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Relevant bibliographies by topics / Il libro del cortegiano (Castiglione)

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Academic literature on the topic 'Il libro del cortegiano (Castiglione)'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Il libro del cortegiano (Castiglione)"

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Partridge, Mary. "LORD BURGHLEY AND IL CORTEGIANO: CIVIL AND MARTIAL MODELS OF COURTLINESS IN ELIZABETHAN ENGLAND." Transactions of the Royal Historical Society 19 (November 12, 2009): 95–116. http://dx.doi.org/10.1017/s0080440109990053.

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ABSTRACTWilliam Cecil, Lord Burghley, is not usually characterised as a courtier. He has traditionally been cast as a grave, hard-working statesman. Historians today recognise that almost every Elizabethan politician of national stature was, to a certain extent, a courtier. However, the epithet ‘courtly’ is still largely reserved for the self-styled chevaliers of Elizabeth's entourage. The courtliness of men such as Burghley, whose public persona was based predominantly on ‘civil’ rather than chivalric values, is rarely acknowledged. Yet Balthazar Castiglione's celebrated dialogue, Il libro del cortegiano, explored civil and martial ideals of courtly conduct. Burghley can be (and was) depicted as a model Castiglionean courtier. His friends and early biographers credited him with il Cortegiano's signature characteristic, sprezzatura. They also emphasised his social versatility – another attribute associated with il Cortegiano. Moreover, Burghley shared Castiglione's monarchocentric political agenda. He served his commonwealth by cultivating a personal relationship with his prince. This relationship licensed him to counsel Elizabeth, encouraging her to rule wisely and virtuously. He thus embraced the Castiglionean paradigm whereby public service was identified with personal service to a particular monarch. Burghley's adoption of this paradigm has arguably been overlooked as a result of the historiographical climate of the past twenty years. Patrick Collinson's enormously influential concept of monarchical republicanism has encouraged historians to conceptualise Burghley as a republican who happened to live in a monarchy. This may have obscured his approximation to Castiglione's ideal courtier, who was specifically designed to operate in a monarchical context.

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Richards, Jennifer. "Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero." Renaissance Quarterly 54, no. 2 (2001): 460–86. http://dx.doi.org/10.2307/3176784.

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In book 1 of Castiglione's II libro del cortegiano Lodovico da Canossa's sprezzatura — embodied in his pretended inability to teach us how to be perfect courtiers — is usually seen as consonant with the treatise's aristocratic bias, especially among its Anglophone readers. In this essay, I argue that study of Cicero's use of dissimulatio — or “assumed simplicity“— in De oratore helps us to understand the importance of indirection as a critical tool. I apply this insight to Canossa's apparently conservative treatment of nobility, and show how his sprezzatura demystifies (rather than mystifies) the source of noble self-expression. Canossa's sprezzatura reveals how imitatio can replace heredity as a means to elite status.

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Santagata, Marco. "Quadros da literatura italiana: uma alba melancólica: (Baldasar Castiglione, Il libro del cortegiano IV 73)." Estudos Italianos em Portugal, no. 2 (2007): 437–45. http://dx.doi.org/10.14195/0870-8584_2_22.

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Pugliese, Olga Zorzi. "The French Factor in Castiglione's The Book of the Courtier (Il libro del cortegiano): From the Manuscript Drafts to the Printed Edition." Renaissance and Reformation 39, no. 2 (January 1, 2003): 23–40. http://dx.doi.org/10.33137/rr.v39i2.8866.

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Les allusions de Castiglione sur la France et les Français dans l’édition de 1528 du Livre du Courtisan, notamment à propos des armes et des lettres, de l’activité physique et de la mode, sont bien connues. Une analyse des manuscrits comportant les versions précédentes du texte permet cependant d’évaluer dans quelle mesure les énoncés originaux de Castiglione relatifs aux Français et à leur culture ont été soumis à l’autocensure pendant la longue période que l’auteur a consacrée à la composition et à la révision de son œuvre. Les commentaires désobligeants à propos de la rusticité des Français sont atténués, de même que les passages trop manifestement flatteurs. En dépit de l’importance réduite qui est donnée à la culture française dans le texte publié, elle demeure un point de référence significatif dans le chef-d’œuvre de Castiglione.

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Rebhorn, Wayne A. "Baldesar Castiglione, Thomas Wilson, and the Courtly Body of Renaissance Rhetoric." Rhetorica 11, no. 3 (1993): 241–74. http://dx.doi.org/10.1525/rh.1993.11.3.241.

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Abstract: Historically, the Renaissance marks a transformation in wfiich the elite classes come to define themselves by their aesthetic refinement, taste, and good manners. Accompanying this change is a special vision of the human body which is distinguished from that of artisans and peasants. This opposition has been described by Bakhtin as one between the classical body and the grotesque one, and it appears in the most unportant book for the Renaissance redefinition of the upper classes, Castiglione's II libro del cortegiano. Castiglione's view of the body actually derives from the rhetorical tradition of antiquity, in particular from Quintilian and Cicero's De oratore. A similar view appears in the works of Renaissance rhetoricians and can usefully be illustrated by analysis of Thomas Wilson's The Arte of Rhetorique (1553), although the latter also retains a vision of the grotesque body as a result of the ambiguous social position of its author.

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Masiero, Federica. "DIE ERSTE DEUTSCHE ÜBERSETZUNG DES CORTEGIANO." Daphnis 41, no. 1 (March 30, 2012): 71–109. http://dx.doi.org/10.1163/18796583-90000866.

