Podcast appearances and mentions of erwin panofsky

Pietro Conte"Il sublime astratto"Johan & Levi Editorewww.johanandlevi.comL'incomprensione è parte integrante delle relazioni umane, e quando a comunicare sono Erwin Panofsky, il massimo teorico dell'iconologia medievale e rinascimentale, e Barnett Newman, esponente e principale teorico dell'Espressionismo Astratto, il disastro è assicurato. Soprattutto se nessuno è intenzionato a scendere a patti.Una polemica attorno al termine “sublime” dà il la per una riflessione molto più ampia sullo stato dell'arte aniconica. Negli Stati Uniti in particolare questa si è voluta annunciare completamente aliena non solo nei confronti della tradizione figurativa e delle categorie del bello formale e del classicismo di stampo europeo, ma anche rispetto alla stessa arte astratta del Vecchio Continente. L'astrattismo americano aveva come obiettivo principale quello di liberarsi da ogni proporzione e dalla rigidità delle forme e della geometria, senza per questo rinunciare al contenuto, aspetto che critici e teorici come Panofsky faticavano anche solo a immaginare.In questa antologia di saggi, curata da Pietro Conte, emergono le posizioni di sostenitori e detrattori di quella corrente che ha posto come obiettivo la costante ricerca, il tentativo di suscitare un terrore mescolato al piacere, con la perdita di tutte le coordinate e i punti fermi, esprimendo ancora, ma in modo completamente nuovo, il sublime.Pietro ConteInsegna Estetica all'Università Statale di Milano. Le sue ricerche vertono principalmente sui concetti di iperrealismo, illusione e immersività, nonché sulle differenti pratiche di contestazione e superamento delle tradizionali soglie divisorie tra immagini e realtà.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

¡Vótame en los Premios iVoox 2024! Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes

Primera parte de una serie de ensayos dedicados a la perspectiva como forma simbólica y virtual. Partiendo del conocido texto del historiador del arte Erwin Panofsky profundizaremos en la generación de un universo digital creado a partir de las teorías abstractas que rodean a la perspectiva desde el mundo antiguo, Grecia, Roma, pasando por el arte medieval y llegando al Renacimiento. Juntamos historia, historia del arte, pintura, fotografía, filosofía y matemáticas para entender mejor el mundo que nos rodea y el porqué de la estética contemporánea en los videojuegos, analizados siempre como expresión artística de nuestra época. ¿Conoces alguna referencia que pueda aportar más información al vídeo? ¿Tú qué opinas sobre este tema? Te leo aquí abajo.

In which I talk about the Gothic cathedral as an exercise in the medieval synthesis of faith and reason. Bibliography: Blackwell, Albert L. The Sacred in Music. Cambridge: The Lutterworth Press, 1999. Bork, Robert. The Geometry of Creation. New York: Routledge, 2011. Lewis, C.S. The Discarded Image. New York: Cambridge University Press, 1964. Grant, Edward. God and Reason in the Middle Ages. New York: Cambridge University Press, 2001. Guite, Malcolm. Faith, Hope and Poetry: Theology and the Poetic Imagination. New York: Taylor & Francis Group, 2016. Panofsky, Erwin. Introduction to Abbot Suger, by Abbot Suger, 1-37. Edited and translated by Erwin Panofsky. Princeton, NJ: Princeton University Press, 1979. Taylor, Charles. A Secular Age. Cambridge, MA: Harvard University Press, 2007. Von Simson, Otto. The Gothic Cathedral. New York: Harper & Row, 1964. Beneath The Willow Tree is a podcast dedicated to the pursuit of Truth through wisdom and imagination. Join host Sophie Burkhardt as she, fuelled by wonder and a quest for the beautiful, explores philosophy, theology, the arts and all things worthy of thought beneath the willow tree. If you might ever be interested in talking about any such things, or a specific book or movie, etc. please reach out to me at sdburkhardt321@gmail.com

Cemetery Symbolism is often the hook that lures people into the cemetery world. What is it? What does it mean? Symbols and how they are interpreted is a complicated and much debated topic in art history. Email: Tombwithaviewpodcast@gmail.comFacebookInstagram

