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3 a Martyr of Painting
The social lives of paintings in Sixteenth-Century Venice Kessel, E.J.M. van Citation Kessel, E. J. M. van. (2011, December 1). The social lives of paintings in Sixteenth-Century Venice. Retrieved from https://hdl.handle.net/1887/18182 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/18182 Note: To cite this publication please use the final published version (if applicable). 3 A Martyr of Painting Irene di Spilimbergo, Titian, and Venetian Portraiture between Life and Death Pygmalion’s love for the figure of ivory, which was made by his own hands, gives us an example of those people who try to circumvent the forces of nature, never willing to en- joy that sweet and soft love that regularly occurs between man and woman. While we are naturally always inclined to love, those people give themselves over to love things that are hardly fruitful, only for their own pleasure, such as Paintings, Sculptures, medals, or similar things. And they love them so dearly that those same things manage to satisfy their desires, as if their desire had been satisfied by real Love that has to be between man and woman.1 Giuseppe Orologi, comment on Ovid’s Metamorphoses (1578) As Giuseppe Orologi, a writer with connections to Titian, makes clear in his commentary on Ovid’s story of the sculptor Pygmalion, some people of his 1 ‘L’amore di Pigmaleone, alla figura di Avorio fatta da le sue mani, ci da essempio -
•Ÿcattle of This Colour╎
Early Theatre 15.1 (2012) Pamela Allen Brown ‘Cattle of this colour’: Boying the Diva in As You Like It Shakespeare may have written for an all-male stage, but his plays are full of women who relish acting. ‘Bring us to this sight, and you shall say / I’ll prove a busy actor in their play’ (3.4.54–5), says Rosalind, as eager as Bot- tom or Hamlet to get into the act.1 Why such stress on female theatricality on a womanless stage? My theory is that As You Like It and other plays show the imprint of the ground-breaking actresses who took the lead in Italian professional troupes decades before Shakespeare’s debut. A startling innova- tion when they appeared in Commedia dell’Arte companies in mid-century, women soon performed in scripted and improvised plays in every genre. A few directed their troupes and became international stars, sought after by royal patrons throughout Europe. News reached London from diplomats, travelers, and players, and in the 1570s Italian players appeared several times at Elizabeth’s court, culminating in the 1578 visit of an arte troupe that included actresses.2 English playwrights responded quickly to the challenge. From the late 1570s, writers created exotically histrionic ‘women’ who seize the stage to deliver passionate arias of love and despair, scheme with virtuosic flair, and display elegant wit and rhetorical sophistication. Major female roles grew longer than ever before, while expanding in range, significance, and com- plexity. Lyly, Kyd, and Marlowe placed unprecedented demands on the boy player, calling for displays of rhetorical mastery, feats of actorly control, and torrents of passion and frenzy. -
The History of the Harlequinade
THE HISTORY OF THE HAR LE Q U I N AD E BY MAURIC E SAND AV LONDON : MARTI N S ECKE R NUMBER FIVE JOHN STREET ADELPHI C ONTENTS PAGE INTRODUCTION HARLEQUIN POLICHINELLE THE CAPTAIN COLUMBINE PIERROT LELIO RUZZANTE L IST OF IL L USTRAT IONS HARLEQUIN F ACI NG PAGE HAR LEQUIN POLICHINELLE THE CAPTAIN LELIO RUZZANTE THE HISTORY OF THE H A R LE Q U I N A D E INTRODUCTION THE mi comic actor first me , or rather the first , was he who leapt upon a bench or table to delight the assembly by his Im singing , his dancing or his relation of an amusing story . rovisa ion p t prompted all such early attempts . Some of these primitive comedians assemble in Icaria under di Susarion the rection of , who gives a form and a sequence to bufiooneries il hs their , and they set out to tra their boot and chariots through the cities of Greece (800 h un They represent a slave wit shaven head, a dr kard un rubic d of face, brutalised by libations , an obese glutton , e who tumbles incessantly . Soon comic poets , such as Magn s , a Tim ocreon e Ach eus and , conceive for them p rformances cordaces m mingled with comic dances (termed ) and panto imes . a h 61 Thespis , born in Icari , sets up a t eatre , assigns r es to his e mimes , dresses them grotesquely, parad s them in chariots , wi h their faces smeared t dregs or soot, and sets about m wi presenting little dramas and comedies ingled th music . -
Theatrical Activities in Late Sixteenthcentury Italian
