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

Author: Grafiati

Published: 22 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ducos, Blaise. "Court Culture in France among the First Bourbons: "Portrait of Giambattista Marino" by Frans Pourbus the Younger." Bulletin of the Detroit Institute of Arts 83, no. 1-4 (March 2009): 12–21. http://dx.doi.org/10.1086/dia23183269.

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12

Rescia, Laura. "Giambattista Marino, Le Camerone (1598), La Prison du Cavalier Marin (1612), suivi de Le Camerotto (1645) de Girolamo Brusoni." Studi Francesi, no. 195 (LXV | III) (December 1, 2021): 600. http://dx.doi.org/10.4000/studifrancesi.47109.

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13

Buszewicz, Elwir, and Wojciech Ryczek. "Świetliste szczeliny niebios Maciej Kazimierz Sarbiewski, gwiazdy i „etruski poeta”." Terminus 24, no. 2 (63) (July 27, 2022): 137–56. http://dx.doi.org/10.4467/20843844te.22.008.15666.

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Lucent Cracks of Heavens: Maciej Kazimierz Sarbiewski, Stars and an “Etrurian Poet” The paper tries to display the links between a catalogue of metaphors contained in Maciej Kazimierz Sarbiewski’s handbook entitled Characteres lyrici, seu Horatius et Pindarus and Giambattista Marino’s Canzone delle stelle. Based upon his college lectures (Połock 1626/1627), Sarbiewski’s work offers practical rules for the composition of lyrical poetry and some theoretical considerations. Among many “ornaments related to the lyrical invention”, a very important stylistic device mentioned by the Jesuit poet and theorist is a “definition by accumulation”(definitio conglobata), that is, a series of extended metaphors or other figurative expressions, for example periphrasis, metonymy or allegory. This rhetorical strategy serves as a useful instrument in reintegrating the art of invention with amplification aimed particularly at the accumulation of different words or figures. As the “ornament of the lyric invention”, the definition described by the author appears no to be restricted only to effective searching for ideas and concepts; it is also a valuable tool for achieving unusual power of expression and for exercising composition and style. Sarbiewski quotes an example concerning the stars, taken, as he says, from „a contemporary Etrurian poet”. In his commentary to the edition of Characteres lyrici, Stanisław Skimina identified this poet as Dante, which was subsequently taken for granted by many scholars. Recently, the poet in question has been proved to be Giambattista Marino, famous for his style characterized by many extravagant conceits, excessive figures, and other complicated rhetorical patterns. The authors analyze Sarbiewski’s catalogue in the context of Canzone delle stelle, dealing with the way the Polish poet understands and changes the original. While translating Marino’s poem into Latin and listing metaphorical “definitions”of stars, he retained freedom of creative interpretation. For this reason, in his catalogue one may find far-reaching textual changes, for example misreading of words, omission of some figures or simplification of meanings.

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14

Reisner, Marina L. "Visual images of beauty of the word in the Persian poetry of XVI - the beginning of XVIII century: the Indian style and painting by word." RUDN Journal of Philosophy 24, no. 1 (December 15, 2020): 12–22. http://dx.doi.org/10.22363/2313-2302-2020-24-1-12-22.

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The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’ ( rangin ), appears alongside with criteria of previous period, expressed with epithet ‘sweet’ ( shirin ) and step by step gets leadership. Lyric poetry ( qhazal ) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal . These motifs serve one of the regular contexts of author’s name ( takhallus ) and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino (1569-1625).

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15

Cavaillé, Jean-Pierre. "Les écritures carcérales de Tommaso Campanella et Giambattista Marino." Les Cahiers du Centre de recherches historiques, no. 39 (April 2, 2007). http://dx.doi.org/10.4000/ccrh.3363.

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16

García Aguilar, Mónica. "GIAMBATTISTA MARINO EN LOS ÍNDICES INQUISITORIALES ESPAÑOLES DEL SIGLO XVII." TRANSFER 18, no. 2 (January 9, 2023). http://dx.doi.org/10.1344/transfer.2023.18.40491.

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En España, la obra de Giambattista Marino aparece incluida por primera vez en los Índices de Libros Prohibidos de Antonio Zapata en 1632 y de Antonio de Sotomayor en 1640. Sin embargo, sus obras seguían circulando por nuestro país y están presentes en las grandes bibliotecas de la nobleza española, demostrando con ello que el vate barroco italiano se leía sin restricciones. En nuestro estudio describiremos el proceso inquisitorial que llevó a cabo el Santo Oficio español para la condenación de las obras del poeta napolitano, además de analizar la influencia que ejercieron los edictos prohibitorios de la Santa Sede en la elaboración de los catálogos españoles del siglo XVII.

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17

Hirdt, Willi. "Zwischen Abscheu und Ergötzen. Vom Mythos der La Strage degli Innocenti: Guido Reni, Giambattista Marino und Barthold Heinrich Brockes." Archiv für das Studium der neueren Sprachen und Literaturen, no. 1 (April 1, 2008). http://dx.doi.org/10.37307/j.1866-5381.2008.01.06.

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18

"Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 3 (June 11, 2021): 189–208. http://dx.doi.org/10.30958/ajha.8-3-1.

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The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the “artist-philosopher” as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other.

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