Renowned curator, and a trailblazer of “usefulness” in art, Alistair Hudson is the forthcoming Artistic & Scientific Chairman of ZKM (Center for Art & Media in Karlsruhe.Alistair Hudson grabbed everybody's attention when - with Adam Sutherland - he turned Grizedale Arts, an art institution in Northwest England's Lake District, into a hotspot of artistic discussion and production between 2004 and 2015. A directorship followed, at the Middlesbrough Institute of Modern Art. There he developed the idea of the useful museum, opening up questions on how the museum ‘can be used' otherwise; simultaneously reflecting on a wide collection as well as new commissions and projects. In collaboration with the artist Tania Bruguera the Van Abbemuseum and Queens Museum, he got involved in the exhibition "Museum of Arte Util", later undertaking the role of co-directorship of the Association de Arte Útil that resulted from the exhibition. This project has become a repository of artistic activities that propose new uses for art, work on a 1:1 scale, and embrace artistic thinking to respond to urgencies, in short, all things dear to Ahali Conversations so far. This Episode includes additional questions by Betül Aksu, Ceminay Kara, Sarp Özer, and Alessandra Saviotti.Over the last two decades, Grizedale Arts has become an acclaimed and influential model for a new kind of art institution, one that works beyond the established structures of the contemporary art world.Liam Gillick works across diverse forms, whose wider body of work includes published essays and collaborative projects, all of which inform (and are informed by) his art practice.The British Home Office (the UK ministry responsible for immigration, security, and law and order) building was designed by Terry Farrell and has multiple integrated artworks by Gillick.Terminal Convention was a contemporary exhibition and symposium housed in the decommissioned terminal building of Cork International Airport in the Republic of Ireland. https://rhizome.org/editorial/2011/apr/07/terminal-convention/Arte Útil roughly translates into English as 'useful art' but it goes further suggesting art as a tool or device.https://www.arte-util.orgTania Bruguera is a politically motivated performance artist, who explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. https://art21.org/artist/tania-bruguera/The Van Abbemuseum in Eindhoven is one of the leading museums for contemporary art in Europe. https://vanabbemuseum.nl/enCharles Esche is a museum director, who has been directing the Van Abbemuseum since 2004.John Ruskin was an English writer, philosopher, art critic, and polymath of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany, and political economy. WikipediaThe ZKM (Center for Art and Media) in Karlsruhe “is a house of all media and genres, a house of both spatial arts such as painting, photography and sculpture and time-based arts such as film, video, media art, music, dance, theater, and performance. ZKM was founded in 1989 with the mission of continuing the classical arts into the digital age. This is why it is sometimes called the digital Bauhaus”. https://zkm.de/enPeter Weibel was a post-conceptual artist, curator, and new media theoretician. He was at the helm of ZKM since 1999. Weibel passed away in March 2023, shortly after the recording of this episode. Arts Council is UK's national development agency for creativity and culture. They invest public money from Government and The National Lottery into cultural institutions and projects. https://artscouncil.org.ukRainer Rochlitz (1946-2022) was a philospher, art historian focusing on aesthetics theory, and a translator who played a key role in publicizing the writings of German authors such as Benjamin and Habermas.Jürgen Habermas is one of the key theorists of the 20th century, with his widely read and influential works on communicative action, discourse, and perhaps most importantly on the “public sphere”. Erwin Panofsky was an influential art historian. https://en.wikipedia.org/wiki/Erwin_PanofskyJean-Luc Godard (1930-2022) probably needs no introduction, he was a filmmaker who pushed the medium to its limits while remaining relevant and influential, throughout his whole time on this earth. Onur Yıldız is a political theorist who also was the Senior Public Programmer at SALT, Istanbul.For more on Meriç Öner, head over to our conversation with her: https://www.ahali.space/episodes/episode-17-meric-onerStephen Wright defines “usology” as “a sweeping field of extradisciplinary enquiry, spanning everything from the history of the ways and means of using to usership's conditions of possibility as put forward in various theories of practice”.https://museumarteutil.net/wp-content/uploads/2013/12/Toward-a-lexicon-of-usership.pdf Alessandra Saviotti, a frequent contributor in our Ahali Live Sessions, co-authored this article on the usological turn: https://www.mdpi.com/2076-0752/11/1/22This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on December 15th, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

Última aula da série acerca do livro de Erwin Panofsky. Neste episódio, Douglas Lisboa estará discorrendo sobre o conceito de ideia no neoclassicismo.

