course paper: the preparation for the renaissance. william langland - a priest/poet

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uzbekistan state university of world languages english language faculty №2 course paper theme: the preparation for the renaissance. william langland - a priest/poet. group: 232 name: abdusamadova tashkent 2021 илмий раҳбар томонидан берилган тақриз исми, шарифи ________________________________________________________________ ________________________________________________________ фанидан ёзган курс иши ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________мазкур курс иши якунланган деб ҳисоблайман ва уни ҳимояга тавсия этаман. тақризчи _________________________ ____________ (исми, шарифи) (имзо) “____”____________ 2020 йил “тасдиқлайман” __________кафедра мудири “____”_________2020 йил курс (иши) лойиҳаси гуруҳ _232_____ талаба mirzayarova mubina ____________________________ раҳбар_________________________ топшириқ 1. ишлайдиган лойиҳа (мавзу) _______________________________________________ ______________________________________________________________________________________________________________________________________________ 2. бошланғич маълумотлар__________________________________________________ _____________________________________________________________________________________________________________________________________________________________________________________________________________________ 3. қўлланмалар __________________________________________________ ___________________________________

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__________________________________________________________________________________________________________________________________________________________________________________ 4. чизма қисмининг тузилиши ______________________________________________ _____________________________________________________________________________________________________________________________________________________________________________________________________________________ 5. ёзма қисмининг тузилиши ________________________________________________ _____________________________________________________________________________________________________________________________________________________________________________________________________________________ 6. қўшимча вазифа ва кўрсатмалар ___________________________________________ 7. курс (иши) лойиҳасини бажариш режаси 1 2 3 4 ҳимоя the preparation for the renaissance. william langland - a priest/poet contents: in introduction pages 2 main part 1. the preparation for the renaissance………………………. 8 2. william langland and his life 3. education , reference, career and his style 4. "piers plowmen" poem 5. main themes in piers plowmen poem conclusion references total number of pages 24-26 introduction (2-3 pages) the renaissance can surely be called a great amalgam of diverse historical, cultural and philosophical impulses. its outwardly impressive traits hide a pedigree of a confused and enigmatic nature that had combined the bulk of christian, ancient and medieval motifs in their mutual interaction. the marks of the renaissance are therefore ambiguous, allowing for explanations from differing or even contradictory positions. …

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nicholas of cusa. the intricacy of the concept of the renaissance, as witnessed at least since the middle of the 19th century, has matched the historical import of the substance (for a survey of the topic see e.g. horowitz 2005, black 2001, kristeller 1979, hay 1973, and bouwsma 1959). the debates on the issue have not only reminded us of the continuities between the middle ages and the renaissance (e.g. kristeller 1956:553–583), but have also delineated the possibility of speaking about different renaissances on the grounds of respective internal, temporal, or geographical aspects.1 however, to give the contestable side of the matter a wide berth here, iwill set my eye on the two rather patent features of the phenomenon. first, renaissance, as is signaled by the word itself and attested to also by the avowals of its first italian representatives, actually enclosed a sharp experience of rebirth articulated in resistance …

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f corporeal rendition of space was given an exemplary definition by aristotle (see physics, 212a27f). however, to achieve a correct footing for our investigation into the renaissance, the elements of antiquity need to be complemented with the characteristics connecting the renaissance with the heredity of medieval culture. the transcendent, including infinity, which was located in the middle ages in the god, was surely not undone in the renaissance, but was exactly integrated into its explanative space, true, at the price of certain enigma of the system. my claim is that the renaissance’s embodied space, building on the extension and interrelationship of bodies, came to be provided on its borders with some kind of transcendent clues that implied, quite paradoxically, the annihilation of the extended matter and of the spatial articula-tion offered by it. suggesting that the renaissance was a period that started first to consider seriously and in a mathematical …

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y flat (docta ignorantia 1. 13). in the same way nicholas argues, for example, for the coincidence of triangle and circle if enlarged to infinity (docta ignorantia 1. 15), or for the polygon nearing a circle if adjoined to an infinite number of angles (docta ignorantia 1. 3). the reverse procedure of moving towards the infinite minimum exemplifies, in the seemingly opposite but in essentially the same way, the senselessness of any measurability in the face of the mathematical non-magnitude, that is, of the point. the metaphor of the infinite sphere itself derived from the middle ages and had a non-christian and hermetic background (see mahnke 1937, flasch 2011). the adoption of it by nicholas could thus be seen as functioning in the same – of the medieval and so much more of the renaissance – frame of mind that had cherished a hope of encountering divine infinity in a …

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uzbekistan state university of world languages english language faculty №2 course paper theme: the preparation for the renaissance. william langland - a priest/poet. group: 232 name: abdusamadova tashkent 2021 илмий раҳбар томонидан берилган тақриз исми, шарифи ________________________________________________________________ ________________________________________________________ фанидан ёзган курс иши _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________...

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