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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

評分☆☆☆☆☆

解讀意大利文藝復興的經典作品（雖然現在有些地方遭到瞭批判）。但是值得認真閱讀。

評分☆☆☆☆☆

經典就是經典，但就看瞭個中文的序言，英文的全文還沒下定決心去啃，先放著再說。。。

評分☆☆☆☆☆

書很好看呢、、、呢溶液非常好 值得推薦

評分☆☆☆☆☆

看的時候。挺爽。很爽，非常爽。 它很驚艷動人，對我幫助很大。京東的快遞也很快，非常給力。

評分☆☆☆☆☆

夠大，很好用，價格也不錯

評分☆☆☆☆☆

這本書本身當然是經典中的經典，就是印刷質量有點讓人不敢恭維吧。買迴來備查的。

評分☆☆☆☆☆

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”。

評分☆☆☆☆☆

《意大利文藝復興時期的文化》一書共有6篇，記述瞭從13世紀下半葉至16世紀中葉這3百年間意大利文化的發展情況，依次闡述瞭政治、思想、學術、社交生活和道德宗教等方麵的內容。這種按照專題分類論述的方法與傳統的按年代順序的記敘方法完全不同。初讀這部名著，似乎會感到它範圍廣泛、頭緒繁多、難以把握中心。譬如像但丁、彼得拉剋和薄伽丘等所謂意大利文藝復興運動時期的“前三傑”，雖然他們在書中反復齣現，但是卻分散在各個專題之中。另外，此書的第1篇題為《作為一種藝術工作的國傢》，是書中最長的一篇，約占全書的4分之1左右，下分10章，從不同的側麵敘述瞭文藝復興時期意大利的政治製度和政治形勢。布剋哈特雖然突破瞭傳統史學專注政治史和軍事史的框框，但是他仍然把政治看作為整個社會的基礎，認為政治對文化的發展起著決定性的影響作用。不過布剋哈特重視的不是具體的政治事件，而是影響社會變化的政治製度和政治形勢，即政治背景，這是與傳統史學的不同之處。這種以論述政治形勢開始、接著依次介紹文化狀況的撰史方法，為歐洲後來的文化史著述樹立瞭一個範例。

評分☆☆☆☆☆

經典的，據說中文翻譯的不好，隻好買原著瞭

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