Erwin Panofsky mostra como a arte renascentista causou um sentimento de insatisfação nos artistas entre 1520 e meados do mesmo século iniciando um movimento chamado maneirismo.

Nessa aula, Douglas Lisboa estará expondo o desenvolvimento do conceito de ideia dentro do hábito mental da sociedade medieval segundo Erwin Panofsky.

Início de uma série sobre filosofia da arte baseada na obra de Erwin Panofsky sobre o conceito de ideia em diferentes épocas da teoria da arte.

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries.

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

En 1527, las tropas del emperador Carlos V se plantaron ante las puertas de Roma. Conformadas por un buen número de luteranos, la animadversión mutua entre el emperador y el Papa Clemente VII propició que los soldados protestantes y, con ellos, el resto del ejército imperial saquearan la ciudad durante varios días. Aquel saqueo conmocionó a toda Europa Occidental. Desde los lejanos tiempos de Carlomagno, el emperador era el garante de la seguridad de los Papas y en ese año de 1527 fueron los ejércitos imperiales los que estuvieron a punto de asesinar al Sumo Pontífice. Pero además, ese saqueo puso un punto final al intento de los Papas por dominar Italia y construir un Estado propio, algo que ya tuvimos ocasión de ver con más detalle en La ContraHistoria cuando vimos el arte del alto Renacimiento, un alto Renacimiento que concluyó de manera brusca e inesperada ese mismo año de 1527. A partir de ahí, era necesario restaurar, por un lado, la relación entre el Emperador y el papado y, por otro, la propia autoridad papal totalmente cuestionada por la reforma protestante que acababa de dar comienzo en Alemania. El arte no fue ajeno a estas convulsiones, a lo largo de las siguientes cuatro décadas, hasta el final del concilio de Trento, los artistas se enfrentaron a una realidad convulsa que les obligó a adaptarse a las situaciones más diversas: desde los que pretendieron seguir los parámetros del alto Renacimiento hasta los que trataban de innovar, pasando por los que se aferraban con fuerza a las tradiciones medievales. En estos años centrales del siglo XVI, los historiadores del arte consideran que se forjó un estilo llamado manierismo que, unos años más tarde, terminaría por ponerse al servicio de la contrarreforma católica. Pero si los estilos artísticos, como recetarios que seguían los artistas de un momento determinado, suelen ser corsés que revientan con facilidad cuando se les enfrenta a la realidad, en el caso del manierismo ni siquiera es posible establecer ese recetario. Hoy con Alberto Garín vamos a tratar de desentrañar las claves del llamado estilo manierista en Italia desde el saqueo de Roma hasta el final del concilio de Trento. Bibliografía: - "Manierismo" de Andrea Baldinotti - https://amzn.to/3eZ6cEX - "Rafael entre el clasicismo y el manierismo" de Frederick Antal - https://amzn.to/3h7NihK - "Renacimiento y renacimientos en el arte occidental" de Erwin Panofsky - https://amzn.to/3us3EFN - "Tiziano" de Ian Kennedy - https://amzn.to/3xRfrzA - "Miguel Ángel" de Gilles Néret - https://amzn.to/3f4Luno Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Episode 19 : Ecriture, architecture, féminisme : l'afrofuturisme dans Black Panther L'article original : Elisabeth Abena Osei, "Wakanda Africa do you see? Reading Black Panther as a decolonial film through the lens of the Sankofa theory", Critical Studies in Media Communication, 2020. --------- Les références citées dans l'article et mobilisées implicitement ou explicitement dans le podcast : Mark Dery, Black to the future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, Flame Wars: The Discourse of Cyberculture, p. 179–222. https://doi.org/10.2307/j.ctv1220m2w.12 Saki Mafundikwa, Afrikan alphabets: The story of writing in Africa, Mark Batty Publisher, 2007. Erwin Panofsky, Studies in iconology. Humanistic themes in the art of the renaissance, Westview Press, 1972. Niara Sudarkasa, “The status of women” in indigenous African societies. Feminist Studies, 12 (1), 1986, p. 91–103. --------- Pour aller plus loin : Le super podcast de RFI en 5 volets "Qu'est-ce que l'afrofuturisme" : https://www.rfi.fr/fr/emission/20190602-afrofuturismes-podcast-episode-1-black-panther Mbembe Achille, « Afrofuturisme et devenir-nègre du monde », Politique africaine, 2014/4 (N° 136), p. 121-133 Cezara Nicola, "A question of the sonic: problematizing Afrofuturism and its relation to Black Sound, with a case study of DJ Steloolive's performance art", Critical Studies in Media Communication, 37(4), 2020, p. 337‑349. Eva Ulrike Pirker et Judith Rahn, "Afrofuturist trajectories across time, space and media", Critical Studies in Media Communication, 37(4), 2020, p. 283‑297.

