An Italian Renaissance Sextet: Six Tales in Historical Context

Total Page:16

File Type:pdf, Size:1020Kb

An Italian Renaissance Sextet: Six Tales in Historical Context AN ITALIAN RENAISSANCE SEXTET: SIX TALES IN HISTORICAL CONTEXT Lauro Martines Translated by Murtha Baca This collection of six tales offers enticing views into the history of Renaissance Italy, with fiction and fictional modes becoming gate- ways to a real, historical world. All written between 1400 and 1500—among them a rare gem by Lorenzo the Magnificent and a famous account featuring Filippo Brunelleschi—the stories are presented here in lively translations. As engaging and high-spirited as those in Boccaccio's De- cameron, the tales deal with marriage, deception, rural manners, gender relations, social ambitions, adultery, homosexuality, and the demands of individual identity. Each is accompanied by an essay in which Lauro Martines situates the story in its temporal context, transforming it into an outright historical document. The stories and essays focus mainly on people from ihe ordinary and middling ranks of sociely, as ihey go aboul iheir daily lives, under the pres- sure of a highly practical, conformist, pleasure-loving (but often cruel) urban culture. A fascinating historical work with a combined anthropological, demographic, and cultural slant, this volume pro- vides unique insight into Italian Renaissance society. (The Lorenzo Da Ponte Italian Library) Lauro Martines, former Professor of European History, University of California, Los Angeles, has written extensively on the Italian Renaissance. He resides in London and is also the author of a recent novel, Loredana: A Venetian Tale. Murtha Baca is head of the Standards and Vocabulary Programs at the Getty Research Institute. THE LORENZO DA PONTE ITALIAN LIBRARY General Editors Luigi Ballerini and Massimo Ciavolella, University of California at Los Angeles Honorary Chairs Professor Vittore Branca Honorable Dino De Poli Honorable Anthony J. Scirica Advisory Board Remo Bodei, Universita di Pisa Lina Bolzoni, Scuola Normale Superiore di Pisa Francesco Bruni, Universita di Venezia Giorgio Ficara, Universita di Torino Michael Heim, University of California at Los Angeles Amilcare A. lannucci, University of Toronto Rachel Jacoff, Wellesley College Giuseppe Mazzotta, Yale University Gilberto Pizzamiglio, Universita di Venezia Margaret Rosenthal, University of Southern California John Scott, University of Western Australia Elissa Weaver, University of Chicago 2 AN ITALIAN RENAISSANCE SEXTET Six Tales in Historical Context by LAURO MARTINES Translations by Murtha Baca UNIVERSITY OF TORONTO PRESS Toronto Buffalo London www.utppublishing.com © University of Toronto Press and Lauro Martines 2004 Toronto Buffalo London Printed in Canada ISBN 0-8020-8993-3 (cloth) ISBN 0-8020-8650-0 (paper) This book was first published by Marsilio Publishers in 1994. Printed on acid-free paper The Lorenzo Da Ponte Italian Library An Italian Renaissance sextet : six tales in historical context / by Lauro Martines ; translations by Murtha Baca. (Lorenzo da Ponte Italian Library) Translated from Italian. ISBN 0-8020-8993-3 1. Italian fiction — 15th century — Translations into English. 2. Short stories, Italian — Translations into English. I. Martines, Lauro II. Baca, Murtha III. Series. PQ4253.A44E5 2004 853'.0108 C2004-902096-X This volume is published under the aegis and with the financial assistance of: Fondazione Cassamarca, Treviso; Ministero degli Affari Esteri, Direzione Generale per la Promozione e la Cooperazione Culturale; Ministero per i Beni e le Attivila Cullurali, Direzione Generale per i Beni Librari e gli Istituti Culturali, Servizio per la promozione del libro e della lettura. Publication of this volume is assisted by the Istituto Italiano di Cultura, Toronto. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. University of Toronto Press acknowledges the financial support for its publishing activities of the Government of Canada through the Book Publishing Industry Development Program (BPIDP)..
