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"Il principe per emblemi" si propone di mostrare come il discorso politico, scaturito in Italia soprattutto dal confronto e dallo scontro con la lezione machiavelliana, sia stato tradotto nel linguaggio degli emblemi e delle imprese. Singolare ibrido tra parola e immagine, questo linguaggio ha dominato l'età manieristico-barocca, piegandosi duttilmente ai più diversi impieghi, tra i quali, appunto, quello di esprimere le prerogative del potere e riflettere su di esso. L'analisi di un vasto repertorio di opere emblematiche, oltre a rivelare un universo verbale e visivo di grande ricchezza, tende qui a costituire una sorta di vocabolario di base dei simboli politici. Il confronto delle differenti declinazioni di tali simboli, varianti nella diacronia e in relazione ai centri culturali e di potere che li hanno prodotti, permette anche di abbozzare uno spettro d'oscillazione dei relativi nuclei concettuali. Il libro, percorrendo un secolo di cultura italiana (dalla metà del Cinquecento a quella del Seicento circa) si sofferma su opere spesso semisconosciute ma tuttavia sempre significative, inserendole nel più vasto contesto storico e culturale che esse contribuiscono, a propria volta, a illuminare in modo parzialmente nuovo. Accanto a figure minori come Fabrizi, Capaccio e Casoni si incontrano così, alle prese con emblemi e politica, anche Bruno, Tasso, Marino e altri inopinati protagonisti. Nel corso dell'indagine si vedrà l'emblematica fuoriuscire via via dal perimetro ristretto della raccolta a tema e penetrare nei più diversi generi letterari, dal trattato alla tragedia, dal romanzo al poema: tutti i generi, insomma, che quell'epoca aveva investito del compito di parlare - tra l'altro - di politica.
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Violence in literature. --- Italian literature --- Violence dans la littérature --- Littérature italienne --- History and criticism. --- Histoire et critique
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This edited collection explores the image of the wound as a ‘cultural symptom’ and a literary-visual trope at the core of representations of a new concept of selfhood in Early Modern Italian and English cultures, as expressed in the two complementary poles of poetry and theatre. The semantic field of the wounded body concerns both the image of the wound as a traumatic event, which leaves a mark on someone’s body and soul (and prompts one to investigate its causes and potential solutions), and the motif of the scar, which draws attention to the fact that time has passed and urges those who look at it to engage in an introspective and analytical process. By studying and describing the transmission of this metaphoric paradigm through the literary tradition, the contributors show how the image of the bodily wound—from Petrarch’s representation of the Self to the overt crisis that affects the heroes and the poetic worlds created by Ariosto and Tasso, Spenser and Shakespeare—could respond to the emergence of Modernity as a new cultural feature.. Fabrizio Bondi is Fellow of Italian Literature at Scuola Normale Superiore of Pisa, Italy. Massimo Stella is Lecturer in Comparative Literatures and Theory of Literature at the Ca’ Foscari University of Venice, Italy. Andrea Torre is Associate Professor of Italian Literature at Scuola Normale Superiore of Pisa, Italy.
English literature --- Italian literature --- History and criticism. --- European literature --- Classical literature. --- Literature, Ancient. --- European literature. --- Early Modern and Renaissance Literature. --- Classical and Antique Literature. --- European Literature. --- Renaissance, 1450-1600. --- Literature, Classical --- Literature --- Literature, Ancient --- Greek literature --- Latin literature --- Literature, Renaissance --- Renaissance literature --- Literature, Modern
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This edited collection explores the image of the wound as a 'cultural symptom' and a literary-visual trope at the core of representations of a new concept of selfhood in Early Modern Italian and English cultures, as expressed in the two complementary poles of poetry and theatre. The semantic field of the wounded body concerns both the image of the wound as a traumatic event, which leaves a mark on someone's body and soul (and prompts one to investigate its causes and potential solutions), and the motif of the scar, which draws attention to the fact that time has passed and urges those who look at it to engage in an introspective and analytical process. By studying and describing the transmission of this metaphoric paradigm through the literary tradition, the contributors show how the image of the bodily wound-from Petrarch's representation of the Self to the overt crisis that affects the heroes and the poetic worlds created by Ariosto and Tasso, Spenser and Shakespeare-could respond to the emergence of Modernity as a new cultural feature.. Fabrizio Bondi is Fellow of Italian Literature at Scuola Normale Superiore of Pisa, Italy. Massimo Stella is Lecturer in Comparative Literatures and Theory of Literature at the Ca' Foscari University of Venice, Italy. Andrea Torre is Associate Professor of Italian Literature at Scuola Normale Superiore of Pisa, Italy.
Literature --- Classical literature --- Klassieke literatuur --- literatuur --- Renaissance --- anno 1400-1499 --- anno 1500-1599 --- Europe
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English literature --- Italian literature --- History and criticism.
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