Charles L. Stinger, The Renaissance in Rome, Indiana University Press, 1998. S. 1-13; 156-338. Sider: 197 sider. (Papirutgave anbefales, men boken er tilgjengelig on-line via Oria/UiO), 292-338. Kap 4-7.

John Rupert Martin, Baroque, London: Penguin, 1989, kap. 5-8; 300-302. Sider: 118.

George Kubler, The Shape of Time: Remarks on the History of Things, Yale University Press, 2008, s. 1-130. Sider: 130.


Gerhard Dohrn-van Rossum, History of the Hour. Clocks and modern temporal orders, Chicago: The University of Chicago Press, 1996, s. 1-15, 217-236, 245-260, 275-282, 297-305. Sider: 66.

Christopher S. Wood & Alexander Nagel, Anachronic Renaissance, New York: Zone Books, 2010, s. 313-365; 440-446.  Sider: 58.

Ricardo Quinones, Renaissance discovery of time, (Cambridge Mass.: Harvard University Press: 1972), s. 3-27; 507-510. Sider: 28.

Alfred W. Crosby, The Measure of Reality. Quantification and Western Society, 1250-1600,  Cambridge: Cambridge University Press, 1997,  75-95; 129-139. Sider: 30 sider.

Henri Focillon, The Life of Forms in Art, New York: Zone Books, 1992, 137-157. Sider: 19.

Jonathan D. Spence, The Memory Palace of Matteo Ricci, London: Faber, 1984, s. 1-16.

Georges Didi-Huberman, “Before the Image, Before Time: The Sovereignty of Anachronism”, i Compelling visuality: the work of art in and out of history, (red.. Claire J. Farago, Robert Zwijnenberg, London, Minneapolis: University of Minnesota Press, 2003, s. 31-44. Sider: 13.


Artikler tilgjengelig på JSTOR via UiO:

Tid og ikonografi:


Simona Cohen, “The early Renaissance personification of Time and changing concepts of temporality”, Renaissance Studies, vol. 14, nr. 3 (2000), s. 301-328. Sider: 27.


Mary Quinlan-McGrath, “The Villa Farnesina, Time-Telling Conventions and Renaissance Astrological Practice”, Journal of the Warburg and Courtauld Institutes, Vol. 58 (1995), s. 52-71. Sider: 19.



“Case studies”:


Gerd Blum, “Vasari on the Jews: Christian Canon, Conversion, and the "Moses" of Michelangelo”, The Art Bulletin, nr. 4 (2013), s. 557-577. Sider: 20.


Brendan Dooley, “Veritas Filia Temporis: Experience and Belief in Early Modern Culture”, Journal of the History of Ideas, Vol. 60, nr. 3 (1999), s. 487-504. Sider: 20


Marilyn Aronberg Lavin, “Piero della Francesca and Narrative Encapsulation: E.g. The Cock on the Column”, Artibus et Historiae, nr. 49 (2004), s. 9-18. Sider: 9.


Alison Wright, “Authority and vision: the painter's position in the Cappella Nova at Orvieto”,

Renaissance Studies, nr. 1 (feb. 2007), s. 20-43. Sider: 23.


Sara Nair James, “Penance and Redemption: The Role of the Roman Liturgy in Luca Signorelli's Frescoes at Orvieto”, Artibus et Historiae, Vol. 22, nr. 44 (2001), s. 119-147. Sider: 28.



Tid og anakronismer:


Alexander Nagel and Christopher S. Wood, “Toward a New Model of Renaissance Anachronism”, The Art Bulletin, Vol. 87, nr. 3 (2005), s. 403-415. Sider: 12.


Lorenzo Pericolo, “Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante, Cima da Conegliano, and the Hypnerotomachia Poliphili”, Getty Research Journal, No. 1 (2009), s. 1-16. Sider: 16.


