Relevant bibliographies by topics / Giambattista Marino e le arti

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Academic literature on the topic 'Giambattista Marino e le arti'

Author: Grafiati
Published: 22 February 2023

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Journal articles on the topic "Giambattista Marino e le arti"

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Hager, Constanze. "Caravaggios Medusenschild von 1597 – ein Gorgoneion?" Zeitschrift für Kunstgeschichte 79, no. 1 (December 30, 2016): 44–62. http://dx.doi.org/10.1515/zkg-2016-0003.

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Abstract Caravaggio’s emblematic Medusa is mostly regarded as a representation of the mirrored decapitation of the Gorgon and thus as a reflection on Perseus’ protective shield. This essay proposes a new interpretation: Caravaggio’s Medusa is an adaptation of the antique Gorgoneion. The Gorgoneion historically depicted Medusa’s head with its petrifying gaze, which was placed on the shield of Athena. Due to its symbolic and protective power, the Gorgoneion became a frequent subject in art and handicraft well into Baroque art. Caravaggio’s contemporaries – including the poets Gaspare Murtola and Giambattista Marino – left witness that they interpreted the image as a Gorgoneion. In addition, the image itself contains elements that buttress this interpretation, including, inter alia, the green surface of the shield and the shadow. Both the historic accounts and the painted details therefore render an interpretation of the painting as Gorgoneion very likely.
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Brunello, Yuri. "O sequestro do barroco italiano: Botelho e a tradução oculta de Padre Spada." Cadernos de Tradução 36, no. 3 (September 6, 2016): 109. http://dx.doi.org/10.5007/2175-7968.2016v36n3p109.

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http://dx.doi.org/10.5007/2175-7968.2016v36n3p109Música do Parnassoé uma coletânea lírica publicada em 1705 por Manuel Botelho de Oliveira. Falando da Itália moderna, Botelho caracteriza-a – na sua dedicatória – como uma Grécia renovada. Nas preferências de Botelho destaca-se o poeta italiano Giambattista Marino, várias vezes citado direta e indiretamente pelo letrado brasileiro. O conhecimento de Marino, porém, foi mediado por um pouco conhecido manual de um eclesiástico italiano, o Giardino de gli Epitteti de Padre Giambattista Spada.
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Pieri (book author), Marzio, and Francesco Guardiani (review author). "Fischiata XXXIII. Un sonetto di Giambattista Marino." Quaderni d'italianistica 13, no. 2 (October 1, 1992): 335–36. http://dx.doi.org/10.33137/q.i..v13i2.10156.

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Caruso, Carlo, and Francesco Giambonini. "Bibliografia delle opere a stampa di Giambattista Marino." Modern Language Review 98, no. 3 (July 2003): 735. http://dx.doi.org/10.2307/3738341.

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Utaši, Čila Č. "KÉPELMÉLETI KÉRDÉSEK ZRÍNYI MIKLÓS SYRENA-KÖTETÉBEN." Годишњак Филозофског факултета у Новом Саду 42, no. 1 (January 9, 2018): 171–81. http://dx.doi.org/10.19090/gff.2017.1.171-181.

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Giambattista Marino festményeket leíró verseiben az ut pictura poesis elméletre játszik rá. Zrínyi a Syrena-kötet sok helyén Marinót imitálja, de a képelmélet vonatkozásában nem követi az olasz költőt. Ugyanakkor egyik legjelentősebb költői eszköze a jelenségeket különös erővel megjelenítő kép, amelyet a retorikai hagyomány enargeiának vagy evidentiának nevez. A Marino-féle képelméleti gondolkodásról nem a szöveg, hanem a Syrena-kötet a díszcímlapja tanúskodik. A metszetet valószínűleg az Obsidio XIV. énekének kezdő reflexióját inspirálta: a címlapkép tengeri jelenete a vizuális kép eszközeivel ábrázolja a szövegben az eposzírást jelölő metaforát, a hajózást. Joggal tételezhetjük fel, hogy a metszet allegorikus alakjai közül a magát tükörben fésülő szirén Marino képelméletét idézi meg.
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Gavrilović, Nataša. "La trasposizione letteraria della realtà storica nelle lettere di Giambattista Marino." Italica Belgradensia 2019, Speciale (2019): 73–82. http://dx.doi.org/10.18485/italbg.2019.ns_zogovic.5.

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Nendza, Elena. "“Smash, shred, crush!” (“Zerhaut, zerreißt, zerschmettert!”)." Daphnis 45, no. 1-2 (April 20, 2017): 250–73. http://dx.doi.org/10.1163/18796583-04502012.