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Amateurs meet professionals: theatrical activities in late sixteenth-century Italian Academies Book or Report Section Accepted Version Sampson, L. (2015) Amateurs meet professionals: theatrical activities in late sixteenth-century Italian Academies. In: Earle, T. F. and Fouto, C. (eds.) The Reinvention of Theatre in Sixteenth-Century Europe: Traditions, Texts and Performance. Legenda, Oxford, pp. 187-218. ISBN 9781907975769 (In Press) Available at http://centaur.reading.ac.uk/39333/ It is advisable to refer to the publisher's version if you intend to cite from the work. Publisher: Legenda All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online CHAPTER 9 Amateurs Meet Professionals: Theatrical Activities in LateSixteenth-Century Italian Academies Lisa Sampson University of Reading Lo studio è necessario per saper, occorrendo, trattare di tutte le materie non solo in comedia, ma nelle Academie: poiché pure vi sono Academie illustrissime che, per testimonio che i comedianti che fan[n]o l’arte loro come si conviene non sono indegni d’essere ammessi nelle loro adunanze, hanno accresciuto il numero -
Celinda, a Tragedy
Celinda, A Tragedy VALERIA MIANI • Edited with an introduction by VALERIA FINUCCI Translated by JULIA KISACKY Annotated by VALERIA FINUCCI & JULIA KISACKY Iter Inc. Centre for Reformation and Renaissance Studies Toronto 2010 Iter: Gateway to the Middle Ages and Renaissance Tel: 416/978–7074 Fax: 416/978–1668 Email: [email protected] Web: www.itergateway.org CRRS Publications, Centre for Reformation and Renaissance Studies Victoria University in the University of Toronto Toronto, Ontario M5S 1K7 Canada Tel: 416/585–4465 Fax: 416/585–4430 Email: [email protected] Web: www.crrs.ca © 2010 Iter Inc. & the Centre for Reformation and Renaissance Studies All Rights Reserved Printed in Canada Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous sup- port of the Gladys Krieble Delmas Foundation toward the publication of this book. Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous sup- port of James E. Rabil, in memory of Scottie W. Rabil, toward the publication of this book. Library and Archives Canada Cataloguing in Publication Miani, Valeria Celinda : a tragedy / Valeria Miani ; edited and with an introduction by Valeria Finucci ; tranlated by Julia Kisacky ; annotated by Valeria Finucci & Julia Kisacky. (The other voice in early modern Europe : the Toronto series ; 8) Translation of the Italian play by the same title. Co-published by: Centre for Reformation and Renaissance Studies. Includes bibliographical references and index. Issued also in electronic format. Text in Italian with English translation on facing pages. ISBN 978–07727–2075–7 I. Finucci, Valeria II. Kisacky, Julia, 1965– III. -
Sperone Speroni (1500-1588) and the Rebirth of Sophistry in the Italian Renaissance Call: H2020-MSCA-IF-2014 - Grant Number: 659644
ASSEGNISTA : Teodoro Katinis TITOLO DEL PROGETTO DI RICERCA: Sperone Speroni (1500-1588) and the Rebirth of Sophistry in the Italian Renaissance Call: H2020-MSCA-IF-2014 - Grant number: 659644 PERIODO: era previsto un periodo di 24 mesi dal 01/09/2015 al 31/08/2017. NB: Il contratto è stato concluso prima, il 30/09/2016 dopo 13 mesi, essendo l’Assegnista stato assunto presso University of Ghent (Belgium) TUTOR: prof. Marco Sgarbi TIPOLOGIA DI ASSEGNO: MSCA-IF-2014 - Grant number: 659644 – CUP H72I15000550006 Breve presentazione del progetto: This two-year research project aimed to analyze the works of Sperone Speroni degli Alvarotti (Padua 1500–1588), his re-evaluation of ancient sophistic perspectives and his legacy in the early modern age. Speroni was one of the most important protagonists of the Renaissance debate on language and logic as well as civil and speculative philosophy. Educated as an Aristotelian, he eventually developed a distinctive philosophy and was the first to challenge Plato’s (327-447 BCE) condemnation of sophists. Despite the fact that Speroni was a central figure of Renaissance philosophy and literature in the vernacular, he is one of the most neglected authors in scholarly production. Furthermore, scholars have considered Speroni’s interest in ancient sophists as a marginal aspect of his philosophy and have disregarded the paramount role of the period’s vernacular writing on sophistry that began with his works and spread throughout sixteenth-century Italy. This project not only contributed to the research on vernacular Aristotelianism funded by an ERC Starting Grant 2013 (ARISTOTLE – 335949) and led by Marco Sgarbi but also filled the gap in international studies with a comprehensive analysis of the subject. -
Arte Actress Revolutionized the Early Modern Italian Stage