Você com certeza já ouviu que as imagens medievais serviam para (apenas) fins pedagógicos, certo? Pois então, isso não faz muito lá sentido... E para responder isso recebemos a professora Maria Cristina Pereira, da USP, para conversar sobre uma das fronteiras dos estudos medievais hoje: a história das imagens. Bora lá então desconstruir preconceitos e construir uma outra visão sobre o grande milênio medieval Links e Referências Maria Cristina Pereira (Lattes) - http://lattes.cnpq.br/6153091381585654 LATHIMMM: Laboratório de Teoria e História das Mídias Medievais - http://lathimm.fflch.usp.br/ Ut Intellegam O Nome da Rosa (Jean-Jacques Arnaud): longa brasileiro de 2004 que pode apresentar para o público a questão polifônica da narrativa histórica A Vida de Brain (Terry Jones): longa britânico de 980 cuja abertura apresenta algumas animações com inspiração das imagens medievais. Arquitetura Gótica e Escolástica (Erwin Panofsky): livro do historiador alemão Panofsky que estabelece uma relação entre a arquitetura gótica e a filosofia escolástica. Clicando aqui você pode comprar esse livro com desconto na Amazon. Idea: A evolução do conceito do belo (Erwin Panofsky): nesse livro, Panofsky faz uma historicização do conceito de belo dentro da história da arte. Clicando aqui você pode comprar esse livro com desconto na Amazon. Jabá do Bem HistoriCast: podcast sobre história e atualidades lá do Rio Grande do Sul. Você pode encontrar o HistoriCast nos links abaixo: Instagram: https://www.instagram.com/histori.cast/ Facebook: https://www.facebook.com/HistoriCast/ Contato: medievalissimo@gmail.com Conheça a nossa campanha de financiamento no Catarse Gostou desse podcast? Quer ajudar o Clio a produzir mais e melhores conteúdos? Entre em www.catarse.me/clio e conheça a nossa campanha de financiamento coletivo no Catarse, a partir de R$ 5,00 você já ajuda o Clio a se manter no ar e produzir mais conteúdos para vocês. Financiadores desse episódio: Beatriz Gomes, Bruno Machado, Cristina Lima, Fabiana Jimenez, Gabriel Bastos, Gui Aschar, Luiza Athayde, Natália Castilho, Paula Guisard, Rosana Vecchia, Suzana Athayde Para todos vocês, nosso muito obrigado! Acesse a @cliohistoriaeliteratura no PicPay e ajude a Podcasts Clio a produzir cada vez mais e melhores conteúdos para todos e todas. Siga o Medievalissimo nas redes sociais Instagram: @medievalissimo Telegram: t.me/cliohistoriaeliteratura