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The Massacre of the Innocents of Matthew 2,16–18 is a famous motif of Early Modern European art and transcends borders of genre and confession. This article explores an example of its cross-confessional use looking at the sacred poem La Strage degli Innocenti (1632) by Italian poet Giambattista Marino, its German adaptation Verdeutschter Bethlehemitischer Kinder-Mord (1715) by Hamburg Protestant poet Barthold Heinrich Brockes and the influence of paintings from the Dutch milieu. Die biblische Episode des Bethlehemitischen Kindermordes aus Matthäus 2,16-18, ist ein prominentes und überaus beliebtes Motiv der frühneuzeitlichen Künste in Europa. Sein Erfolg ist derart groß, dass bei seiner Rezeption nicht nur die verschiedenen Genres und Gattungen, sondern auch die Konfessionsgrenzen überwunden werden. Dieser Artikel untersucht einen fruchtbaren Austausch von Katholiken und Protestanten am Beispiel von zwei geistlichen Epen: La Strage degli Innocenti (1632) des italienischen Dichters Giambattista Marino sowie die deutsche Adapation Verdeutschter Bethlehemitischer Kinder-Mord (1715) des protestantischen Hamburger Dichters Barthold Heinrich Brockes. Bis heute jedoch ist das italienische Opus dem literarischen Kanon kaum bekannt, obgleich es inmitten der konfessionellen Auseinandersetzung zu einer kulturellen Schnittstellte Europas avanciert. Der folgende Beitrag diskutiert also nicht allein den interkonfessionellen Gebrauch des Motivs, sondern veranschaulicht darüber hinaus die kulturhistorische Relevanz von Marinos geistlichem Epos über den Vergleich mit Kindermord-Gemälden aus dem niederländischen Milieu.
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Miranda, Girolamo de. "Giambattista Marino, Virginio Orsini e Tommaso Melchiorri in materiali epistolari inediti e dimenticati." Quaderni d'italianistica 14, no. 1 (April 1, 1993): 17–32. http://dx.doi.org/10.33137/q.i..v14i1.10162.

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Carter, Tim. "Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)." Journal of the American Musicological Society 69, no. 1 (2016): 1–46. http://dx.doi.org/10.1525/jams.2016.69.1.1.

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Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.
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Ossi, Massimo. ""Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace." Journal of Musicology 21, no. 2 (2004): 175–200. http://dx.doi.org/10.1525/jm.2004.21.2.175.

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Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal in exaggerating the comic and parodistic (in the non-musicological sense of the word) aspects of the situation. In this essay, I explore the background of the kiss imagery, focusing specifically on the "bacio mordace" as an expression of "lover's furor" in Classical and Renaissance sources. I then relate the particular conceit of Marino's poem to Emanuele Tesauro's analysis of the dynamics of literary comedy: the device of decettione [deception or reversal] as part of the ridicolo [comedy] and its attendant burle [pranks]. Finally, I offer a reading of Monteverdi's madrigal in terms of Tesauro's definitions, in which I argue that the setting interjects an extra level of interpretation between the poet and the audience. This musical "filter" introduces new ambiguity into the poem's already equivocal situation, expanding its comic aspects.
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Dissertations / Theses on the topic "Giambattista Marino e le arti"

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Guardiani, Francesco. "La meravigliosa retorica dell'Adone di G.B. Marino." Firenze : L.S. Olschki, 1989. http://books.google.com/books?id=wV1dAAAAMAAJ.

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Tristan, Marie-France Hersant Yves. "La scène de l'écriture essai sur la poésie philosophique du Cavalier Marin, 1569-1625 /." Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb38944129t.

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Tristan, Marie-France. "Le "théâtre du monde" dans l'Adone et les Dicerie sacre de Giambattista Marino." Paris 4, 1999. http://www.theses.fr/1998PA040149.

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En 1623, à la fin d'un séjour de huit ans à la cour de Louis XIII, Marino publie l'Adone, plus de 40. 000 vers qui allaient lui assurer une gloire aussi fulgurante que fugitive en France comme en Italie. Cet ouvrage apparait à bien des égards comme une adaptation mythologique de motifs d'inspiration chrétienne présents dans les œuvres antérieures, notamment dans les Dicerie sacre publiées neuf ans plus tôt. La confrontation de ces deux ouvrages permet d'analyser comment s'articulent chez l'auteur inspiration chrétienne et inspiration païenne. Il en ressort une vision du monde, de l'homme et du langage greffée sur des conceptions théogoniques, cosmogoniques et cosmologiques originales, qui s'inspirent toutefois des intuitions les plus prégnantes de l'époque. La création du monde, comme la création de l'œuvre, se fondent sur de complexes jeux de miroir qui rendent compte de l'indéfinie multiplicité, fragmentant et relativité des réalités phénoménales (ou des signes textuels). La polysémie du langage, à l'origine du courant << conceptiste >> qui caractérise la poétique baroque, est elle-même associée à une théorie de la connaissance en << clair-obscur >>, ainsi qu'à une esthétique de la rupture et à une éthique paradoxale qui préludent à l'avènement du modernisme.
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Ulmer, Birgit. "Die Entdeckung der Landschaft in der italienischen Literatur an der Schwelle zur Moderne." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/1002465443/04.

