Sir Philip Sidney
(1554-1586)
Biographical - Philip Sidney was born on November 30, 1554, in Penhurst, Kent. Philip came from a long line of notable Sidneys. His grandfather was Sir William Sidney a courtier to King Henry VIII and tutor (later steward) to King Henrys son Edward. Philips father Sir Henry Sidney was close friends with Edward. He was the lord deputy (governor) of Ireland on three separate occasions. He married Lady Mary Dudley who was the grand-daughter to Henry VIII. Philips godfather, after whom he was named, was Philip II of Spain, husband of Queen Mary I. In 1564 at the age of ten he entered Shrewsbury school. While attending Shrewsbury he met Fulke Greville who became his life-long friend and biographer. He then attended Christ Church college in Oxford from 1568-1571 where he made many influential friends such as Sir Walter Raleigh and Richard Hakluyt.
He left with out gaining a degree, possibly due to an outbreak of the plague in Oxford. He studied briefly at Cambridge and then continued to further his education by means of extensive travel throughout the continent. During his travels he learned Latin, French, and Italian and became aquatinted with many influential European statesman. While traveling in France accompanied by Sir Francis Walsingham he witnessed the St. Bartholomews day massacre in Paris August 24, 1572 when thousands of Protestants died. He returned to England somewhat of an expert on European courtly and political affairs.2 In 1576 he succeeded his father as Cupbearer to Queen Elizabeth. At this time it was a purely ceremonial duty and he also served as a prominent courier occasionally serving on diplomaticmissions. In 1577 at the age of 22, the Queen gave him his ...
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...e, first "Many headed multitude" in Coriolanus, act ii. Sc. 3. and then again in Shakespeares Merry Wives of Windsor. Sidney is also quoted by Henry W. Longfellow in his Voices of the Night. Prelude, when he writes, "Look, then, into thine heart and write.
Other quotations can be found at
http://www.columbia.edu/acis/bartleby/bartlett/128.html The Sidney family legacy lives on at Penshurst Place (http://www.I-way.co.Uk/~sid/thesidneys.html)a web page that has family history from over 450 years.
Works Cited
Allen, M.J.B. Sir Philip Sidneys Achievements (1990)
Hamilton, A.C. Sir Philip Sidney (1977)
Walter, G.F. and More, M.D. Sir Philip Sidney and the Interpretation of Renaissance Culture (1984)
Internet
Sir Philip Sidney @ http://www.luminarium.org/renlit/sidbio.htm
Penshurst Place @ http://www.I-way.co.Uk/~sid/ thesidneys.html
Common sense seems to dictate that commercials just advertise products. But in reality, advertising is a multi-headed beast that targets specific genders, races, ages, etc. In “Men’s Men & Women’s Women”, author Steve Craig focuses on one head of the beast: gender. Craig suggests that, “Advertisers . . . portray different images to men and women in order to exploit the different deep seated motivations and anxieties connected to gender identity.” In other words, advertisers manipulate consumers’ fantasies to sell their product. In this essay, I will be analyzing four different commercials that focuses on appealing to specific genders.
Ruskin, John. “Grotesque Renaissance.” The Stones of Venice: The Fall. 1853. New York: Garland Publishing, 1979. 112-65. Rpt. in Classical and Medieval Literature Criticism. Ed. Jelena O. Krstovic. Vol. 2. Detroit: Gale Research Company, 1989. 21-2.
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Nauert, Charles G., Jr. Humanism and the Culture of Renaissance Europe. New York: Cambridge University Press, 1995. Print.
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Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
The Renaissance has not ceased to be an age of discussion and debate among historians throughout the recent centuries. The vibrant nature of the era marks it as a most fascinating period of history. The Renaissance can be described as an age carrying the essence of “self-discovery and fulfillment, of recognition of human worth, and a dynamic outpouring of artistic activity.” This new world flourishing with art and creative optimism was also steeped in a spirit of “revolt of the Medievalists.” In an effort of “rebirth,” the previous culture of the Middle Ages was rejected, and even scorned. Foundational principles in all fields were overstepped, and old cultural norms were practically obsolete. It was an era whose humanistic philosophy greatly impacted the lens through which man viewed himself and the world.
Brucker, Gene A. & Co. Renaissance Florence. Berkeley: University of California Press, 1969. Mandelbaum, Allen. A.
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...in Renaissance Italy deteriorating during invasions, culture persistently continued to impressively flourish as the Renaissance reached its highest artistic expression through its classical models and invention of new artistic customs, which proves how vital culture remained to this point in history. Humanism remained an impacting dominant cultural force in Renaissance Italy, gaining popularity amongst style and customs amongst Italian Renaissance artists and their modernized style of creating art. Historically, an artist’s individuality and consideration for untraditional customs had never been previously assumed imperative until the impacts of Italian Renaissance culture. Not only was the Italian Renaissance a movement associated with Greek and Latin Works, but more importantly it established a strong, forever impacting sense of culture among European history.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
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