Vico, Giovanni Battista
See also: Philosophy Biographies
(jovän´ne bät-te´stä ve´ko), 1668-1744, Italian philosopher and historian, also known as Giambattista Vico, b. Naples. In 1699, Vico became professor of rhetoric at the Univ. of Naples, and in 1734 he was appointed historiographer to the king of Naples. Vico is regarded by many as the first modern historian; he was the first to formulate a systematic method of historical research, and he developed a theory of history that was far in advance of his times. For Vico, history is the account of the birth and development of human societies and their institutions. He thus departed from previous systems of writing historyeither as the biographies of great men, or as the development of God's will. Opposing the antihistorical elements of the prevailing Cartesianism (see Descartes, René ), he asserted that history is a valid object of human knowledge because man himself created history. Vico urged the study of language, mythology, and tradition as techniques for the investigation of history. As a philosopher, Vico believed that every period in history had a distinct character, and that similar periods recur throughout history in the same order. He departed from the old cyclical theories of history, however, in asserting that these periods do not recur in exactly the same form, but are subject to the modifications that new circumstances and developments impose. Thus the historian can never be a prophet. Vico also wrote on law, affirming an innate human sense of justice and natural law. Vico's major theories were developed in his New Science(1725), which he revised completely (1730; 1744). Vico's work was little known in his own time, and his importance was not recognized until the 19th cent.
Bibliography: See his autobiography (tr. by M. H. Finch and T. G. Bergin, 1944); G.
La Pietà of Giovanni Della Robbia is amazing religious glazed and painted terracotta dated 1510-1520. It was mainly intended to introduce the meaning of the Bible story to large and mainly illiterate audiences. One of the things that this image can tell us about life in western civilization is how much the artists were focused on translating the bible and trying to understand it without the help of the Catholic Church through art and humanism. La Pietà is one of the richest and best known collections of Della Robbia sculptures at the springtime of the renaissance. The creator of the sculpture is Giovanni Della Robbia; the first and epic of a dynasty of important pottery artists, decorators, potters, and terracotta workers. Della Robbia developed a unique pottery glaze that made his creations much more durable in the outdoors and therefore much suitable for use on the exterior of buildings. This was an extraordinarily formal and refined technique that immediately met with great success, so much so that the Della Robbia family’s work flourished for over one hundred years. It uniquely combines archaeometric and stylistic time-related information about the renaissance age in Western Civilization. In its context, La Pietà was created in the 15th century, the renaissance age , when there was a surge in artistic, literary, and scientific activity , especially in Florence, the third largest city in Europe, an independent republic where the Italian Renaissance began, and a banking and commercial capital after London and Constantinople. The renaissance era when this sculptured was created was also marked by few major events such as: religious problems in church, Erasmus publishing Greek edition of the New Treatment ...
of water to the west of the Outer Banks of North Carolina for the Pacific
1979, Columbia University Press, New York. p. 87
“Brooks, Bruce (1950-)” UXL Junior DISCovering Authors. (2003): n. pag. Student Resource Center – Gold. Thompson Gale. Web. 23 Jan. 2010.
Ed. Harold Bloom. New York: Chelsea House Publishers, 1985. McQuade, Donald, ed., pp. 113-117.
... middle of paper ... ... He was a very intelligent man. Works Cited Claypool, June.
Ford, Richard. “Introduction” in : Yates, R., Revolutionary Road, (2001 edition), Methuen Publishing Ltd, London.
Toronto: MacMillan, 1967. http://www.macmillan.com/item/item/item/item/item 79. - 174. - 174. Campbell, Lily B. & Co. Collected Papers of Lily Campbell. NY: Russell, 1968.
Giovanni Bellini was born in Venice, Italy around 1430. He was the son of Jacopo Bellini, an esteemed painter at the time, and probably began his career along side his brother as an assistant in his father’s workshop. Though his artwork was influenced by many of his friends and relatives, Giovanni possessed certain qualities in his compositions which set him apart from the others. He blended the styles of both his father and brother-in-law, Andrea Mantegna, with his own subtle appreciation of color and light, the high regard he held for the detail of natural landscape, along with the very direct human empathy he placed in his painting. These components of Bellini’s personal style became foundational to the character of all Venetian Renaissance Art. Bellini later developed a sensuous coloristic manner in his work which became yet another characteristic he contributed to the Venetian Renaissance Art.
author of this book. He has also has written many other good books such as The Grapes
On August 23, 1927, Nicola Sacco and Barolomeo Vanzetti were executed in one of the most controversial legal cases in American history. Two men were shot and robbed in Braintree, MA, and two poor Italian immigrants were arrested for the crime. Although neither Sacco nor Vanzetti had criminal records, they both had pistols on them at the time, and followed a violent anarchist leader. Following their arrest, the seven-year case on the crime would drive national and international protests demanding their exoneration. There were numerous elements in the trial that influenced the guilty verdicts for the men including, but not limited to, weak evidence. The Sacco Vanzetti trial displays the social injustices and prejudice in American society during the time. It is evident that even though they are innocent, the court used Sacco and Vanzetti as scapegoats in this crime because of their beliefs and background.
to His Life and Work, Critical Companion. New York: Facts On File, Inc., 2005. Facts
History and time are considered to be cultural formations since a History cannot be detached from the culture in which it is produced and received. It is through culture that a historical sense is achieved and in fact, each culture experiences History in a different way leading us to the current perception of History as not being one, but many histories depending on the cultural groups involved. Historians have fought throughout the centuries on whether such thing as “objective History” can exist but in the end, even materialist historians will admit that the reality of History is so complicated and contradictory that no single version could possibly represent the truth; consequently different interpretations are inevitable.
has been written about him. Usually you will find a paragraph of the summary of
Gordimer, N., 2001 Twenty-One Years Later, Biography, spring, Vol. 30 Issue 2, p. 277, 2 p.