Recommended publications
  • Luigi Ballerini the Gastronome and His "Tablecloth of Plenty"
    La tovaglia che sazia: Luigi Ballerini the gastronome and his "tablecloth of plenty" by Jeremy Parzen "I'm the king, but you can wear my crown." —Antoine "Fats" Domino, John Marascalco, Tommy Boyce (quoted by Luigi Ballerini)1 Three of the most powerful and enduring memories of my years working closely with Luigi Ballerini involve food (and/or the lack thereof). The one is an image in his mind's eye, a scene he often spoke of: Milan, 1945, the then five-year-old Ballerini watches a defiant Nazi soldier atop an armored car, part of a phalanx in retreat from the Lombard capital, leaving it an "open city"; the muscle-bound German bares his chest in the winter cold, as if impervious to pain even in the moment of ultimate defeat. The Nazis left behind a broken city and people, who had already known hunger for quite some time and would not know prosperity and plenty for many years to come. At five years old, Luigi knew hunger all too well. The next is an anecdote I heard him retell repeatedly: Milan, early 1960s (the outset of the Italian miracolo economico, the economic miracle, Italy's "miraculous" post- war revival), a young American guest in the home of his mother asks for some 1 Ballerini, Luigi, "piccolo e grande testamento," Il terzo gode, Venezia, Marsilio, 1994, p. 103. mayonnaise; when no mayonnaise is to be found, the matron of the house handily whisks some olive oil and egg yolks, transforming the materia prima into mayonnaise. The third image was set against the ultimate land of plenty: Brentwood, Los Angeles, during the mid-1990s,
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film Permalink https://escholarship.org/uc/item/9385t0bs Author Nadir, Erika Marina Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Erika Marina Nadir 2017 © Copyright by Erika Marina Nadir 2017 ABSTRACT OF THE DISSERTATION Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film by Erika Marina Nadir Doctor of Philosophy in Italian University of California, Los Angeles, 2017 Professor Luigi Ballerini, Chair This dissertation is a comparative study of Italian opera, literature, and film, and traces the textual and musical intermedialities among the art forms. Using the analytical prisms of Elio Vittorini’s linguaggio unitario del musicista and Giuseppe Verdi’s notion of verità, I examine the myriad ways that literature, film, and music interact and the effects on the respective arts. Chapter 1 focuses on literature that is written in such a way as to evoke music. I analyze three texts and their musical components: Vittorini’s Italian Resistance novel, Uomini e no; the postmodern novel Passavamo sulla terra leggeri by Sergio Atzeni—a soundscape of text that mimics contemporary opera structure; and Manzoni’s I promessi sposi, which was the inspiration for Giuseppe Verdi’s notion of verità in art.
    [Show full text]
  • Fillia's Verbal and Visual Self-Portraiture: Narrating a Futurist
    Fillia’s Verbal and Visual Self-Portraiture: Narrating a Futurist Awakening1 Adriana Baranello University of California, Los Angeles Beginning in 1909, with the “Fondazione e Manifesto del Futurismo,” and lasting until 1944, Futurism championed the awakening of a new, modern consciousness bound to the infinite possibilities of technology and its manifestations in the automobile, the airplane and other mechanical marvels. Early Futurist art was primarily concerned with the depiction of physical sensations of speed, movement and “mechanical splendor” and, in literature, the “destruction of the self” as Marinetti declares in the 1912 “Manifesto tecnico della letteratura futurista.” The focus was on demolishing everything that came before, which Futurism viewed as passé sentimentality and bourgeois banality. Futurism sought to replace sentimentality and historicity with ruthless progress and an unrelenting drive toward an impersonal, machine-driven modernity using new and shocking forms of (both metaphorical and actual) violence and desecration. The emphasis was on a very visceral, tumultuous kind of collective provocation, exemplified by the 1909 “Fondazione e Manifesto del Futurismo” and the early serate futuriste. Fillia (Luigi Colombo, 1904-1936), however, was part of the second generation of Futurist poets, artists, and rabble-rousers who took up F. T. Marinetti’s flag and carried the Futurist agenda forward in the aftermath of World War I. Fillia was the author of poetry, novels and plays, a self-taught painter, journalist, political activist, and editor who devoted his life to the pursuit of his art and the advancement of the Futurist cause. He published volumes on modern architecture, cooking, and design, collaborating extensively with Marinetti as well as with a number of the most important European intellectuals of his time.