As a scientist, Tom's insight into religion and psychology balances his worldview given that he matriculated through both the sciences and philosophy. He says, that as soon as he began to see the world through a hand-lens, he was sold on physics, biology, entomology, evolution and ecology, and vertebrate zoology, but landed squarely in biology. Tom's primary area of interest began in complex systems. Access to an electron microscope in the biochemistry lab opened up Tom's understanding of the microscopic world that is within, around, and through us. He defines “complex systems” and uses this interest to look at religion and psychology. Tom asks why no one can predict what the Dow Jones is going to do tomorrow?” Because the economy is a complex system. Tom's “naïve love of biology” was the attitude that bade him to leave the early movement in bioengineering, which he deemed as morally repugnant, and sent him onto a path of recollecting his interests in philosophy and religion primarily to the work of Carl Jung, James Hillman, and Henry Corbin. Tom's love for Hillman is expressed from his seeking psychological diversity and Corbin for his grounding in the imagination. Tom departed from reductive science because his brain began to feel like a machine, cranking out facts, and this landed him in the exploration of the imagination. With this in mind, Tom recognizes the battle within him between the “humanist” and the “scientist.” He believes on some level that adopting an easy pluralism as a means for us each to deal with our tendency toward fundamentalist thinking and behaving. He has been actively undermining the tendency for any human to be motivated by any fundamentalism – which both Henry Corbin and James Hillman do. Good on you, Tom! Bio: Tom graduated from Connecticut College in 1974 with a B.A. in philosophy, magna cum laude, with coursework in history and the history of art, and received the Susanne Langer Award for Achievement in Philosophy. Among the most long-lasting influences were my reading of Hegel, Heidegger, Ernst Cassirer and Erwin Panofsky, as well as the ideas and the teaching of historian F. Edward Cranz. In 1997 Tom resigned from my teaching position and my family moved to Maine. He then began writing in earnest. Tom's first essay on Corbin was among those selected to receive a John Templeton Foundation Exemplary Essay Award in the “Expanding Humanity's Vision of God” Program in 2000. The following year he was one of six invited speakers at the Eranos Conference in Ascona, Switzerland, where Corbin had been a leading figure for many years. Tom's first book on Corbin, the imagination and related themes was published in 2003, and others followed in 2005, 2007, 2012 and 2015. In 2004 he was invited for the first of a series of lectures for the Temenos Academy in London. In the summer of 2007 Tom was honored to be elected a Fellow of the Temenos Academy. Website: https://sites.google.com/view/tom-cheetham/home?authuser=0 Theme music provided by: http://www.modernnationsmusic.com Band of the week: Centro-matic Music page: https://itunes.apple.com/us/artist/centro-matic/6557444 Will Johnson: http://www.will-johnson.com Learn more about this project at: http://www.thesacredspeaks.com Instagram: https://www.instagram.com/thesacredspeaks/ Twitter: https://twitter.com/thesacredspeaks

