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内容简介

《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。

目录

导读
第一编 作为艺术品的国家
导论
14世纪的僭主政治
15世纪的僭主政治
小僭主
大王朝
僭主政治的反对者
共和国
15世纪的威尼斯
14世纪以来的佛罗伦萨
意大利各国的对外政策
作为艺术品的战争
教皇的统治及其危险
音女利的辱围者
第二编 个体的发展
意大利国与个体
个人的完美化
近代荣誉观
近代的嘲讽与笑话
第三编 古典文化的复活
引言
罗马：废墟之城
古代作家
14世纪的人文主义
大学和学校
人文主义的促进者
古代的再现：书信体和拉丁文演说
拉丁文的演说辞
用拉丁文写作的论文和历史
一般文化的拉丁化
现代拉丁文诗歌
16世纪人文主义者的衰落
第四编 世界的发现与人的发现
意大利人的旅行
意大利的自然科学
自然美的发现
人的发现
诗歌中对精神的描写
传记
有关诸民族和诸城邦的描写
对人外貌的描写
对生活动态的描写
第五编 社交与节庆
社会等级的调和
生活外表的精致化
作为社交基础的语言
较高形式的社交
完美的社交家
妇女的地位
家政
节庆
第六篇 道德与信仰
注释
书目信息
索引

精彩书摘

Oddi were forced to abandon Perugia， and the city became a beleaguered fortress under the absolute despotism of the Baglioni， who used even the cathedral as barracks. Plots and surprises were met with cruel vengeance; in the year 1491， after 130 conspirators， who had forced their way into the city， were killed and hung up at the Palazzo Comunale， thirty-five altars were erected in the square， and for three days mass was performed and processions held， to take away the curse which rested on the spot. A nephew of Innocent VIII was in open day run through in the street. A nephew of Alexander VI， who was sent to smooth matters over， was dismissed with public contempt. All the while the two leaders of the ruling house， Guido and Ridolfo， were holding frequent interviews with Suor Colomba of Rieti， a Dominican nun of saintly reputation and miraculous powers， who under penalty of some great disaster ordered them to make peace-naturally in vain. Nevertheless the chronicle takes the opportunity to point out the devotion and piety of the better men in Perugia during this reign of terror. When in 1494 Charles VIII approached， the Baglioni from Perugia and the exiles encamped in and near Assisi conducted the war with such ferocity， that every house in the valley was levelled to the ground. The fields lay untilled， the peasants were turned into plundering and murdering savages， the fresh-grown bushes were filled with stags and wolves， and the beasts grew fat on the bodies of the slain， on so-called ‘Christian flesh.'When Alexander VI withdrew （1495） into Umbria before Charles VIII， then returning from Naples， it occurred to him， when at Perugia， that he might now rid himself of the Baglioni once for all; he proposed to Guido a festival or tournament， or something else of the same kind， which would bring the whole family together. Guido， however， was of opinion， ‘that the most impressive spectacle of all would be to see the whole military force of Perugia collected in a body，' whereupon the Pope abandoned his project. Soon after， the exiles made another attack， in which nothing but the personal heroism of the Baglioni won them the victory. It was then that Simonetto Baglione， a lad of scarcely eighteen， fought in the square with a handful of followers against hundreds of the enemy： he fell at last with more than twenty wounds， but recovered himself when Astorre Baglione came to his help， and mounting on horseback in gilded armour with a falcon on his helmet， ‘like Mars in bearing and in deeds， plunged into the struggle.'
At that time Raphael， a boy of twelve years of age， was at school under Pietro Perugino. The impressions of these days are perhaps immortalized in the small， early pictures of St. Michael and St. George： something of them， it may be， lives eternally in the great painting of St. Michael： and if Astorre Baglione has anywhere found his apotheosis， it is in the figure of the heavenly horseman in the Heliodorus.
The opponents of the Baglioni were partly destroyed， partly scattered in terror， and were henceforth incapable of another enterprise of the kind. After a time a partial reconciliation took place， and some of the exiles were allowed to return. But Perugia became- none the safer or more tranquil： the inward discord of the ruling family broke out in frightful excesses. An opposition was formed against Guido and Ridolfo and their sons Gianpaolo， Simonetto， Astorre， Gismondo， Gentile， Marcantonio and others， by two great-nephews， Grifone and Carlo Barciglia; the latter of the two was also nephew of Varano， Prince of Camerino， and brother-in-law of one of the former exiles， Ieronimo della Penna. In vain did Simonetto， warned by sinister presentiment， entreat his uncle on his knees to allow him to put Penna to death： Guido refused. The plot ripened suddenly on the occasion of the marriage of Astorre with Lavinia Colonna， at Midsummer 1500. The festival began and lasted several days amid gloomy forebodings， whose
deepening effect is admirably described by Matarazzo. Varano fed and encouraged them with devilish ingenuity： he worked upon Grifone by the prospect of undivided authority， and by stories of an imaginary intrigue of his wife Zenobia with Gianpaolo. Finally each conspirator was provided with a victim. （The Baglioni lived all of them in separate houses， mostly on the site of the present castle.） Each received fifteen of the bravos at hand; the remainder were set on the watch. In the night of July 15 the doors were forced， and Guido， Astorre， Simonetto， and Gismondo were murdered; the others succeeded in escaping.
As the corpse of Astorre lay by that of Simonetto in the street， the spectators， ‘and especially the foreign students，' compared him to an ancient Roman， so great and imposing did he seem. In the features of Simonetto could still be traced the audacity and defiance which death itself had not tamed. The victors went round among the friends of the family， and did their best to recommend themselves; they found all in tears and preparing to leave for the country. Meantime the escaped Baglioni collected forces without the city， and on the following day forced their way in， Gianpaolo at their head， and speedily found adherents among others whom Barciglia had been threatening with death. When Grifone fell into their hands near Sant'Ercolano， Gianpaolo handed him over for execution to his followers. Barciglia and Penna fled to Varano， the chief author of the tragedy， at Camerino; and in a moment， almost without loss， Gianpaolo became master of the city.
……

