early as the fourteenth century, when the culture of Western civilization made transition from medievalism to modernism. Kirchner says that it dates from 1350 and "was distinguished by a spirit of confidence in man's achievements and .."
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Art in 15th Century Florence, Italy, 2001.
Reasons for flowering of art, political background, Medici family patronage.
2,700 words (approx. 10.8 pages), 10 sources, £ 57.95
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From the Paper
"The reasons for the extraordinary flowering of art in fifteenth-century Florence are extremely complex and range from the prosperity and cosmopolitanism of the city to the humanists' new ideas about humanity and new relationship with antiquity to the earliest stirrings of the modern concept of the artist. One undoubted source of the sheer volume of Florentine art and its innovative nature is the demand formulated by the city's patrons--guilds, confraternities, churches, religious orders, civil government, and, above all, the Medici Family--with its special devotion to the ideal of magnificence--and the many other wealthy Florentines who imitated them. In the midst of their prosperity and under the influence of evolving ideas fifteenth-century Florentines became a new kind of consumer and their patronage facilitated the extraordinary performance of art as "it underwent.."
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President James K Polk, 1991.
This paper discusses the presidential career of James K. Polk (1845-49): Land acquisitions, war against Mexico, leadership style, party patronage, dealings with Congress, foreign policy, judicial issues and public opinion.
3,600 words (approx. 14.4 pages), 8 sources, £ 76.95
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From the Paper
"This paper will be concerned with the presidential career of James K. Polk. It will evaluate various aspects of Polk's presidency in order to arrive at an overall assessment of his effectiveness. James Knox Polk was born in North Carolina in 1795. After graduating from the University of North Carolina, Polk became a respected lawyer in the state of Tennessee. By age thirty, Polk had become a member of the House of Representatives, and ten years later he was elected Speaker of the House. In 1839, Polk was elected to the governorship of Tennessee. In 1841 and 1843, he tried unsuccessfully to be re-elected as governor. In 1844, Polk gave up on the governorship and entered the Democratic national elections as running mate under presidential hopeful Martin Van Buren. Van Buren had already served as president from 1837 to 1841. In 1844, the former president ...
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Lorenzo De' Medici,, 1997.
Life, education, philosophy, writings & artistic patronage of head of 15th Cent. Italian Renaissance family.
1,800 words (approx. 7.2 pages), 7 sources, £ 38.95
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From the Paper
"In the fifteenth century, the Medici family rose to power in Florence from an undistinguished background. Like most of the Renaissance rulers in Italian towns, the Medici became prominent patrons of learning and the arts. In the rapidly expanding cities, the merchant guilds, mendicant orders, and leading families saw patronage as a means of expressing both their growing wealth and power. The arts were good for the cities' economy and prestige, and, for an obscure family like the Medici, such sponsorship increased their personal prestige. In the fifteenth century, "merchants turned into courtiers" (Kempers 15). No matter whether they were particularly interested in scholarship or the arts, the families also began to value patronage because it demonstrated their cultured attitudes. Men like Cosimo de' Medici spent heavily on public works because.."
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Rococo Painting, 1995.
Examines the sociohistorical development of the 17th Century-18th Century French style, focusing on the works of Francois Boucher and Jean-Honore Fragonard. Discusses the role of the Royal Academy, patronage, interior reality, colors and major works.
3,375 words (approx. 13.5 pages), 14 sources, £ 71.95
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From the Paper
"Rococo. The very term has become commonplace as the synonym for "decorative," "frilly" and "frivolous" art. That in itself is a step up from its origins as a derogatory term derived from the French word rocaille. The original invention of the term in the early 1800s was essentially a caricature, a satirical disparagement which consigned the entire Rococo period (circa 1680-1775) to being little more than an architectural style of playful decoration.. Likewise, our contemporary art historians and critics are rarely kind to the Rococo style - and are particularly hard on its artists. "The eighteenth century," one college text proclaims,. "did not produce a single figure in the visual arts to rank with the universal masters of previous epochs." Like all such sweeping generalizations, both criticisms - new and old - miss key elements in the character of Rococo ..."
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The Renaissance in Italy, 2006.
Theories behind the Renaissance in Italy.
797 words (approx. 3.2 pages), 6 sources, MLA, £ 16.95
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Abstract
In this paper the author examines the four conditions that brought about the Renaissance in Italy: geographic location; the rise of Christianity and humanism; the existence of artisan and craftsmen's guilds; the patronage of wealthy nobles and the Papacy. The paper concludes with the idea that the Renaissance began in Italy because at that time and in that place there existed an assortment of conditions that fostered creative thinking, valued the output of genius and rewarded it with money, fame and opportunity.