    [Show full text]
  • The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial
    The “Objectivists”: A Website Dedicated to the “Objectivist” Poets By Steel Wagstaff A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English) at the UNIVERSITY OF WISCONSIN‐MADISON 2018 Date of final oral examination: 5/4/2018 The dissertation is approved by the following members of the Final Oral Committee: Lynn Keller, Professor, English Tim Yu, Associate Professor, English Mark Vareschi, Assistant Professor, English David Pavelich, Director of Special Collections, UW-Madison Libraries © Copyright by Steel Wagstaff 2018 Original portions of this project licensed under a CC BY-SA 4.0 license. All Louis Zukofsky materials copyright © Musical Observations, Inc. Used by permission. i TABLE OF CONTENTS Acknowledgements ..................................................................................... vi Abstract ................................................................................................... vii Introduction ............................................................................................... 1 The Lives ................................................................................................ 31 Who were the “Objectivists”? .............................................................................................................................. 31 Core “Objectivists” .............................................................................................................................................. 31 The Formation of the “Objectivist”
    [Show full text]
  • Under the Tuscan Sun Cson
    AAIS2020AATI cson Under the Tuscan Sun Tucson, AZ March 26-28, 2020 This event was made possible also thanks to the generous contributions of the University of Arizona College of Humanities, College of Social and Behavioral Sciences, School of International Languages Literatures and Culture, Poetry Center, Second Language Acquisition & Teaching Program, Center for Educational Resources in Culture, Language and Literacy, Confluence Center, Department of French and Italian, Department of Spanish and Portuguese, Department of Classics and Religious Studies, Department of Public and Applied Humanities, Department of Russian and Slavic & German Department, and from the Istituto Italiano di Cultura in Los Angeles. For more information, please contact Prof. Beppe Cavatorta ([email protected]), or visit the conference webpage at https://aaisaati2020.uark.edu/ Thursday, March 26, 2020 9AM – 5PM Registration – LOCATION Workshops – Session One 9:15 – 10:45AM 1. AP Italian – Facilitated by Beppe Cavatorta, University of Arizona, Silvia Giorgini- Althoen, Wayne State University, & Antonietta Di Pietro, Miami Dade County Public Schools 2. Mentorship – Facilitated by Monica Seger, William and Mary and Michael Lettieri, University of Toronto Workshops – Session Two 11:00AM – 12:30PM 1. Dissertating 101 – Anthony Julian Tamburri, John D. Calandra Italian American Institute, Queens College/CUNY, Ryan Calabretta-Sajder, University of Arkansas, Cosetta Gaudenzi, The University of Memphis 2. Diversity and Inclusion – Co-facilitated and Co-sponsored by AAIS Queer Studies Caucus and Women’s Studies Caucus and the AATI Gender and Women’s Studies Collective. 12:30-2:00PM – LUNCH Career Diversity and Professional Development Facilitated by Brain DeGrazia, Modern Language Association Lunch Provided (please RSVP – LINK COMING SOON) 2:45 – 4:15PM (8) ARISTOTLE IN THE EARLY MODERN ITALIAN LITERATURE Organizer & Chair: Eva Del Soldato, University of Pennsylvania 1.
