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A biography of Vittoria Colonna, a confidante of Michelangelo, the scion of one of the most powerful families of her era, and a pivotal figure in the Italian Renaissance Ramie Targoff’s Renaissance Woman tells of the most remarkable woman of the Italian Renaissance: Vittoria Colonna, Marchesa of Pescara. Vittoria has long been celebrated by scholars of Michelangelo as the artist’s best friend—the two of them exchanged beautiful letters, poems, and works of art that bear witness to their intimacy—but she also had close ties to Charles V, Pope Clement VII and Pope Paul III, Pietro Bembo, Baldassare Castiglione, Pietro Aretino, Queen Marguerite de Navarre, Reginald Pole, and Isabella d’Este, among others. Vittoria was the scion of an immensely powerful family in Rome during that city’s most explosively creative era. Art and literature flourished, but political and religious life were under terrific strain. Personally involved with nearly every major development of this period—through both her marriage and her own talents—Vittoria was not only a critical political actor and negotiator but also the first woman to publish a book of poems in Italy, an event that launched a revolution for Italian women’s writing. Vittoria was, in short, at the very heart of what we celebrate when we think about sixteenth-century Italy; through her story the Renaissance comes to life anew.
1. Its organization as unified and curated, as noted under content description (subheading: coherence) above. 2. Its central argument, that Colonna deserves a more elevated place within studies of Italian Renaissance literature, thought, and culture than she has hitherto enjoyed. 3. Its demonstration that the ongoing rediscovery of the forgotten or marginalized later sixteenth-century tradition of Italian literature is progressively making this clear, by revealing the unexpected extent of her influence.
The most published and lauded woman writer of early sixteenth-century Italy, Vittoria Colonna (1490–1547) in effect defined what was the "acceptable" face of female authorship for her time. Hailed by the generation's leading male literati as an equal, she was praised both for her impeccable command of Petrarchan style and for the unimpeachable chastity and piety of the persona she promoted through her literary works. This book presents for the very first time a body of Colonna's verse that reveals much about her poetic aims and outlook, while also casting new light on one of the most famous friendships of the age. Sonnets for Michelangelo, originally presented in manuscript form to her close friend Michelangelo Buonarroti as a personal gift, illustrates the striking beauty and originality of Colonna's mature lyric voice and distinguishes her as a poetic innovator who would be widely imitated by female writers in Italy and Europe in the sixteenth century. After three centuries of relative neglect, this new edition promises to restore Colonna to her rightful place at the forefront of female cultural production in the Renaissance.
Vittoria Colonna (1490-1547) was the genre-defining secular woman writer of Renaissance Italy, whose literary model helped to establish a decorous and wholly assimilated voice for women within the field of Italian literature. The Companion to Vittoria Colonna brings together an international and interdisciplinary group of leading scholars to assess Colonna’s contribution, both as a writer, a role model, and a contributor to important religious debates of the era. This book, while amply fulfilling the remit of providing a useful and comprehensive handbook to meet the needs of students and scholars at earlier and advanced levels, aims in addition to do more than this, by drawing into a single volume for the first time scholarship from across disciplines in which Vittoria Colonna’s influence has been felt, including literary criticism, religious history, history of art and music. Contributors are: Abigail Brundin, Stephen Bowd, Emidio Campi, Eleonora Carinci, Adriana Chemello, Virginia Cox, Tatiana Crivelli, Maria Forcellino, Gaudenz Freuler, Anne Piéjus, Diana Robin, Helena Sanson, and Maria Serena Sapegno.
The first woman to achieve wide recognition as a poet in Renaissance Italy, Vittoria Colonna was known for her ardent, but also deeply spiritual, verses. This volume reproduces ten of her sonnets in the original Italian alongside new English versions of compelling simplicity, and complements both with a sequence of moving black and white photographs. Governor General’s Award winner Jan Zwicky gives Colonna’s spiritual insights a contemporary voice, while photographer and noted mathematician Robert Moody paces her words against a visual meditation on the Passion story, as conveyed by Subirachs’ sculptures for the basilica of the Sagrada Familia in Barcelona. The volume’s juxtaposition of poetry and photography illuminates the passion, reverence, and timelessness of both Subirachs’ and Colonna’s work.
Memoirs of the Dukes of Urbino in three volumes presents a history of the houses of Montefeltro and Della Rovere, of their famous and most brilliant Court, and of that part of Italy over which they held dominion. It deals not only with history and politics of the fifteenth and sixteenth centuries in Italy, but it also illustrates "the arms, arts, and literature of Italy from 1440 to 1630."_x000D_ Contents:_x000D_ Book First: Of Urbino and Its Early Accounts_x000D_ Book Second: Of Federigo di Montefeltro, Count and Second Duke of Urbino_x000D_ Book Third: Of Guidobaldo di Montefeltro, Third Duke of Urbino_x000D_ Book Fourth: Of Literature and Art Under the Dukes di Montefeltro at Urbino_x000D_ Book Fifth: Of the Della Rovere Family_x000D_ Book Sixth: Of Francesco Maria Della Rovere, Fourth Duke of Urbino_x000D_ Book Seventh: Of Guidobaldo Della Rovere, Fifth Duke of Urbino_x000D_ Book Eighth: Of Francesco Maria II Della Rovere, Sixth and Last Duke of Urbino_x000D_ Book Ninth: Of Literature and Art Under the Dukes Della Rovere at Urbino
For women of the Italian Renaissance, the Virgin Mary was one of the most important role models. Who Is Mary? presents devotional works written by three women better known for their secular writings: Vittoria Colonna, famed for her Petrarchan lyric verse; Chiara Matraini, one of the most original poets of her generation; and the wide-ranging, intellectually ambitious polemicist Lucrezia Marinella. At a time when the cult of the Virgin was undergoing a substantial process of redefinition, these texts cast fascinating light on the beliefs of Catholic women in the Renaissance, and also, in the cases of Matraini and Marinella, on contemporaneous women’s social behavior, prescribed for them by male writers in books on female decorum. Who Is Mary? testifies to the emotional and spiritual relationships that women had with the figure of Mary, whom they were required to emulate as the epitome of femininity. Now available for the first time in English-language translation, these writings suggest new possibilities for women in both religious and civil culture and provide a window to women’s spirituality, concerning the most important icon set before them, as wives, mothers, and Christians.
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.