This study explores how the themes of the disperata genre - including hopelessness, death, suicide, doomed love, collective trauma, and damnations - are creatively adopted by several generations of poets in Italy and France, to establish a tradition that at times merges with, and at times subverts, Petrarchism.
This book considers the life and legacy of Renée de France (1510–75), the youngest daughter of King Louis XII and Anne de Bretagne, exploring her cultural, spiritual, and political influence and her evolving roles and actions as fille de France, Duchess of Ferrara, and Dowager Duchess at Montargis. Drawing on a variety of often overlooked sources – poetry, theater, fine arts, landscape architecture, letters, and ambassadorial reports – contributions highlight Renée’s wide-ranging influence in sixteenth-century Europe, from the Italian Wars to the French Wars of Religion. These essays consider her cultural patronage and politico-religious advocacy, demonstrating that she expanded upon intellectual and moral values shared with her sister, Claude de France; her cousins, Marguerite de Navarre and Jeanne d’Albret; and her godmother and mother, Anne de France and Anne de Bretagne, thereby solidifying her place in a long line of powerful French royal women.
This Encyclopedia gathers together the most recent scholarship on Medieval Italy, while offering a sweeping view of all aspects of life in Italy during the Middle Ages. This two volume, illustrated, A-Z reference is a cross-disciplinary resource for information on literature, history, the arts, science, philosophy, and religion in Italy between A.D. 450 and 1375. For more information including the introduction, a full list of entries and contributors, a generous selection of sample pages, and more, visit the Medieval Italy: An Encyclopedia website.
This study is the first to examine the relationship between art and violence in 15th-century Florence, exposing the underbelly of a period more often celebrated for enlightened and progressive ideas. Renaissance Florentines were constantly subjected to the sight of violence, whether in carefully staged rituals of execution or images of the suffering inflicted on Christ. There was nothing new in this culture of pain, unlike the aesthetic of violence that developed towards the end of the 15th century. It emerged in the work of artists such as Piero di Cosimo, Bertoldo di Giovanni, Antonio del Pollaiuolo, and the young Michelangelo. Inspired by the art of antiquity, they painted, engraved, and sculpted images of deadly battles, ultimately normalizing representations of brutal violence. Drawing on work in social and literary history, as well as art history, Scott Nethersole sheds light on the relationship between these Renaissance images, violence, and ideas of artistic invention and authorship.
Banned by the Florentine guilds, Allegra Castagno must find a way to create her wonderful jewelry without getting caught . Set in 16th century Florence, Italy.
By comparing Catullus to English lyricists of the 16th and early 17th centuries, Jacob Blevins here identifies a common function of the genre: lyric love poetry, he argues, provides the space in which speakers attempt to situate their self-identity among dominate cultural ideologies and individual desires. The intratextual nature of the lyric sequence allows for the constant positioning and repositioning of the lyric subject who must both valorize and reject the cultural ideals on which his relationship and desires should be founded; the poetry represents a process of constructing a self within two conflicting needs. Blevins argues that only in the subjectivity inherent in the lyric genre is this process possible, and that this process is the defining element in successful lyric poetry, whether that of Catullus or of the Renaissance poets Sir Thomas Wyatt, William Shakespeare, Edmund Spenser, Sir Philip Sidney, and John Donne.
