Ebook The Waning of the Renaissance, 1550-1640 (Yale Intellectual History of the West Se)By William J. Bouwsma
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The Waning of the Renaissance, 1550-1640 (Yale Intellectual History of the West Se)By William J. Bouwsma
Ebook The Waning of the Renaissance, 1550-1640 (Yale Intellectual History of the West Se)By William J. Bouwsma
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Historians conventionally view intellectual and artistic achievement as a seamless progression in a single direction. William J. Bouwsma rethinks the accepted view, arguing that while the Renaissance had a beginning and a climax, it also had an ending.
- Sales Rank: #1549002 in Books
- Published on: 2001-01-11
- Original language: English
- Number of items: 1
- Dimensions: 9.51" h x 1.12" w x 6.36" l, 1.50 pounds
- Binding: Hardcover
- 304 pages
From Publishers Weekly
Consciously mirroring the title of Johan Huizinga's classic The Waning of the Middle Ages, this welcome addition to the Yale Intellectual History of the West series deconstructs European culture in the age of Cervantes, Montaigne and Galileo. Moving easily across national and disciplinary boundaries, Bouwsma (professor emeritus, UC Berkeley) challenges the assumption that we are direct heirs to the Renaissance. He argues with stunning clarity that the period from 1550 to 1640 was a phase of complex ambivalence, doubt and retreat, and that anxiety stimulated both cultural change and spectacular creativity. Along with the continuing Renaissance drive to destroy old barriers to understanding and human fulfillment came a countervailing concern that freedom had become absurd in excess, as suffocating as the overripe fruit of late-medieval culture, famously described by Huizinga. The imagery of disease, misbirth and disorder became pervasive, while a propensity to melancholy was fashionable in some circles. (Like a number of features of Bouwsma's argument, this has interesting implications for our own modern crises and depressions.) Nothing, people felt, was quite what it seemed; expectation and hypocrisy obscured the deeper self. There was, in short, "a profound set of discontents released by the peculiar freedoms of Renaissance culture." Out of these anxieties a craving for order emerged: a compulsion to categorize, an insistence on social boundaries and a growing attraction for mathematical certainties. Bouwsma produces a masterful portrait of an era, one deserving to become as canonical as Huizinga; it will be increasingly difficult to teach or discuss the 16th century without it. 20 illus. not seen by PW. (Jan.)
Copyright 2000 Reed Business Information, Inc.
Review
"A masterful portrait of an era, one deserving to become as canonical as Huizinga." -- Publishers Weekly, (starred review)
From the Inside Flap
Historians have conventionally viewed intellectual and artistic achievement as a seamless progression in a single direction, with the Renaissance, as identified by Jacob Burckhardt, as the root and foundation of modern culture. But in this brilliant new analysis William Bouwsma rethinks the accepted view, arguing that while the Renaissance had a beginning and, unquestionably, a climax, it also had an ending.Examining the careers of some of the greatest figures of the age-Montaigne, Galileo, Jonson, Descartes, Hooker, Shakespeare, and Cervantes among many others- Bouwsma perceives in their work a growing sense of doubt and anxiety about the modern world. He considers first those features of modern European culture generally associated with the traditional Renaissance, features which reached their climax in the late sixteenth and early seventeenth centuries. But even as the movements of the Renaissance gathered strength, simultaneous impulses operated in a contrary direction. Bouwsma identifies a growing concern with personal identity, shifts in the interests of major thinkers, a decline in confidence about the future, and a heightening of anxiety.Exploring the fluctuating and sometimes contradictory atmosphere in which Renaissance artists and thinkers operated, Bouwsma shows how the very liberation from old boundaries and modes of expression that characterized the Renaissance became itself increasingly stifling and destructive. By drawing attention to the waning of the Renaissance culture of freedom and creativity, Bouwsma offers a wholly new and intriguing interpretation of the place of the European Renaissance in modern culture.
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