How the COMMEDIA DELL’ARTE Actress Revolutionized the Early Modern Italian Stage Rosalind Kerr Summary: The first actresses who joined the previously all-male the commedia dell’Arte in the 1560s are credited with making it a commercial and artistic success. This article explores the evidence to document their multi-faceted contribution and influence on the birth of early modern European theatre. My article will use Tommaso Garzoni’s prophetic observations about certain early actresses to frame an inquiry into how their novel female presence changed the nature of theatrical representation to create a new more “realistic” medium. It will interpret the documents to reveal how they achieved celebrity status through the great personal appeal and technical mastery they exhibited. It was through this winning combination that they were empowered to create unforgettable female characters who became part of the western dramatic canon. In addition to showing how successfully the Italian actresses challenged masculine privilege in their famous transvestite performances, I will show how their iconic influence travelled not only across the continent but also to England, even though actresses remained excluded from the professional stage there. Inevitably their presence on the western stage provided examples of female characters negotiating their sex/gender identities and thus modeled such behaviours for women in the larger society. Tommaso Garzoni in his giant compendium, La piazza universale di tutte le professioni del mondo (1585), noted that a few outstanding actresses were the saving grace in lifting this dubious profession from its buffoonish roots to a respectable art form.1 The praise he lavished on four female performers: Isabella Andreini, Vincenza Armani, Lidia da Bagnacavallo, and Vittoria Piissimi singles out their great beauty and eloquence to explain how they captivated their audiences. -
Sperone Speroni's Della Pace and the Problematic Definition of Concord
176 ABSTRACT This paper contributes to the study Sperone of a mostly neglected work of the fifteenth-century Italian literature: Speroni’s Della Sperone Speroni’s collection of short treatises (“trattatelli”) published in the fifth volume of his Opera in 1740. Pace and the In particular, I focus on Della Pace (On Peace), probably a draft Problematic of a never-written longer treatise. I provide a transcription and English translation of the text as well as an Definition analysis of its content and linguistic aspects. The focus of Speroni’s text is the discussion of the meaning of Concord of ‘concord’, which goes beyond the classical definition and brings TEODORO KATINIS to an unconventional analysis of Ghent University, also its opposite terms: discord and Faculty of Arts and Philosophy, conflict. By reading Speroni’s writing, Department of Literary Studies, we discover his original thought Blandijnberg 2, Ghent, nourished by Machiavelli’s and pre- Belgium Socratic influences. This paper looks [email protected] at Speroni not only as an author involved in literary debates, but also as a philosopher with an original perspective to be discovered. INTERNATIONAL ISSUE NO. 8/2020 TEODORO KATINIS 177 SpERONE SpERoni’S DELLA PACE AND THE PROBLEMATIC DEFINITION OF CONCOrd That which scholars consider dis- Venetian area. He is mostly known for ruptive in the history of ideas depends his contribution to the so-called ‘quarrel not on only on the level of accessibil- of language’ in which he argued for the ity of primary sources but also on what use of the Italian vernacular as a lan- we decide to draw our attention to. -
Business Meetings
The Renaissance Society of America Annual Meeting Montreal, Canada 24–26 March 2011 PROGRAM AND ABSTRACT BOOK Archives of the City of Montreal. BM7, S2, D27, P001 (Canadienne, Canadien). Courtesy of the City of Montreal. Printed in Canada Contents In order to coordinate the online and the printed versions of the program, the indexes in this book refer to five-digit panel numbers, and not to page numbers. Panels on Thursday have panel numbers beginning with the number 2; those on Friday have panel numbers beginning with the number 3; and those on Saturday have panel numbers beginning with the number 4. Panel numbers run consecutively: panel 40203 is followed by panel 40204, for example. (Occasionally a number is skipped; in such cases, a panel room does not have a scheduled panel in that time slot.) The black tabs on each page of the full program are an additional navigational aid: they provide the date and time for the panels. Page numbers have been supplied in order to help you find the different parts of the program book: the special events, program summary, full program with abstracts, indexes, and room charts. RSA Executive Board.......................................................................5 Acknowledgments.............................................................................6 Book Exhibition and Registration .....................................................9 Business Meetings...........................................................................10 Plenaries, Awards, and Special Events ............................................11 -
A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese
