This book traces the relationship between humanism and science from the mid-fifteenth century to the beginning of the modern period and demonstrates that humanism was neither a simple nor an impractical enterprise, but worked hand-in-hand with science in developing modern learning.

Anthony Grafton is erudite and elegant in the style of the best historical writers who make the past come alive for the reader. In a full-scale presentation of the world of scholarship, from the Renaissance to the modern period, Grafton sets before us in three-dimensional detail such seminal figures as Poliziano, Scaliger, Kepler, and Wolf. He calls attention to continuities, moments of crisis, and changes in direction. The central issue in Defenders of the Text is the relation between humanism and science from the mid-fifteenth century to the beginning of the modern period. Treatments of Renaissance humanism in English have emphasized the humanists' commitment to rhetoric, ethics, and politics and have accused the humanists of concentrating on literary matters in preference to investigating the real world via new developments in science, philosophy, and other technical disciplines. This revisionist book demonstrates that humanism was neither a simple nor an impractical enterprise, but worked hand-in-hand with science in developing modern learning. Grafton makes clear that humanism remained an integral and vital part of European culture until the eighteenth century, maintaining a technical component of its own--classical philology--which developed in as rich, varied, and unexpected a way as any other field of European thought. Attention to the text led the humanists to develop a whole range of cools and methods that lent power to science and learning for centuries to come. Grafton shows the continued capacity of classical texts to provoke innovative work in both philology and philosophy, and traces a number of close and important connections between humanism and natural science. His book will be important to intellectual historians, students of the classics and the classical tradition, and historians of early modern science.

Describing an era of exploration during the Renaissance that went far beyond geographic bounds, this book shows how the evidence of the New World shook the foundations of the old, upsetting the authority of the ancient texts that had guided Europeans so far afield. What Anthony Grafton recounts is a war of ideas fought by mariners, scientists, publishers, and rulers over a period of 150 years. In colorful vignettes, published debates, and copious illustrations, we see these men and their contemporaries trying to make sense of their discoveries as they sometimes confirm, sometimes contest, and finally displace traditional notions of the world beyond Europe.

In this engrossing account, footnotes to history give way to footnotes as history, recounting in their subtle way the curious story of the progress of knowledge in written form.

Public participation in the housing permitting process empowers unrepresentative and privileged groups who participate in local politics to restrict the supply of housing.

Italian cinemas after the war were filled by audiences who had come to watch domestically-produced films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy, and feeling itself. The Operatic and the Everyday in Postwar Italian Film Melodrama argues for the centrality of melodrama to Italian culture. It uncovers a wealth of films rarely discussed before including family melodramas, the crime stories of neorealismo popolare and opera films, and provides interpretive frameworks that position them in wider debates on aesthetics and society. The book also considers the well-established topics of realism and arthouse auteurism, and re-thinks film history by investigating the presence of melodrama in neorealism and post-war modernism. It places film within its broader cultural context to trace the connections of canonical melodramatists like Visconti and Matarazzo to traditions of opera, the musical theatre of the sceneggiata, visual arts, and magazines. In so doing it seeks to capture the artistry and emotional experiences found within a truly popular form.

Contains primary source material.