From the Paper
"One element of the Renaissance is the individual genius of the individual. Great thinkers produced vigorous debate on philosophical issues. The advances made during the period in the fields of science and mathematics were on a par with the most visual artistic achievements of the time. The works of Michelangelo and da Vinci and others remain unmatched by anything in the field of art today. Although the existence of genius may be circumstantial, the existence of so many creative geniuses in one place at one time must be linked to factors that were common to all of them."
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How to Make Black America Better, 2006.
This paper reviews and examines the 10 challenges facing black Americans as detailed in Tavis Smiley's "How to Make Black America Better: Leading African Americans Speak Out."
939 words (approx. 3.8 pages), 0 sources, £ 19.95
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Abstract
The writer of this paper contends that Tavis Smiley's "How to Make Black America Better: Leading African Americans Speak Out" is a cry for black Americans to support their communities and respect themselves. This paper details the 10 challenges in Smiley's book, most of which focus on issues such as education, money and health. This paper analyzes the author's contention that black Americans, compared to whites, are at an overall disadvantage. This paper examines many of the essays in the book, penned by various writers, which deal with racism, ridicule and disrespect for no other reason than race. Among the many concerns, other than health, poverty and education, this book discusses the need for political involvement and the patronage of black businesses which is still a major obstacle that African-Americans need to overcome.
From the Paper
"Some of this discrimination is intentional, but there is also discrimination that is not deliberate, but simply happens because of the way that laws are written or the way that things have always been done. This is the kind of discrimination that should be addressed and changed, because it can be altered much more easily than dealing with the hatred of a few people that will always discriminate as much as they can get away with, as often as they can. Smiley's collection of essays indicate that this type of hatred cannot really be stopped or avoided, but that there are always legal and reliable ways for black Americans to do well and succeed if that is the path that they choose. The essays also show that black Americans must be made aware of this path and that they have the option of being more than what they are."
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The Corruption of Innocence in Literature, 2005.
Examines the theme of corruption of innocence in works by Mary Shelley, Charles Dickens and William Yeats.
1,382 words (approx. 5.5 pages), 3 sources, MLA, £ 27.95
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Abstract
Since the late 1700s, literature has progressively moved from the private to the public domain. As writers became less dependent on patronage and started making a living selling directly to the public, their rhetoric began to reflect the changing attitudes of the public. Recognizing the mass appeal of their work, authors began writing for the purpose of illustrating a problem in the society that needed to be addressed. Although the style of writing differed during the Romantic, Victorian and Modern periods, there remained a static interest in the corruptibility of innocence. Mary Shelley, Charles Dickens, and William Yeats each wrote on the notion of innocence, but the manner in which innocence is corrupted in their works is directly related to the new ideas and problems of the society in which they lived.
From the Paper
"Clearly, Frankenstein allowed his emotions to take control of his actions. A logical person would not leave a helpless creation to fend for itself. Also, Frankenstein was so overjoyed when he discovered that the monster had fled his house during his absence that he completely abandons the logical notion: "if the monster's not here, it's out there." The creature, as a result of being left alone, exemplifies the importance Shelley places on the environment's ability to shape one's personality and to corrupt one's innocence."
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President Andrew Jackson, 2007.
This paper discusses Andrew Jackson and his influence on the U.S. Presidency.
2,790 words (approx. 11.2 pages), 8 sources, MLA, £ 50.95
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Abstract
This paper explains that Andrew Jackson, seventh President of the United States, was the first President to attain office from outside the inner circle of presidential politics and the established procedure for advancement, the first President from the "new" West and from a state other than the original thirteen and the first President to be a self-made wealthy frontier gentleman. The author points out that Jackson used his magnetism to change the presidency. The paper relates that the Jacksonian presidency asserted the independence of the executive from the other two branches of government by making liberal use of the presidential veto, by turning to the party organization to maintain and to extend his power and by reducing the power of the cabinet and patronage.
From the Paper
"After subduing Florida and serving briefly as governor of that new territory, Jackson moved easily with the changing tides of national politics and in rapid order was, again, United States senator, presidential candidate, party leader, and president-elect, the oldest person thus far elected to that office. Beginning on a chaotic Inauguration Day, the "day of the people," Jackson brought to the presidency a strong, resourceful, and ambitious personality, revealed in a commanding and dignified presence which had both a charismatic ability to charm and an ability to offend. He was clearly in command of the White House and from that day to this has been a controversial figure."
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