Issues in Review 159 An Icon for a New Woman: A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese A recent conference in Naples allowed me to visit a superb exhibition at the Museo Nazionale di Capodimonte where, in the great gallery of the Palace, a series of masterpieces demonstrated the art of Italian Renaissance portrait- ure.1 Almost at the end of this fascinating sequence, I came across a portrait whose originality of concept and intriguingly presented female sitter inspired me with a keen interest to understand how such a portrait came to be com- posed. By Paolo Veronese, and owned by the Thyssen-Bornemisza Museum in Madrid, the portrait is now considered one of the last, if not the last, of this great painter’s rare female portraits (Plate 5).2 It portrays a beautiful young woman in three-quarter length, slightly turned to her right, and leaning in a graceful but vigorous attitude against the dark background drape. In perfect contrast, she remains fully lit, and the light seems to play on her, breathing on the blue and white silk of her skilfully painted gown and undergown, and caressing the bright skin of her beautiful and noble face, only a small part of which, on the side to which she is slightly turned, fades into the half-light. As Hendy notes, ‘no exaggerated curve or trace of mannerism in the drawing spoils the vital rhythm and balance of the pose, and there is not a superfluous touch of paint to detract from the spontaneity of the effect’.3 The woman’s absorbed expression is characterized by her pensive gaze, which eludes the viewer’s eyes, and by her smooth, wide forehead, left completely uncovered and discreetly framed by golden curly hair, following the shape of her head so closely that it gives the impression of a short haircut.4 The relative simpli- city of her dress accords with an apparent lack of jewellery, or other signs of social identification, or indeed any specific feminine adornment that might identify her as a married woman, unmarried girl, or daughter of a particular social group. -
Download Version of Record (PDF / 142Kb)
Open Research Online The Open University’s repository of research publications and other research outputs Book reviews: Performance and Literature in the commedia dell’arte (Robert Henke); Music and Women of the commedia dell’arte in the Late Sixteenth Century (Anne MacNeil); Das Spiel mit Gattungen bei Isabella Canali Andreini: Band 1, zum Verhältnis von Improvisation und Schriftkultur in der Commedia dell’arte, Band II, Lettere (1607) (Britta Brandt); La Mirtilla: a pastoral (Isabella Andreini); Improvisation in the Arts of the Middle Ages and Renaissance (Timothy J. McGee); Theater am Hof und für das Volk. Beiträge zur vergleichenden Theater und Kulturgeschichte. Festschrift für Otto G Schindler zum 60. Geburtstag (Brigitte Marschall) Journal Item How to cite: Katritzky, M. A. (2004). Book reviews: Performance and Literature in the commedia dell’arte (Robert Henke); Music and Women of the commedia dell’arte in the Late Sixteenth Century (Anne MacNeil); Das Spiel mit Gattungen bei Isabella Canali Andreini: Band 1, zum Verhältnis von Improvisation und Schriftkultur in der Commedia dell’arte, Band II, Lettere (1607) (Britta Brandt); La Mirtilla: a pastoral (Isabella Andreini); Improvisation in the Arts of the Middle Ages and Renaissance (Timothy J. McGee); Theater am Hof und für das Volk. Beiträge zur vergleichenden Theater und Kulturgeschichte. Festschrift für Otto G Schindler zum 60. Geburtstag (Brigitte Marschall). Theatre Research International, 29(1) pp. 78–81. For guidance on citations see FAQs. c 2004 Cambridge University Press Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1017/S0307883303211275 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. -
Poetologie Und Nation
Poetologie und Nation Die politische Reflexion Joachim Du Bellays in der Deffence et Illustration de la Langue Françoyse Julia Roeder Romanische Philologie Poetologie und Nation: Die politische Reflexion Joachim Du Bellays in der Deffence et Illustration de la Langue Françoyse Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Westfälischen Wilhelms-Universität zu Münster (Westf.) vorgelegt von Julia Roeder aus Münster 2011 Tag der mündlichen Prüfung: 30.11.2011 Dekan der Philosophischen Fakultät: Prof. Dr. Christian Pietsch Erstgutachter: Prof. Dr. Karin Westerwelle Zweitgutachter: Prof. Dr. Achim Hölter Julia Roeder Poetologie und Nation Wissenschaftliche Schriften der WWU Münster Reihe XII Band 7 Julia Roeder Poetologie und Nation Die politische Reflexion Joachim Du Bellays in der Deffence et Illustration de la Langue Françoyse Wissenschaftliche Schriften der WWU Münster herausgegeben von der Universitäts- und Landesbibliothek Münster http://www.ulb.uni-muenster.de Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Dieses Buch steht gleichzeitig in einer elektronischen Version über den Publikations- und Archivierungsserver der WWU Münster zur Verfügung. http://www.ulb.uni-muenster.de/wissenschaftliche-schriften Julia Roeder „Poetologie und Nation. Die politische Reflexion Joachim Du Bellays in der Deffence