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首页> 外文期刊>Church History: Studies in Christianity and Culture >Forms of Faith in Sixteenth-Century Italy: Culture and Religion. Edited by Abigail Brundin and Matthew Treherne. Catholic Christendom, 1300–1700. Aldershot, U.K.: Ashgate, 2009. xiv + 260 pp. $99.95 cloth.
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Forms of Faith in Sixteenth-Century Italy: Culture and Religion. Edited by Abigail Brundin and Matthew Treherne. Catholic Christendom, 1300–1700. Aldershot, U.K.: Ashgate, 2009. xiv + 260 pp. $99.95 cloth.

机译：十六世纪意大利的信仰形式：文化与宗教。由Abigail Brundin和Matthew Treherne编辑。天主教基督教世界，1300-1700年。英国奥尔德肖特：阿什盖特（Ashgate），2009年。十四+ 260页，99.95美元。

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This collection of ten essays, originating in a conference held at Leeds (Marchn30–31, 2007), seeks to reassess the ways in which religious experience andnreform were intertwined with literary, artistic, and musical expression innsixteenth-century Italy. In their introduction, the editors question thentraditional dichotomy between a failed Reformation assumed to havencharacterized the first half of the century and a repressive CounternReformation marking the second half. Instead, they posit a process of “slownevolution and renegotiations of cultural and religious practices” (2) thatnamounted to a more continuous, varied and “distinct, Italian experience ofnreform” (3). Thus, Brundin suggests, mid-century Medicean Florence leftnroom for reform-minded debate at the Florentine Academy; around that time R. B. Waddington detects Nicodemite beliefs in Aretino and Titian; Oratoriannmusical invention, according to I. Fenlon, largely bypassed Tridentine reformsnof church music; mythological painting survived in Counter-ReformationnVenice, albeit in greater segregation from sacred art (T. Nichols); and Tasso’snlate religious poetry (according to Treherne) displayed as equally ann“authentic poetic voice” (233) as his previous work. Overall, the volumenpresents a necessarily fragmentary, and not always convincing, picture ofnItalian high culture of the Cinquecento, but it offers a range of stimulatingncontributions to a timely debate.
机译：这十篇论文集来自于一次在利兹举行的会议（2007年3月30日至31日），旨在重新评估16世纪意大利宗教经验和革新与文学，艺术和音乐表现形式交织在一起的方式。在他们的导言中，编辑们质疑传统的二分法，认为失败的宗教改革被认为是本世纪上半叶的特征，而压抑的反叛改革则标志着下半年。取而代之的是，他们提出了“文化和宗教习俗的缓慢革新和重新谈判”（2）的过程，使之变得更加连续，多样化和“独特的意大利改革经验”（3）。因此，布伦丁（Brundin）建议，中世纪中世纪的佛罗伦萨人（Florence）在佛罗伦萨学院（Florentine Academy）离开了进行改革思想的辩论。大约在那个时候，R。B. Waddington发现了对Aretino和Titian的尼哥德派信仰；根据I. Fenlon所说，口头音乐的发明很大程度上绕过了教堂音乐的Tridentine改革。神话绘画在威尼斯的反改革中幸存下来，尽管与神圣艺术的隔离程度更高（T. Nichols）；塔索（Tasso）的犹太宗教诗歌（根据特雷赫恩（Treherne）的说法）与他以前的作品一样具有“真实的诗意之声”（233）。总体而言，该卷代表了五渔村的意大利高级文化的必然碎片化，但并不总是令人信服，但它为及时的辩论提供了一系列刺激性的贡献。

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