Though they have long been portrayed as arch rivals, Alan Perreiah here argues that humanists and scholastics were in fact working in complementary ways toward some of the same goals. After locating the two traditions within the early modern search for the perfect language, this study re-defines the lines of disagreement between them. For humanists the perfect language was a revived Classical Latin. For scholastics it was a practical logic adapted to the needs of education. Succeeding chapters examine the concepts of linguistic meaning and truth in Lorenzo Valla’s Dialectical Disputations and Juan Luis Vives’ De disciplinis. The third chapter offers a new interpretation of Vives’ Adversus pseudodialecticos as itself an exercise in scholastic sophistry. Against this humanistic background, the study takes up the concepts of meaning and truth in Paul of Venice’s Logica parva, a popular scholastic textbook in the Quattrocento. To advance recent research on language pedagogy in the Renaissance, it clarifies the connections between truth and translation and shows how scholastic logic performed an essential task in the early modern university: it was a translational language that enabled students who spoke mainly their regional vernaculars to learn the language of university discourse. A conclusion reviews some major themes of the study-e.g., linguistic determinism and relativity, vernacularity and translation, semantical vs. epistemic truth-and evaluates the achievements of humanism and scholasticism according to appropriate criteria for a perfect language.

This study provides an entirely new look at an era of radical change in the history of West European thought, the period between 1480 and 1540, mainly in France and Germany. The book's main thesis is that the Latin language turn was not only concurrent with other aspects of change, but was a fundamental instrument in reconfiguring horizons of thought, reformulating paradigms of argument, and rearticulating the relationship between fiction and truth.

"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review

An exploration of the role of the book, the map, and the European concept of literacy in the conquest of the New World

The thought and influence of Machiavelli have had a significant impact on a variety of academic disciplines, including political science and government, history, literature, language, theatre, and philosophy. Rather than inscribe Machiavelli within the boundaries of a single academic approach, tradition, or discourse, this volume assembles multidisciplinary perspectives on his writings on government, on his creative works, and on his legacy. The result is intended to appeal at once to generalists seeking baseline knowledge of Machiavelli and to specialists who are interested in critical views of Machiavelli that use a broad lens and that approach their subject from different angles. Contributors include: Susan Ashley, Salvatore Bizzarro, Julia Bondanella, JoAnn Cavallo, Salvatore Di Maria, Marie Gaille-Nikodimov, Eugene Garver, Joseph Khoury, William Klein, Sante Matteo, Gerry Milligan, RoseAnna Mueller, John Roe, Gerald Seaman, Charles Tarlton, Patricia Vilches, and Mary Walsh.

While humanists agreed on identifying the main requirement of the historical genre with truthfulness, they disagreed on their notions of historical truth. Some authors equated historical truth with verisimilitude, thus harmonizing the quest for truth with other ingredients of their histories, such as their political utility and rhetorical aptness. Others, instead, rejected the notion of verisimilitude, identifying historical truth with factuality. Accordingly, they sought to produce bare and exhaustive accounts of all the things that pertained to their historical explorations, often resorting to innovative disciplines, such as archeology, philology, and the history of institutions. The humanist historiographical debate is especially significant because the notion of verisimilitude encompassed crucial elements required for the development of methods of critical assessment. By perceiving verisimilitude and factuality as irreconcilable, Quattrocento humanists reached a critical impasseâ€"those who were interested in factual truth mostly lacked the means to ascertain it, while those that developed embryonic notions of historical criticism were not eminently concerned with the factual account of the past. This critical weakness exposed humanists to considerable risks, including that of accepting non-verisimilar historical forgeries passed off as factual. Such forgeries eventually served as a testing ground for sixteenth- and seventeenth-century scholars, who sought to restore factual truth by means of critical criteria grounded in verisimilitude, thus overcoming the humanist impasse. Historical Truth in Fifteenth-Century Italy addresses Renaissance history, philosophy, rhetoric, and jurisprudence to shed light on how humanists conceptualized truth and, more specifically, historical truth.