    [Show full text]
  • Host Institution: Mcgill University Convention Staff
    Host Institution: McGill University Convention Staff Executive Director: Elizabeth Abele SUNY Nassau Community College Executive Assistant: Johanna Rossi Wagner Rutgers University Chair Coordinator: Kristin LeVeness SUNY Nassau Community College Media Coordinator: Jennifer Harris Mount Allison University Local Liaison: Kelly MacPhail Université de Montréal Registration Kathryn Radford McGill University Graduate Fellows Program Editor: Elizabeth Foley O’Connor Fordham University Webmasters: Michael Cadwallader University of North Carolina Zachary Hutchins University of North Carolina Media Assistant: Clare Callahan Duke University Special Events Assistant: Lauren Rosenblum SUNY Stony Brook Editorial Assistant: Christy Wenger Lehigh University Awards Assistant: Jill Blackstone Boston University 3 Publications Assistant: Anna Strowe University of Massachusetts Travel Grant Assistant: Deena Levy Rutgers University Research Assistant: Marie Blackman University of Massachusetts Exhibitor Assistant: Pat Nugent Brooklyn College - CUNY Printing: Thomas Conigliaro Printing Supervisor SUNY Nassau Community College Design: Michael O’Connor conchobar.org Upcoming NeMLA Conventions 2011 April 6-10 New Brunswick, New Jersey Host: Rutgers University 2012 March 15-18 Rochester, New York Host: St. John Fisher College 2013 March 21-24 Boston, Massachusetts 4 Letter from the President Dear NeMLA Members: Bienvenue à Montréal! As a multilingual, multicultural conference, it is most appropriate that Montréal should be the location of not only our largest conference but also our conference with the broadest distribution of the modern languages. Set in two architecturally remarkable hotels, above the city’s underground network and Metro, we hope you will be able to experience some of the varied richness of our host city. In addition to Montréal specific sessions during the convention, we have also set up local events to assist you in exploring this rich and varied city, including architectural walking tours and guidebooks by local authority Nancy Dunton.
    [Show full text]
  • Yale Department of Italian Fall/Winter 2017-18
    Yale Department of Italian Fall/Winter 2017-18 CONTENTS Reflections from the Chair 2 – From the DGS and DUS I am thrilled to dedicate this column to a momentous development in the life of our department: the appointment of Jane Tylus to the senior Renaissance 2 – From the Language position, starting July 1, 2018. Program Director Professor Tylus comes to us after serving on the 3 – Dante Working Group faculties at the University of Wisconsin and NYU, punctuated by a visiting position at the Scuola Normale Superiore di Pisa. She has compiled a prodigious record 3 – Mazzotta Day in Rome of scholarly achievement, spanning topics in late medieval and Renaissance literature, and within these 4 – Italian Cinema in the periods, including concentrations in genre—lyric, epic, New Millennium autobiography, pastoral, romance, and national literatures—French, Spanish, English, with a special focus on Italian. Her research has appeared in all manner of academic publications 5 – Pif (monographs, book chapters, articles, edited collections, textbook contributions and critical translations), and has been the subject of numerous public lectures presented in prestigious 5 – First Draft, Graduate venues, both at home and abroad. This active scholarly agenda has not stood in the way of a Students’ Series distinguished administrative career, including her service as Vice Provost for Academic Affairs, and as founding director of the Humanities Initiative, at NYU. 6 – Those Who from Afar But this dry listing of C.V. items cannot begin to explain our euphoria over Professor Tylus’s Look Like Flies appointment. We had already gotten a foretaste of her collegiality and her teaching excellence Conference during the academic year 2015-16, when she generously filled in at the last moment for a colleague who was away on medical leave.
