To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.Twenty years later the material was published by Johann Froben (Basel 1518).This bibliography lists descriptions of over 40,000 editions together with bibliographical references, an introduction and indexes.
Erasmus De Copia Upgrade Your BrowserErasmus understood the value of providing students with lively, down-to-earth, and engaging material, as his colloquies amply attest, and to the moral lessons imparted with them. The Role of Ancient Texts in the Arts Curriculum as Revealed by Surviving Manuscripts and Early Printed Books (pp.365-389) Chapter: 16 Publisher: Brepols Editors: Juanita Feros Ruys, John O. Erasmus De Copia Download Citation CopyWard, Melanie Heyworth Authors: Ursula Ann Potter 7.89 The University of Sydney Download full-text PDF Read full-text Download full-text PDF Read full-text Download citation Copy link Link copied Read full-text Download citation Copy link Link copied Abstract Medievalists and Renaissance specialists contribute to this compelling volume examining how and why the classics of Greek and Latin culture were taught in various Western European curricula (including in England, Scotland, France,Germany, and Italy) from the tenth to the sixteenth centuries. By analysing some of the commentaries, glosses, and paraphrases of these classics that were deployed in medieval and Renaissance classrooms, and by offering greater insight into premodern pedagogic practice, the chapters here emphasize the pragmatic aspects of humanist study. The volume proposes that the classics continued to be studied in the medieval and Renaissance periods not simply for their cultural or ornamental value, but also for utilitarian reasons, for life lessons. Because the volume goes beyond analysing the educational manuals surviving from the premodern period and attempts to elucidate the teaching methodology of the premodern period, it provides a nuanced insight into the formation of the premodern individual. The volume will therefore be of great interest to scholars and students interested in medieval and Renaissance history in general, as well as those interested in the history of educational theory and practice, or in the premodern reception of classical literature. Erasmus De Copia For Free Public FullDiscover the worlds research 17 million members 135 million publications 700k research projects Join for free Public Full-text 1 Content uploaded by Ursula Ann Potter Author content All content in this area was uploaded by Ursula Ann Potter on Oct 14, 2014 Content may be subject to copyright. He sums up the opposing forces in the eminent humanist figures of Juan Luis Vives of Valencia and Desiderius Erasmus of Rotterdam: The spirit of Erasmus is nearly always genuinely and distinctly literary Renaissance. There is little of this life and literature in the Exercitatio of Vives. Vivess first priority was piety and practical moral training and he was suspicious of literature as a potentially corrupting influence on boys. His pedagogical programs reflect this, notably in his advice on the teaching of elocutio, which he supports for voice training and even gesture, but not for acting in stage plays, a common practice in many Tudor grammar schools. Erasmus, on the other hand, was passionate about literature in general and drama in particular as an inspirational pedagogical tool. The tensions between these two conflicting ideologies are well illustrated by tracing the fortunes of Terence, the Roman poet, in Tudor grammar schools through sixteenth-century commentaries, school curricula, and one 1575 piece of school drama. Baldwin highlights the influence of Erasmus in Udalls sources ( Shaksperes Five-Act Structure, p.377-78). Erasmus regarded the exposition of sexual and other carnal vices by Terence as integral to the poets appeal and usefulness in the (all male) classroom. For other humanists of the time, however, these vices, together with the poets humble, pagan origins his epithet was Terence the unlearned 13 were enough to argue his inappropriateness in a Christian classroom. Isnt it lamentable that we are thereby reduced to familiarising young children with scenes of immorality. Castellion made this comment in a letter prefixed to his Dialogi Sacri sent to Corderius, his predecessor in the Geneva school. Both men published collections of Latin dialogues to be used as classroom alternatives to Terence and Plautus. In Castellions case, the Dialogi Sacri (1543) consist of the history of the Bible in 119 dialogues of colloquial Latin. Vives, a pious Spaniard, also made it clear he would prefer Plautus and Terence to be replaced with Christian authors, or at least to be expurgated: Ex vtroque cuperem resecta, qu pueriles animos ij s vitijs possent p o lluere, ad qu natur quasi nutu quodam vergimus (I should like to see cut out of both of these writers all those parts which could taint the minds of boys with vices, to which our natures approach 11 John Dryden, for example, felt it necessary to defend Shakespeare against those who accused him of want of learning. In Spain, when many of the colloquies of Erasmus were deemed politically dangerous, it was Vivess Exercitatio that replaced them. Terence and his Reception in Tudor England Publius Terentius Afer was born at Carthage around 186 BC; he was brought to Rome as a young slave. Only one, The Eunuch, was a popular success in his lifetime, but his future as a pedagogical author was assured by the fourth-century grammarian Donatus, who noted the usefulness of Terence in furnishing moral exempla, and who set the pattern for later commentators in the sixteenth century and well beyond. Vives also voiced reservations about Donatus: sicut in co n siliis co m miniscitur plurima. They all deal with senex- adolescens oppositions, usually a father-son relationship, and with the moral and sexual development of sons, and they frequently employ the same character names (for example, Chremes, Menedemus), a technique explicated and appropriated by Erasmus. Quid tam dissimile veri; I have no patience with those who say that sexual excitement is shameful and that venereal stimuli have their origin not in nature, but in sin. Erasmus rates him first among Latin authors for teaching spoken Latin: Rursum inter latinos quis vtilior loquendi auctor quam Terentius Purus, tersus et quotidiano sermoni proximus, tum ipso quoque argumenti genere iucundus adolescenti. ![]() The plays of Terence turn on the moral dilemmas confronting sons in clandestine sexual relationships, and on fathers usually pursuing ambitious marriage plans for their sons. They depict sexual freedoms not easily sanctioned in Christian teachings: courtesans, mistresses, bigamy, and rape are the stuff of Terences plots and the source of conflict for Renaissance pedagogues.
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