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Picard, Louis. "Rhétorique et savoir maniéristes : sonnets amoureux de Ronsard (Le premier livre des Amours), Góngora, Marino (Rime amorose) et Shakespeare (Sonnets)." Paris 7, 2008. http://www.theses.fr/2008PA070075.

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Dans Le Premier Livre des Amours de Ronsard, comme les sonnets amoureux de Gôngora, les Rime de Marino et les Sonnets de Shakespeare, une même rhétorique est à l'œuvre. La conscience de venir après, dans un pétrarquisme second qui peut aussi bien être un contre-pétrarquisme, détermine une esthétique merveilleuse au terme de laquelle l'accent semble résolument basculer des res aux verba. L'enjeu est alors de déterminer la teneur en sérieux de cet exercice de brillant formel qui semble d'emblée récuser toute interprétation définitive, à la manière d'un jocus serius indécidable. Nous faisons l'hypothèse que dans ces sonnets où s'exacerbent nombre de pratiques renaissantes, l'expressivité à la fois maximale et codée est articulée à un discours qui valorise les formes de la complexité. L'étude de ce discours procède en trois temps : investissement de la forme du sonnet, caractéristiques de la représentation, teneur e modalités des significations engagées. Une paradoxologie s'en dégage. Paradoxe des énoncés merveilleux métaphoriques ou oxymoriques dont les concetti que produit le sonnet sont l'emblème ; paradoxe d'une représentation à la référence incertaine ; paradoxe du régime équivoque, contradictoire ou allusif de le signification. La paradoxologie maniériste propose cependant un discours unitaire dont la persona lyrique se porte garante. Trame incertaine, le sujet maniériste est avant tout une voix, puissance d'énonciation capable de garantir la force de l'évidence à l'expérience de la complexité. La richesse verbale ne se laisse pas troquer contre un sens apaisé ou univoque, mais la force de renonciation s'efforce d'y suppléer
Ronsard's Premier Livre des Amours, Gôngora's love sonnets, Marino's Rime as well ai Shakespeare's Sonnets offer similar rhetorics. The conscience of not coming first, of writing after Petrarch — perhaps even against Petrarch —, requires an esthetics of maraviglia, definitely shifting the weight from res to verba. Which leads to question the degree of earnestness of such an effects-oriented discourse, that seemingly rejects, under the aegis of the jocus serius, every steady interpretation available. We shall assume that in these sonnets where many an early-modern practice is highly condensed, expressivity, both hyperbolic and coded, embodies a specific, complexity-oriented, discourse. Mannerism - contemplated from the point of view of the practice of the sonnet, of the specificities of its representation and of the management of meaning - calls for a paradoxology. Paradox can come under the guise of metaphors and oxymorons -highly condensed in concetti -, of the uncertain reference of the representation or of the allusive unequivocal, self-conflicting significations. However, paradoxology calls for an unified discourse, guaranteet by the lyric persona. The mannerist self may be an uncertain complexion: he above ail is voice, enunciative might, able to assume the strengh of evidence within the experience of complexity. Verbal cornucopia will not be converted into any stable or pacified meaning, but the enunciative force may stand for it
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ROTATORI, FRANCESCO. "Il Grechetto a Roma. Committenza, grafica, letteratura." Doctoral thesis, 2021. http://hdl.handle.net/11573/1541965.

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In mancanza di una monografia dedicata al Grechetto, l’elaborato è uno studio aggiornato e completo sull’artista, pur concentrandosi maggiormente sulle due parentesi romane (1632-1637? e 1647-1651). La ricerca fa luce, dunque, sui rapporti sociali e artistici del pittore genovese durante i soggiorni romani, sugli usi e fini dell'attività grafica e sui legami con il contesto culturale e letterario, presentando inoltre una serie di documenti inediti che ridefiniscono i rapporti del Castiglione con la Roma dei Barberini e dei Pamphilj e con alcuni dei suoi protagonisti, a partire dalla famiglia ligure dei Raggi.
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Books on the topic "Giambattista Marino e le arti"

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1569-1625, Marino Giambattista, ed. Giambattista Marino: La mula del cavaliere : l'osceno dello scrivere da Marino a Testori. Milano: Medusa, 2013.

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Pieri, Marzio. Fischiata XXXIII: Un sonetto di Giambattista Marino. Parma: Pratiche, 1992.

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3

Giambonini, Francesco. Bibliografia delle opere a stampa di Giambattista Marino. Firenze: L.S. Olschki, 2000.