Patrice BoucheronCollège de FranceAnnée 2017-2018Histoire des pouvoirs en Europe occidentale, XIIIe-XVIe siècleFictions politiques (2) : nouvelles de la tyrannieAutoreprésentation et Bildpolitik : le pape Boniface VIII et l'accusation d'idolâtrie (Agostino Paravicini-Bagliani)Les légistes de Philippe le Bel, « cruels démolisseurs du Moyen Âge » (Michelet) : histoire d'une dissémination symboliqueDu pape Lucius III (m. 1185) à l'archevêque de Milan Ottone Visconti (m. 1295) : le monument funéraire comme expression de la dispute des pouvoirs« Avant même que le siècle ne s'achève, le cheval de Bernabò Visconti se fraya un accès à l'intérieur de l'église » (Erwin Panofsky, La sculpture funéraire, 1992)Nous t'avons vu, Bernabò Visconti : mue seigneuriale et « force de loi » (Jacques Derrida, 1994)Violence conservatrice et violence fondatrice de droit : biffer le nom Bernabò de la généalogie des Visconti ?Fontenelle, Dialogues des morts, 1683 : Erostrate et Démétrios de Phalère. Détruire, dit l'un ; bâtir, dit l'autre« La terre ressemble à de grandes tablettes où chacun veut écrire son nom. Quand ces tablettes sont pleines, il faut bien effacer les noms qui y sont déjà écrits, pour y mettre de nouveaux. Que serait-ce, si tous les monuments des anciens subsistaient ? »La fièvre statuaire de Démétrios de Phalère, le dérèglement du régime des honneurs et la ritualisation de l'outrage aux statues (Vincent Azoulay, « La gloire et l'outrage », Annales HSS, 2009)Les Pasquinades, ou l'éloge oblige des dédicaces parodiques (Faire parler et faire taire les statues, Rome, 2017)La tradition antique des épigrammes latins et les pratiques communales de la dérision : histoires de la vitupération et des vitupérateurs (Jean-Claude Maire Vigueur)Du Jules César de Shakespeare à Hillary Clinton : gouverner en prose, dominer en versLa statue parle : D'oro e d'argento coperto è il barone/Sur un cavallo bello e meraviglioso/E di fin oro si porta sperone/E par pur che sia vivo il valoroso (Matteo da Milano, Lamento funebre du Bernabò Visconti)La valorosa Vipera gentile : développement de la poésie encomiastique autour des ViscontiPourquoi des flatteurs ? Service de légitimation, autonomie et « mise en question critique » (Pierre Bourdieu, Méditations pascaliennes, 1997)Baccio Bracci, Soldan di Banbilonia e ceterà : quand Bernabò, chasseur impénitent, se transforme en loup-garou (per trasmutarlo d'uomo in bestial forma)De l'éloge de Milan à la gloire des Visconti : le Dittamondo de Fazio degli UbertiGiovanni Visconti come vero pastore e vera luce et la vita salvatica de Bernabò Visconti1385, la capture du captivant seigneurAntonio Medin et l'invention du Lamento di Bernabò ViscontiComplaintes, lyrisme et narration (Michael Fœssel, Le temps de la consolation, 2015)Les Lamenti après les Guerres d'Italie : prosopopée populaire et culture politique italienne (Florence Alazard, Le lamento dans l'Italie de la Renaissance, 2010)Toujours le Lamento di Bernabò Visconti : composition et codicologie (Marco Limongelli)Force et justice dans la « triste aventure » de Bernabò : de maiore sangue è manifesto/fe granda iustitia, como se rexonaUn buongoverno de la seigneurie ? Le précédent de l'éloge funéraire de Giovanni Visconti par Gabriele Zamorei da Parma, felicis domini, magnusque potensque tyrampnus (Andrea Gamberini, « Orgogliosamente tiranni », dans Andrea Zorzi dir., Tiranni e tirannide nel Trecento italiano, 2013)La requalification juridique de la notion de tyrannie d'après Bartolo da Sassoferrato (Diego Quaglioni)Les Florentins doivent-ils fêter la mort de Bernabò Visconti ? Les dilemmes de Coluccio Salutati et les ambiguïtés de la florentina libertasLes féroces chansons de Franco Sacchetti contre Bernabò Visconti : Più che Nembrot superbo, e più crudele/che non fu mai Galicola o NeroneNemrod, le pouvoir cynégétique et l'envers monstrueux du pouvoir pastoral (Grégoire Chamayou, Les chasses à l'homme, 2010)« Bien qu'il fut cruel, il y avait dans ses cruautés une grande part de justice » : Franco Sacchetti et la novellisation de Bernabò Visconti.

