Translation occupied a central position among the literary and cultural forces that shaped the English Renaissance. Translators served as cross-cultural mediators, transforming works of classical antiquity, religion, and continental vernaculars for English consumption. These translations catalyzed verbal, genre, and stylistic transformation of the literary system, and the translators’ creative reshaping of their source texts continues to challenge traditional distinctions between translation and authorship.

Today's technical communicators enjoy an increasingly broader role and influence in the workplace, and are often given latitude to use engaging rhetoric and personal touches in many kinds of communications. Historical documents, particularly those that are substantially removed from our own era, can offer fresh approaches and insight into the enduring elements of successful communication. This study explores the technical writings of Benjamin Franklin and Thomas Jefferson and considers their usefulness to professionals today. Although the political writing of Franklin and Jefferson is more familiar, both men frequently wrote about scientific and technical subjects and were well-known in their day for these documents. Franklin created a captivating persona and arguments which carried emotional and logical appeal. Jefferson was a student of ancient rhetoric and applied classical principles of arrangement to guide readers. His fondness for statistical records led to a skill in presenting numerical data and other types of information in creative, efficient ways. By using tone, language, and description, both Franklin and Jefferson created technical narratives that are equally informative and aesthetically pleasing. The contemporary era of technical communication has been shaped by positivism, the plain language movement, and humanism, among other significant trends. Franklin's and Jefferson's approaches to technical communication both support and challenge the guiding philosophies of these movements. Their styles are reviewed in this study against the context of modern approaches. Opportunities for further historical study are also offered, including additional writings of our Founding Fathers and technical writing from the turn of the twentieth century.

Leon Battista Alberti wrote with a sense of irony that separated his works from his humanist contemporaries and linked him to the tradition of fourteenth-century vernacular writers, particularly Petrarch and Boccaccio. His irony was characterized by his encouragement to look for virtue beneath appearances and his distrust of equating virtue with humanist learning.

This book, Quarry Stories - Architecture through Narrative Exploration, collects the process and proposals of our thesis, responding to the question: How can critical post-humanist philosophy, using stories as a tool, enhance our understanding of architecture and activate narratives in limestone quarries? We view the limestone quarries on Gotland as an example of humans’ relationship with nature: we take what we want and leave. Although significant for the industry, the quarries are troublesome from an ecological perspective. Rather than debating their existence or non-existence, we aim to explore their potential - what imaginaries can we envision for these sites?  We use the word ‘story’ to let narratives shape architecture, partially by writing stories for each quarry but also by including different narrative perspectives. We were curious to examine what architecture our entanglement with non-human actors can generate. We believe that stories can help us challenge our imagination and explore architecture from an alternative point of view.  While the outcome is three proposals for three different quarries on Gotland, we view the project as an exercise in exploring architecture through practical and artistic research. Here, narrative activation and critical post-humanist philosophy serve as an approach to architecture.

The developing knowledge of life sciences is at the crux of Margaret Atwood's Oryx and Crake as she examines human promise gone awry in a near-future dystopia. This thesis examines aspects of posthumanism, ecocriticism, and feminism in the novel's scientific, cultural, and environmental projections. Through the trope of extinction, Atwood's text foregrounds the effects of human exceptionalism and instrumentalism in relation to the natural world, and engenders an analysis of human identity through its biological and cultural aspects. Extinction thus serves as a metaphor for both human development and human excesses, redefining the idea of human within the context of vulnerable species. Oryx and Crake reveals humanity's organic connections with non-human others through interspecies gene-splicing and the ensuing hybridity. In this perspective, Atwood's text provides a dialogue on humankind's alienation from the natural world and synchronic connections to the animal other, and poses timely questions for twenty-first century consumerism, globalism, and humanist approaches to nature. The loss of balance provoked by the apocalyptic situation in Oryx and Crake challenges commonplace attitudes toward beneficial progress. This imbalance signals the need for a new narrative: A consilient reimagining of humanity's role on earth as an integrated organism rather than an intellectual singularity.

This thesis intends to explore the relationship between the Neoplatonist doctrines of the Renaissance philosopher, Marsilio Ficino (1433-1499), and astrological images in the Renaissance. The astrological ceiling fresco located in the Room of Maps in the Villa Farnese at Caprarola is in the center of the argument, which I analyze based on the metaphysical works of Ficino, the Platonic Theology (1482) and the Three Books on Life (1492). Authors have examined the fresco decoration and Ficinian philosophy individually, but never together. This study is the first to recognize Ficino's influence on Renaissance astrological images in its entirety.The present work synthesizes scholarship on Ficino and astrological image interpretations and provides a Neoplatonic reading of the fresco in question. The results demonstrate that the ceiling fresco at Caprarola is a visual manifestation of the principal Ficinian doctrines. The predominant decorative figures (Phaeton, Argo, Capella, and Jupiter) located at the four corners of the ceiling, communicate the importance of contemplation and introspection, the proper management of one's vices and virtues, and the immortality of the soul. Together, they comprise the microcosm of the patron, Cardinal Alessandro Farnese (1520-1589). The decoration provides an insight into the inner world of Cardinal Farnese and represents his dominant personality traits. In the end, he triumphs over his sins, and his good deeds enable his soul to ascend to the divine sphere. The current study opens the door to conducting psychoanalyses of other historical figures, who were major patrons of the art and involved with Ficino’s philosophy.

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