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內容簡介

《意大利文藝復興時期的文化》是一部文化史研究的經典之作。布剋哈特把文藝復興時期（14—16世紀）的意大利視為一個整體，從政治、社會、文學、道德觀念、社交禮儀等多角度闡釋這一時期的意大利人所體現的“人文主義”的近代精神。在他看來，這一精神標誌著文藝復興時期成為告彆中世紀、步入近代世界的關鍵環節。這一巨著對後人理解和認識西方文明史産生瞭深遠的影響。

目錄

導讀
第一編 作為藝術品的國傢
導論
14世紀的僭主政治
15世紀的僭主政治
小僭主
大王朝
僭主政治的反對者
共和國
15世紀的威尼斯
14世紀以來的佛羅倫薩
意大利各國的對外政策
作為藝術品的戰爭
教皇的統治及其危險
音女利的辱圍者
第二編 個體的發展
意大利國與個體
個人的完美化
近代榮譽觀
近代的嘲諷與笑話
第三編 古典文化的復活
引言
羅馬：廢墟之城
古代作傢
14世紀的人文主義
大學和學校
人文主義的促進者
古代的再現：書信體和拉丁文演說
拉丁文的演說辭
用拉丁文寫作的論文和曆史
一般文化的拉丁化
現代拉丁文詩歌
16世紀人文主義者的衰落
第四編 世界的發現與人的發現
意大利人的旅行
意大利的自然科學
自然美的發現
人的發現
詩歌中對精神的描寫
傳記
有關諸民族和諸城邦的描寫
對人外貌的描寫
對生活動態的描寫
第五編 社交與節慶
社會等級的調和
生活外錶的精緻化
作為社交基礎的語言
較高形式的社交
完美的社交傢
婦女的地位
傢政
節慶
第六篇 道德與信仰
注釋
書目信息
索引

精彩書摘

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

意大利文藝復興時期的文化（英文版） 下載 mobi epub pdf txt 電子書

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商品還是挺好，發貨速度也快。

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在《餘英時訪談錄》中，餘先生提及他學習布剋哈特此書的經驗，並稱花亦芬譯注本是此書最好的中譯本。按NP的說法，這是餘先生把金針渡與人。於是，特意上網自臺灣買瞭此書來讀，也想學學餘先生治史的“金針”。

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對著英文看中文，及學習英語，又深刻理解。

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這一時期宗教在社會生活中起主要作用，也對藝術産生瞭深刻影響。主要包括建築、雕刻、繪畫、工藝美術。 建築：這一時期的建築有獨特的成就。 兩河流域南部原是一片河沙衝積地，沒有可供建築使用的石料。蘇美爾人用粘土製成磚坯，作為主要的建築材料。為瞭使建築具有防水性能，他們在牆麵鑲嵌陶片裝飾，類似現在的馬賽剋。 蘇美爾人最重要的建築為塔廟。是建在幾個由土壘起來的大颱基上，這種類似於梯形金字塔的建築被稱為“吉庫拉塔”。烏魯剋神廟是塔廟的最典型的代錶。 烏魯剋城廢墟上的這座塔是殘留的最古老的美索不達米亞塔廟（層進式神廟）之一。據考證，塔廟建於公元前21世紀，它是烏爾那姆（Nammu）國王為瞭錶示對生育女神的尊敬而建的。 雕刻：這一時期的雕刻相當發達。 蘇美爾人的圓雕像很可能是用於宗教目的。雕像身體呈圓拄形，雙手捧於胸前，姿勢虔誠，麵部錶情平靜劃一，眼睛瞪得很大，流露齣純真、樸實、專注的錶情。 阿卡德人的雕刻具有更強的寫實性。在尼尼微齣土的《薩爾貢王青銅頭像》刻畫寫實。神誌莊嚴威嚴，個性堅毅，顯示齣精湛的工藝水平。《納拉姆辛浮雕石闆》以其寫實的手法刻畫瞭納拉姆辛王率軍政府山地的曆史場麵。對角綫的構圖使浮雕具有動感和空間感，簡單的風景刻畫錶現瞭特定的環境。 形象以側麵、正身、側足為主，傾嚮於平麵的描繪。色彩對比鮮明，四周

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????意大利文藝復興時期的文化（英文版）

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