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Nowicka-Jeżowa, Alina. Jan Andrzej Morsztyn i Giambattista Marino: Dialog poetów europejskiego baroku. Warszawa: Uniwersytet Warszawski, Wydział Polonistyki, 2000.

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Teoria e prassi dell'epistolografia italiana tra Cinquecento e primo Seicento: Ricerche linguistiche e retoriche, con particolare riguardo alle lettere di Giambattista Marino. Roma: Bonacci, 2005.

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Cabeen, Charles W. influence de Giambattista Marino Sur la Littérature Francaise Dans la Première Moitiè du XVIIe Sìecle. Creative Media Partners, LLC, 2018.

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Gagliano, Marco da. Madrigals, Part 5. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b222.

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Marco da Gagliano's Quinto libro de madrigali a cinque voci was published in October 1608, a little less than two years after his previous book. It contains fourteen madrigals for five voices and one for seven, all composed by Gagliano. The poets represented include Giambattista Marino, Giovanbattista Strozzi, both the older and the younger, Cosimo Galletti, and Ottavio Rinuccini. The madrigals of book 5 are quite varied in their style and their treatment of text. Many are light and remarkably concise, like the canzonetta-influenced madrigals of the Quarto libro, and most often set text syllabically to shorter rhythmic values in motives that alternate between homophony (or near homophony) and polyphony, imitative or nonimitative. Some, however, set poetry very differently. A three-part setting of a Marino sonnet, for instance, is filled with virtuoso melisma, probably intended for the professional singers of the Medici court. Book 5 also includes a concertato madrigal for seven singers and basso continuo that bears the prescriptive direction “per cantare e sonare” (for voices and instruments) in the basso partbook. Although there is no notational indication of instruments, the basso part lacks text for several measures, and it is likely that it was performed with improvised chords on an instrument. The book also contains two threnodies for Count Cammillo della Gheradesca that are in a somber and more traditional polyphony and contrast with the rest of the book's contents.
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Gagliano, Marco da. Madrigals, Part 4. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b221.

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Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen madrigals by Gagliano, the book contains three by guest composers Luca Bati and Giovanni and Lorenzo Del Turco. Gagliano's madrigals in book 4, in contrast with those of his earlier books, are lighter and show the clear influence of the contemporary canzonetta, which is manifested in their brevity; the discrete sectioning of the music, frequently with concurrent rests in all the voices that separate the presentation of individual poetic lines; the omnipresent syllabic setting of words; and the simpler and shorter motives that are most often presented in a homophonic texture. In some of these madrigals, motives shaped by the melody and rhythm of spoken language might serve well in monodies. Indeed, in his magisterial study of the madrigal, Alfred Einstein went so far as to suggest that some of these madrigals have the effect of polyphonic, imitative arrangements of Florentine monodies.
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Book chapters on the topic "Giambattista Marino e le arti"

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Wild, Gerhard. "Marino, Giambattista." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13059-1.

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Schwaderer, Richard. "Marino, Giambattista: Das lyrische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13060-1.

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Fliege, Daniel. "Giambattista Marino. La Galeria." In Stein, 357–64. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110688702-040.

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Nevola, Francesco. "Piranesi: Amatore delle Arti Liberali." In Giambattista Piranesi: Sognare il Sogno Impossibile. Istituto Centrale per la Grafica, 2021. http://dx.doi.org/10.53786/piranesimultimediale.15.

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Jackson, Christine. "Musician and Poet." In Courtier, Scholar, and Man of the Sword, 263–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0013.

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Music-making was a popular leisure activity in aristocratic households in the early seventeenth century and a growing number of courtier poets wrote and exchanged verse in aristocratic salons and literary coteries. Chapter 12 continues the exploration of Herbert’s intellectual achievements and reputation as a polymath. It traces his interest in playing the lute and singing, and the musical preferences and fashions demonstrated by the music books he owned and the preludes, fantasias, pavanes, galliards, courantes, voltes, sarabands, and airs assembled in his unique manuscript lute book. It probes his inclusion among the metaphysical poets, exploring the influence of John Donne and Giambattista Marino, but also that of Ben Jonson, Thomas Carew, and Sir Philip Sidney, and of Horace, Juvenal, and Ovid. It uses the themes of love, beauty, immortality, and death to examine examples of his sonnets, elegies, epitaphs, satires, and lyrical poems, some of which were published posthumously as The Occasional Verses of Lord Herbert of Cherbury in 1665, and looks briefly at his Latin philosophical poems and his rough draft for a masque. It explores his preference for deploying verbal ingenuity and erudition rather than feelings, his deployment of metaphysical conceits and concepts, his innovative experimentation with rhyme and the extent of his participation in the literary coterie culture of the times. It claims a place for him among the leading minor poets and suggests that this was an impressive achievement for a man heavily engaged in other intellectual fields as well as political and estate matters.
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