Anne-Marie Sankovitch, “Anachronism and Simulation in Renaissance Architectural Theory”,

RES: Anthropology and Aesthetics, nr. 49/50 (vår/høst 2006), s. 188-203. Sider: 15


Tracy E. Robey, “"Damnatio memoriae": The Rebirth of Condemnation of Memory in Renaissance Florence”, Renaissance and Reformation / Renaissance et Réforme, Vol. 36, nr. 3 (Sommer 2013), s. 5-32. Sider: 27.



Tid og transcendens:


Wim Verbaal, “Timeless Time: Dramatical Eternity in the Monastery under Bernard of Clairvaux,” i Jaritz and Moreno-Riaño, Time and Eternity: The Medieval Discourse , s. 233-50. Sider: 17. (Deles ut på forelesning)


Erich Auerbach, “Typological Symbolism in Medieval Literature”, Yale French Studies

Nr. 9, Symbol and Symbolism (1952), s. 3-10. Sider: 7.


Peter Parshall, “The Art of Memory and the Passion”, The Art Bulletin, nr. 3 (Sept., 1999), s. 456-472. Sider: 16.


Richard Krautheimer, “Introduction to an "Iconography of Mediaeval Architecture"”, Journal of the Warburg and Courtauld Institutes, Vol. 5 (1942), s. 1-33. Sider: 33.


Kirstin Noreen, “The High Altar of Santa Maria in Aracoeli: Recontextualizing a Medieval Icon in Post-Tridentine Rome”, Memoirs of the American Academy in Rome, Vol. 53 (2008), s. 99-128. Sider: 29.


Kirstin Noreen, “The icon of Santa Maria Maggiore, Rome: an image and its afterlife”, Renaissance Studies, Vol. 19, nr. 5, (2005), s. 660-672. Sider: 12.


Jennifer Spinks, “Monstrous Births and Counter-Reformation Visual Polemics: Johann Nas and the 1569 Ecclesia Militans”, The Sixteenth Century Journal, Vol. 40, nr. 2 (2009), s. 335-363. Sider: 28.


Marvin Trachtenberg, “Building outside Time in Alberti's "De re aedificatoria"”, RES: Anthropology and Aesthetics, nr. 48, (høst 2005), s. 123-134. Sider: 11



Tid og geografi:


Francesca Fiorani, “Post-Tridentine 'Geographia Sacra'. The Galleria delle Carte Geografiche in the Vatican Palace”, Imago Mundi, Vol. 48 (1996), s. 124-148. Sider: 24.


Jessica Maier, “Francesco Rosselli's Lost View of Rome: An Urban Icon and Its Progeny”, The Art Bulletin, Vol. 94, nr. 3 (2012), s. 395-411. Sider: 16.


Maria Fabricius Hansen, “Telling time: representations of ruins in the grotesques of sixteenth-century Italy,” Journal of Aesthetic & Culture, Vol. 8, 2016, 1-11. Sider: 11. (Tilgjengelig på nett via Oria/UiO)



Teoretiske og historiografiske perspektiver på tid


Michael Gubser, “Time and History in Alois Riegl's Theory of Perception,” Journal of the History of Ideas, nr. 3 (2005), s. 451-474. Sider: 23.



Ian Verstegen, “Between Presence and Perspective. The Portrait-in-a-Picture in Early Modern Painting,” Zeitschrift für Kunstgeschichte, 71. Bd., (2008), s. 513-526. Sider: 13.


Leonard Barkan, “The Classical Undead: Renaissance and Antiquity Face to Face,” RES: Anthropology and Aesthetics, nr. 34 (1998), s. 9-19. Sider: 10.


Klaus Krüger, ”Medium and Imagination: Aesthetic Aspects of Trecento Panel Painting,” Studies in the History of Art, vol. 61, Symposium Papers XXXVIII: Italian Panel Painting of the Duecento and Trecento (2002), s. 56-81. Sider: 25.


Publisert 9. mai 2017 10:05 - Sist endret 9. mai 2017 10:06