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In the Introduction, Davis discusses Erwin Panofsky's influential Renaissance and Renascences in Western Art (1960) that defines the Renaissance as being a period with a sense of history.
Even though he often bemoaned the troubles that he had transforming these talks into a book (Renaissance and Renascences in Western Art, 1960), he relished the adulation and new friendships.
What invisible man begins to learn figuratively and painfully, within the Cyclopean code that he inhabits, is the fascination of helplessness, the proneness to fall back into, with each arousal from, the Cyclopean nightmare that pursues him as much in his own skull, or Anancy skin, as in rituals of entertainment others impose on him-- repulsive arts, exploited sciences, fake renascences.
It was largely within the context of this American reformulation of the debate on the Renaissance that Panofsky published his famous Kenyon Review essay of 1944, "Renaissance and Renascences,"(13) originally intended as a contribution to the Renaissance symposium in the Journal of the History of Ideas.
He felt, nevertheless, that the medieval renascences were marked by a disjuncture of classical content and classical form.