Download Free The Perfect Genre Drama And Painting In Renaissance Italy Book in PDF and EPUB Free Download. You can read online The Perfect Genre Drama And Painting In Renaissance Italy and write the review.

Proposing an original and important re-conceptualization of Italian Renaissance drama, Kristin Phillips-Court here explores how the intertextuality of major works of Italian dramatic literature is not only poetic but also figurative. She argues that not only did the painterly gaze, so prevalent in fifteenth- and sixteenth-century devotional art, portraiture, and visual allegory, inform humanistic theories, practices and themes, it also led prominent Italian intellectuals to write visually evocative works of dramatic literature whose topical plots and structures provide only a fraction of their cultural significance. Through a combination of interpretive literary criticism, art historical analysis and cultural and intellectual historiography, Phillips-Court offers detailed readings of individual plays juxtaposed with specific developments and achievements in the realm of painting. Revealing more than historical connections between artists and poets such as Tasso and Giorgione, Mantegna and Trissino, Michelangelo and Caro, or Bruno and Caravaggio, the author locates the history of Renaissance art and drama securely within the history of ideas. She provides us with a story about the emergence and eventual disintegration of Italian Renaissance drama as a rigorously philosophical and empirical form. Considering rhetorical, philosophical, ethical, religious, political-ideological, and aesthetic dimensions of each of the plays she treats, Kristin Phillips-Court draws our attention to the intermedial conversation between the theater and painting in a culture famously dominated by art. Her integrated analysis of visual and dramatic works brings to light how the lines and verses of the text reveal an ongoing dialogue with visual art that was far richer and more intellectually engaged than we might reconstruct from stage diagrams and painted backdrops.
Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.
Shakespeare and the Italian Renaissance investigates the works of Shakespeare and his fellow dramatists from within the context of the European Renaissance and, more specifically, from within the context of Italian cultural, dramatic, and literary traditions, with reference to the impact and influence of classical, coeval, and contemporary culture. In contrast to previous studies, the critical perspectives pursued in this volume’s tripartite organization take into account a wider European intertextual dimension and, above all, an ideological interpretation of the 'aesthetics' or 'politics' of intertextuality. Contributors perceive the presence of the Italian world in early modern England not as a traditional treasure trove of influence and imitation, but as a potential cultural force, consonant with complex processes of appropriation, transformation, and ideological opposition through a continuous dialectical interchange of compliance and subversion.
Drawing on the poetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume’s tripartite structure considers the relationship between Renaissance material arts, theatre, and emblems as an integrated and intermedial genre, explores the use and function of Italian visual culture in Shakespeare’s oeuvre, and questions the appropriation of the arts in the production of the drama of Shakespeare and his contemporaries. An afterword, a rich bibliography of primary and secondary literature, and a detailed Index round off the volume.
Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction: Women, Rhetoric, and Drama in Early Modern Italy -- PART I: Women as Protagonists in Male-Authored Drama: Comedy and tragedy -- 1 Fathers, Daughters, Crossdressing, and Names: Women, Rhetoric, and Education in Commedia Erudita -- Coda: "Margherita Costa's Li buffoni (1641): The First (Extant) Female-Authored Scripted Comedy"--2 Fashioning a Genealogy: The Rhetoric of Friendship and Female Virtue in Italian Renaissance tragedy -- Coda: Valeria Miani's Celinda (1611) among Fin de Siècle Italian Tragedies -- PART II: Women as Authors/Women as Protagonists: Pastoral Tragicomedy -- 3 Women Writers and the Canon: Satyr Scenes and Female-Authored Pastoral Drama -- 4 Isabetta Coreglia's Dori (1634): Writing Pastoral Drama Against the Backdrop of the Male Canon and an Incipient Female-Authored Tradition -- 5 Isabetta Coreglia's Erindo il fido (1650) and Isabella Andreini's Mirtilla (1588): Using a Female-Authored Classic as Paradigm -- Appendix -- Bibliography -- Index
In this brilliant and widely acclaimed work, Peter Burke presents a social and cultural history of the Italian Renaissance. He discusses the social and political institutions that existed in Italy during the fifteenth and sixteenth centuries, and he analyses the ways of thinking and seeing that characterized this period of extraordinary artistic creativity. Developing a distinctive sociological approach, Peter Burke is concerned not only with the finished works of Michelangelo, Raphael, Leonardo da Vinci, and others, but also with the social background, patterns of recruitment, and means of subsistence of this 'cultural elite.' He thus makes a major contribution to our understanding of the Italian Renaissance, and to our comprehension of the complex relations between culture and society. Burke has thoroughly revised and updated the text for this new edition, including a new introduction, and the book is richly illustrated throughout. It will have a wide appeal among historians, sociologists, and anyone interested in one of the most creative periods of European history.
The aim of this Companion volume is to provide scholars and advanced graduate students with a comprehensive and authoritative state-of-the-art review of current research work on Anglo-Italian Renaissance studies. Written by a team of international scholars and experts in the field, the chapters are grouped into two large areas of influence and intertextuality, corresponding to the dual way in which early modern England looked upon the Italian world from the English perspective – Part 1: "Italian literature and culture" and Part 2: "Appropriations and ideologies". In the first part, prominent Italian authors, artists, and thinkers are examined as a direct source of inspiration, imitation, and divergence. The variegated English response to the cultural, ideological, and political implications of pervasive Italian intertextuality, in interrelated aspects of artistic and generic production, is dealt with in the second part. Constructed on the basis of a largely interdisciplinary approach, the volume offers an in-depth and wide-ranging treatment of the multifaceted ways in which Italy’s material world and its iconologies are represented, appropriated, and exploited in the literary and cultural domain of early modern England. For this reason, contributors were asked to write essays that not only reflect current thinking but also point to directions for future research and scholarship, while a purposefully conceived bibliography of primary and secondary sources and a detailed index round off the volume.
The Renaissance in Italy continues to exercise a powerful hold on the popular imagination and on scholarly enquiry. This Companion presents a lively, comprehensive, interdisciplinary, and current approach to the period that extends in Italy from the turn of the fourteenth century through the latter decades of the sixteenth. Addressed to students, scholars, and non-specialists, it introduces the richly varied materials and phenomena as well as the different methodologies through which the Renaissance is studied today both in the English-speaking world and in Italy. The chapters are organized around axes of humanism, historiography, and cultural production, and cover a wide variety of areas including literature, science, music, religion, technology, artistic production, and economics. The diffusion of the Renaissance throughout Italian territories is emphasized. Overall, the Companion provides an essential overview of a period that witnessed both a significant revalidation of the classical past and the development of new, vernacular, and increasingly secular values.
In this volume, 8 lively, original essays by eminent scholars trace the kaleidoscopically shifting dramatic forms, performance contexts, and social implications of tragedy throughout the period and across geographic, political, and social references. They attend not only to the familiar cultural lenses of English and mainstream Continental dramas but also to less familiar European exempla from Croatia and Hungary. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual and myth; politics of city and nation; society and family, and gender and sexuality.
This book relates developments in the visual arts and printing to humanist theories of literary and bodily imitation, bringing together fifteenth- and sixteenth-century frescoes, statues, coins, letters, dialogues, epic poems, personal emblems, and printed collections of portraits. Its interdisciplinary analyses show that Renaissance theories of emulating classical heroes generated a deep skepticism about self-presentation, ultimately contributing to a new awareness of representation as representation. Hollow Men shows that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation. In fact, the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well underway in the mid–fifteenth century, and these changes were hastened by the rapid development of the printed image.