Patrice BoucheronCollège de FranceAnnée 2017-2018Histoire des pouvoirs en Europe occidentale, XIIIe-XVIe siècleFictions politiques (2) : nouvelles de la tyrannieAutoreprésentation et Bildpolitik : le pape Boniface VIII et l'accusation d'idolâtrie (Agostino Paravicini-Bagliani)Les légistes de Philippe le Bel, « cruels démolisseurs du Moyen Âge » (Michelet) : histoire d'une dissémination symboliqueDu pape Lucius III (m. 1185) à l'archevêque de Milan Ottone Visconti (m. 1295) : le monument funéraire comme expression de la dispute des pouvoirs« Avant même que le siècle ne s'achève, le cheval de Bernabò Visconti se fraya un accès à l'intérieur de l'église » (Erwin Panofsky, La sculpture funéraire, 1992)Nous t'avons vu, Bernabò Visconti : mue seigneuriale et « force de loi » (Jacques Derrida, 1994)Violence conservatrice et violence fondatrice de droit : biffer le nom Bernabò de la généalogie des Visconti ?Fontenelle, Dialogues des morts, 1683 : Erostrate et Démétrios de Phalère. Détruire, dit l'un ; bâtir, dit l'autre« La terre ressemble à de grandes tablettes où chacun veut écrire son nom. Quand ces tablettes sont pleines, il faut bien effacer les noms qui y sont déjà écrits, pour y mettre de nouveaux. Que serait-ce, si tous les monuments des anciens subsistaient ? »La fièvre statuaire de Démétrios de Phalère, le dérèglement du régime des honneurs et la ritualisation de l'outrage aux statues (Vincent Azoulay, « La gloire et l'outrage », Annales HSS, 2009)Les Pasquinades, ou l'éloge oblige des dédicaces parodiques (Faire parler et faire taire les statues, Rome, 2017)La tradition antique des épigrammes latins et les pratiques communales de la dérision : histoires de la vitupération et des vitupérateurs (Jean-Claude Maire Vigueur)Du Jules César de Shakespeare à Hillary Clinton : gouverner en prose, dominer en versLa statue parle : D'oro e d'argento coperto è il barone/Sur un cavallo bello e meraviglioso/E di fin oro si porta sperone/E par pur che sia vivo il valoroso (Matteo da Milano, Lamento funebre du Bernabò Visconti)La valorosa Vipera gentile : développement de la poésie encomiastique autour des ViscontiPourquoi des flatteurs ? Service de légitimation, autonomie et « mise en question critique » (Pierre Bourdieu, Méditations pascaliennes, 1997)Baccio Bracci, Soldan di Banbilonia e ceterà : quand Bernabò, chasseur impénitent, se transforme en loup-garou (per trasmutarlo d'uomo in bestial forma)De l'éloge de Milan à la gloire des Visconti : le Dittamondo de Fazio degli UbertiGiovanni Visconti come vero pastore e vera luce et la vita salvatica de Bernabò Visconti1385, la capture du captivant seigneurAntonio Medin et l'invention du Lamento di Bernabò ViscontiComplaintes, lyrisme et narration (Michael Fœssel, Le temps de la consolation, 2015)Les Lamenti après les Guerres d'Italie : prosopopée populaire et culture politique italienne (Florence Alazard, Le lamento dans l'Italie de la Renaissance, 2010)Toujours le Lamento di Bernabò Visconti : composition et codicologie (Marco Limongelli)Force et justice dans la « triste aventure » de Bernabò : de maiore sangue è manifesto/fe granda iustitia, como se rexonaUn buongoverno de la seigneurie ? Le précédent de l'éloge funéraire de Giovanni Visconti par Gabriele Zamorei da Parma, felicis domini, magnusque potensque tyrampnus (Andrea Gamberini, « Orgogliosamente tiranni », dans Andrea Zorzi dir., Tiranni e tirannide nel Trecento italiano, 2013)La requalification juridique de la notion de tyrannie d'après Bartolo da Sassoferrato (Diego Quaglioni)Les Florentins doivent-ils fêter la mort de Bernabò Visconti ? Les dilemmes de Coluccio Salutati et les ambiguïtés de la florentina libertasLes féroces chansons de Franco Sacchetti contre Bernabò Visconti : Più che Nembrot superbo, e più crudele/che non fu mai Galicola o NeroneNemrod, le pouvoir cynégétique et l'envers monstrueux du pouvoir pastoral (Grégoire Chamayou, Les chasses à l'homme, 2010)« Bien qu'il fut cruel, il y avait dans ses cruautés une grande part de justice » : Franco Sacchetti et la novellisation de Bernabò Visconti.