    [Show full text]
  • La Poesia Americana in Italia Prima E Dopo Il 1985
    La poesia americana in Italia prima e dopo il 1985 di Massimo Bacigalupo Per uno sguardo alla ricezione della poesia americana nell’editoria italiana, prendiamo il 1985 come anno di riferimento. È il centenario della nascita di Ezra Pound e nei «Meridiani» Mondadori esce I Cantos a cura della figlia del poeta, Mary de Rachewiltz, in realtà la prima edizione integrale mai apparsa del poema poundiano: contiene i due incandescenti canti italiani del 1945 (LXXII-LXXIII), inclusi nelle edizione inglesi e americane solo dal 1986, e presenta un testo inglese nel complesso più corretto di quello attualmente (2016) disponibile nelle librerie d’oltremanica e oltreoceano – ammesso che il paperback The Cantos (1995), assai fragile nella confezione incollata, si trovi su quegli scaffali: Pound è un mito ma non è certo fra gli autori più letti, almeno integralmente! Questioni testuali. Quale originale? Questo episodio apre una prospettiva sulla sorte dei testi originali su cui sono condotte le versioni o che (come spesso in poesia) sono stampati a fronte della traduzione. Possono essere frutto di un lavoro editoriale e filologico, comunque di scelte. Recensendo una nuova traduzione di Moby Dick ad opera di Ottavio Fatica per Einaudi (2015), uno studioso di Melville, Giorgio Mariani (2015), lamentava che nel volume non fosse indicato quale fosse il testo di riferimento, date le differenze fra diverse edizioni e i tanti studi testuali (forse esagerava un poco, i problemi sono tanti quando si toccano i giganti, anche se questo non è l’ultimo). Traducendo Shakespeare (tanto per non fare nomi) il traduttore potrà come avviene spesso (anche nella recente, innovativa e voluminosa operazione Bompiani diretta da Franco Marenco) prendere a riferimento una particolare edizione (quella appunto innovativa di Jowett, Wells e altri della Oxford U.P., citata fin dal frontespizio dell’edizione Marenco 2014-2015) o potrà, se è filologo (o maniaco), costruire un suo testo originale attingendo alle varie edizioni (o magari a un manoscritto di Shakespeare che trova in soffitta…).
    [Show full text]
  • The Legacy of the Spoon River Author Between Illinois and Italy
    Article Forum Italicum 2019, Vol. 53(3) 679–698 ! The Author(s) 2019 Masters vs. Lee Masters: Article reuse guidelines: sagepub.com/journals-permissions The legacy of the Spoon DOI: 10.1177/0014585819854046 River author between journals.sagepub.com/home/foi Illinois and Italy Julianne VanWagenen Tsinghua University, China Abstract Edgar Lee Masters’ 1915 Spoon River Anthology has been one of the most popular books of foreign poetry in Italy since it was first translated and published there by Fernanda Pivano and Cesare Pavese in 1943. Yet, in the US, Masters is virtually unknown to the public; American scholars find him a problematic figure and his Spoon River only viable in piece- meal form. This article considers the translation and reception history of Spoon River in Italy as well as Masters’ publication and reception history in the US until his death in 1950, to bring to light the reasons for the poet’s differing legacies. It goes on to examine recent scholarly translations of Spoon River, as they at once engage with and neutralize critical American scholarship in order to secure Masters’ status in Italy. Finally, the article sug- gests a way forward for Italian scholarly work on Masters, which does not attempt to engage American criticism, but, rather, roots itself in the fraught Italian relationship with ‘‘agrarian’’ literature after the ventennio fascista and Mussolini’s rural rhetoric. Keywords American poetry, anti-Fascism, Fernanda Pivano, Spoon River, translation Edgar Lee Masters’ Spoon River Anthology was the best-selling book of poetry to date in the United States when it was first published in 1915 (Russell, 2001: 83).