前言/序言

意大利文艺复兴时期的文化（英文版） 电子书 下载 mobi epub pdf txt

评分☆☆☆☆☆

书很好看呢、、、呢溶液非常好 值得推荐

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这一时期宗教在社会生活中起主要作用，也对艺术产生了深刻影响。主要包括建筑、雕刻、绘画、工艺美术。 建筑：这一时期的建筑有独特的成就。 两河流域南部原是一片河沙冲积地，没有可供建筑使用的石料。苏美尔人用粘土制成砖坯，作为主要的建筑材料。为了使建筑具有防水性能，他们在墙面镶嵌陶片装饰，类似现在的马赛克。 苏美尔人最重要的建筑为塔庙。是建在几个由土垒起来的大台基上，这种类似于梯形金字塔的建筑被称为“吉库拉塔”。乌鲁克神庙是塔庙的最典型的代表。 乌鲁克城废墟上的这座塔是残留的最古老的美索不达米亚塔庙（层进式神庙）之一。据考证，塔庙建于公元前21世纪，它是乌尔那姆（Nammu）国王为了表示对生育女神的尊敬而建的。 雕刻：这一时期的雕刻相当发达。 苏美尔人的圆雕像很可能是用于宗教目的。雕像身体呈圆拄形，双手捧于胸前，姿势虔诚，面部表情平静划一，眼睛瞪得很大，流露出纯真、朴实、专注的表情。 阿卡德人的雕刻具有更强的写实性。在尼尼微出土的《萨尔贡王青铜头像》刻画写实。神志庄严威严，个性坚毅，显示出精湛的工艺水平。《纳拉姆辛浮雕石板》以其写实的手法刻画了纳拉姆辛王率军政府山地的历史场面。对角线的构图使浮雕具有动感和空间感，简单的风景刻画表现了特定的环境。 形象以侧面、正身、侧足为主，倾向于平面的描绘。色彩对比鲜明，四周

评分☆☆☆☆☆

好。

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字体稀疏啊。看起来不舒服，书有名气。《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。 《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。 《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。 《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。 《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。 《意大利文艺复兴时期的文化》是一部文化史研究的经典之作。布克哈特把文艺复兴时期（14—16世纪）的意大利视为一个整体，从政治、社会、文学、道德观念、社交礼仪等多角度阐释这一时期的意大利人所体现的“人文主义”的近代精神。在他看来，这一精神标志着文艺复兴时期成为告别中世纪、步入近代世界的关键环节。这一巨著对后人理解和认识西方文明史产生了深远的影响。

评分☆☆☆☆☆

如题，正版的“盗版”书，北大版的“盗版”。印的还不错，前有长篇导读。不过此英文版也不是原版。有个疑问，如果英文和中文都不是原版，为什么一般认为英文的要好？？

评分☆☆☆☆☆

如题，正版的“盗版”书，北大版的“盗版”。印的还不错，前有长篇导读。不过此英文版也不是原版。有个疑问，如果英文和中文都不是原版，为什么一般认为英文的要好？？

评分☆☆☆☆☆

不错的一本双语书，值得推荐，就是质量有点糙

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帮别人买的 应该不错吧！

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值得一读，，，，，，，，，，，，，，，，，

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