Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. By Deborah Howard and Laura Moretti. New Haven, Conn.: Yale University Press, 2010. xv + 368 pp. $55.00 cloth

David Morgan

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Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. By Deborah Howard and Laura Moretti. New Haven, Conn.: Yale University Press, 2010. xv + 368 pp. $55.00 cloth

机译：威尼斯文艺复兴时期的声音和空间：建筑，音乐，声学。黛博拉·霍华德（Deborah Howard）和劳拉·莫雷蒂（Laura Moretti）。康涅狄格州纽黑文：耶鲁大学出版社，2010年。xv + 368页。$ 55.00布

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and profound fashion. On the other hand, in the end Calvin’s insistence that truenimages must be given by God alone and attached to God’s word means thatnCalvin’s images still remain overly “cerebral.” By this I mean that an“portrait” for Calvin is something painted mostly, if not exclusively, bynwords, even as the words use various images (see 292–93). Likewise, fornCalvin the portrait that the words paint ultimately aim to direct the person tona spiritual reality seen through and beyond the material world. Furthermore,nZachman points to Calvin’s use of the idea of accommodation in hisnemployment of images, but does not offer a wider analysis of how the toolnof accommodation operates in Calvin’s theology.nIn the end, this is a substantial contribution to Calvin scholarship that offers anmuch needed corrective to Calvin’s views concerning images. It is a carefullynresearched work that not only rightly shows the deep importance of images innCalvin’s theology but also reveals the many tensions in Calvin’s thoughtnconcerning divine manifestations and proclamations.

机译：和深刻的时尚。另一方面，最后，加尔文坚持认为，真像必须由上帝单独提供并附在神的话语上，这意味着加尔文的形象仍然过于“大脑”。我的意思是，加尔文的“肖像”大部分（即使不是唯一）都是用副词来描画的，即使这些词使用了各种图像（参见292-93）。同样地，fornCalvin所描绘的肖像画最终旨在引导人们通向超越和超越物质世界的精神现实。此外，nZachman指出了加尔文在图像运用中使用适应性思想的观点，但并未提供对适应性工具在卡尔文神学中的作用方式的更广泛分析。纠正加尔文关于图像的观点。这是一项经过仔细研究的作品，不仅正确显示了图像在加尔文神学中的深层重要性，而且还揭示了加尔文关于神的表现和宣告的思想中的许多张力。

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《Church History》 |2010年第4期|p.922-924|共3页
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David Morgan;
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Duke University;

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Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. By Deborah Howard and Laura Moretti. New Haven, Conn.: Yale University Press, 2010. xv + 368 pp. $55.00 cloth

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