    [Show full text]
  • The Politics of Pasta: La Cucina Futurista and the Italian Cookbook in History
    eScholarship California Italian Studies Title The Politics of Pasta: La cucina futurista and the Italian Cookbook in History Permalink https://escholarship.org/uc/item/76c6r6jx Journal California Italian Studies, 4(2) Author Callegari, Danielle Publication Date 2013 DOI 10.5070/C342016030 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Politics of Pasta: La cucina futurista and the Italian Cookbook in History Danielle Callegari Perhaps the most important culinary tract of the entire early modern period, Cristoforo Messisbugo’s Banchetti, Composizioni di vivande et apparecchio generale [Banquets, Compositions of Courses, and General Table Design) established the head of the kitchen as a powerful court figure and marked the moment in which western European dining had truly moved from medieval to modern. The text, which circulated in manuscript form before being published posthumously in 1549, explains in painstaking detail everything required to stage a court banquet, including recommendations regarding temporary décor, music, theatrical performances, poetry readings, games, and finally concluding with various recipes ranging from pastry castles to molded life-size eagles.1 Of the ten banquets, three dinner parties, and one feast Messisbugo describes specifically, perhaps the most memorable account is a private court supper held in May of 1529 at the palace of Belfiore, and hosted by the Archbishop of Milan, Ippolito d’Este. Dinner was preceded by the performance of a farce and a concert, and then musicians accompanied a troop of dancers in a galliard as guests prepared for the first course. In addition to the extensive table decor and the gardens themselves, fifteen free-standing sugar sculptures of the gods had been erected and set in and around the diners for their visual delight.
    [Show full text]
  • 32 Great Britain
    Jonathan Black 32 Great Britain Futurism arrives in the United Kingdom Parts of the Foundation and Manifesto of Futurism were first published in English in the unlikely context of a magazine entitled The Tramp: A Journal of Healthy Outdoor Life for the Adventurous Gentleman in August 1910 (Wees: Vorticism and the English Avant-garde, 96). It seems fitting that the movement, often regarded in the United Kingdom as outré and problematically unconventional, should appear in a publication aimed at a select, minority readership, whose interest focussed not only on camping outdoors and mountaineering but also on vegetarianism, nudism and other ‘experimental forms’ of modern life. It also must be admitted that the credibility of Futurism within Great Britain, especially in England, suf- fered severely from the fact that its creator, F. T. Marinetti, and its leading artistic proponents were Italian. In Georgian Britain, the very words ‘Italy’ and ‘Italians’ invariably generated a host of unfortunate instinctive stereotypes and prejudices. Italy was perceived as a picturesque yet governmentally ramshackle and techno- logically backward country, whose people – especially its males – were regarded as noisy, unstable, illogical, over-emotional, treacherous and cowardly (Black: “Taking Heaven by Violence”, 29–30). To promote Italian Futurism in the United Kingdom was always going to be a very hard sell indeed. British artists were part of one of Western Europe’s most advanced industrial powers and invariably proud of belonging to the world’s largest Empire. So, why should they embrace and adopt a movement headquartered in Milan? Marinetti’s first London visit, 1910 Marinetti first spoke about Futurism in London on 2 April 1910 to an audience of suffragettes at the Lyceum Club, Piccadilly.
    [Show full text]
  • Defining the 'Strano': Madness in Renaissance Italy
    Defining the ‘Strano’: Madness in Renaissance Italy Nicole Cama A thesis submitted in partial fulfilment of the requirements of the degree of B.A. (Hons) in History. University of Sydney October 2009 2 Contents INTRODUCTION .......................................................................................................................... 3 CHAPTER ONE: Social Deviance: Fear and Loathing in Renaissance Florence .................. 11 CHAPTER TWO: Il ‘Teatro’ del ‘Strano’: The Cruel Gaze of the “Public” ........................... 39 CHAPTER THREE: ‘La Gran Follia’: The Genius of Melancholy? ......................................... 56 CONCLUSION.............................................................................................................................76 BIBLIOGRAPHY................................................................................................................79 3 Introduction It is easy to recognise madness, but how does one define it?1 This thesis explores the different ways madness was defined and portrayed in Italian texts from the early fifteenth century through to the late sixteenth century. Although this thesis investigates how and why people were categorised as mad, various sources have shown that the treatment of these individuals varied according to different social, cultural and political contexts. In some cases madness was seen as an undesirable expression of social deviance and in other cases, a venerated symbol of wisdom. In light of these discrepancies, social structures stigmatised
    [Show full text]