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Castigliones Libro del Cortegiano (1528), das Hauptwerk der höfischen Konversationsliteratur, wurde in Deutschland 1565 zum ersten Mal übersetzt, also mit einiger Verspätung im Vergleich zu den anderen europäischen Nationen. Der Übersetzer heißt Laurentz Kratzer. Als er 1565 das Vorwort zu seiner Übertragung schrieb, war er Mautzähler im oberbayerischen Burghausen. Ziel der folgenden Untersuchung ist eine syntaktisch vergleichende Analyse zwischen der ersten deutschen Version und dem italienischen Original, die uns aufschlussreiche Einblicke in den Prosastil der deutschen Übertragung sowie in die Besondernheiten der Übersetzungsliteratur des 16. Jahrhundert gewähren wird.

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Bognolo, Anna. "Representación cortesana en unos libros de caballerías renacentistas.: La conversación y la fiesta en el Amadís de Gaula y en el Esferamundi de Grecia." Librosdelacorte.es, no. 22 (July 1, 2021): 209–34. http://dx.doi.org/10.15366/ldc2021.13.22.007.

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El articulo presenta dos casos ejemplares, a partir de la definición del perfecto cortesano elaborada por Castiglione en su diálogo Il Cortegiano, y de los comentarios de Amedeo Quondam sobre la importancia, en esta “forma del vivere”, de la conversación y de las habilidades cortesanas. La “gracia” de la vida de corte se muestra en los libros de caballerías; el análisis de dos episodios del Amadís y del Esferamundi de Grecia a distancia de 60 años, entre España e Italia, permite notar el perdurar de esta forma de vida en sus varios matices, donde las variaciones más maduras acentúan los detalles maravillosos de palacios y jardines y destacan el protagonismo femenino.

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Paternoster, Annick. "Decorum and Indecorum in the "Seconda redazione" of Baldassare Castiglione's "Libro del Cortegiano"." Modern Language Review 99, no. 3 (July 2004): 622. http://dx.doi.org/10.2307/3738991.

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CHARTIER, Roger. "Mobilidade dos textos e diversidade das línguas: Traduzir nos séculos XVI e XVII." Varia Historia 35, no. 68 (August 2019): 413–41. http://dx.doi.org/10.1590/0104-87752019000200003.

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Resumo O tema da tradução é hoje compartilhado pela história literária, pela crítica textual, pela sociologia cultural e história global. Este artigo pretende, primeiramente, refletir sobre as razões dessa convergência. A primeira é histórica e considera a tradução como uma primeira forma de “profissionalização” da escrita. A segunda é metodológica e possui os estudos da tradução como um elemento essencial da “geografia literária” proposta por Franco Moretti, e da perspectiva das “histórias conectadas” definida por Sanjay Subrahmanyam. A terceira razão é linguística e estética e coloca ênfase na intraduzibilidade (ou nos textos e autores considerados como intraduzíveis). Em seguida, o artigo propõe três estudos de caso que permitem identificar três séries de pesquisas sobre as traduções e três modalidades da transformação dos textos quando eles migram de uma língua para outra. A mobilidade do significado pode ser produzida pela dificuldade da tradução de certas palavras (por exemplo “affetazione” ou “sprezzatura” no Libro del Cortegiano de Castiglione), ou pelo contexto da recepção da obra tal como sinalizam elementos paratextuais (no caso da Brevíssima relación de la destrucción de las Indias de Las Casas), ou ainda pela mutação do próprio sentido do texto (como o mostra o “Oráculo manual y arte de prudência” de Gracián, transformado em L’Homme de cour por seu tradutor francês, mesmo que a palavra “corte” nunca tenha aparecido no livro de Gracián).

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Pugliese (book transcriber), Olga, and Mary Watt (review author). "The Early Extant Manuscripts of Baldassar Castiglione’s Il libro del cortegiano in digital format." Quaderni d'italianistica 34, no. 2 (March 30, 2014): 171–72. http://dx.doi.org/10.33137/q.i..v34i2.21042.

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Dissertations / Theses on the topic "Il libro del cortegiano (Castiglione)"

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Mullin, Janet Elizabeth. "Words to live by, Castiglione's Il Libro del Cortegiano and four men of Henry VIII's court." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ62140.pdf.

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Ricci, Maria Teresa. "L'homme universel chez Baldassar Castiglione et Baltasar Gracian." Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20013.

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Au XVIe et au XVIIe siècles, dans plusieurs pays d'Europe, et surtout en Italie, en France et en Espagne, sont écrits de nombreux traités de comportement, qui ont joué un rôle très important dans le développement de la civilisation européenne. Dans notre thèse, nous portons plus particulièrement notre attention sur le célèbre "Libro del Cortegiano" (1528) de B. Castiglione (1478-1529), et sur les écrits de B. Gracian (1601-1658), notamment "El Heroe" (1637), "El Discreto" (1646) et l'"Oraculo manual y arte de prudencia" (1647). Castiglione se proposant de décrire dans son oeuvre la "profession de la courtisanerie", à laquelle se consacrent nombre d'anciens chevaliers, nous induit à considérer l'idéal du "parfait courtisan" tout dabord comme l'expression de l'ancienne noblesse féodale, qui se voit transformer, à partir de la fin du Moyen âge, en une "caste" courtisane. L'idéal de l"homme universel" de Castiglione apparaît alors en ce sens comme l'expression de l'émergence d'un nouveau modèle de comportement social. Le modèle social créé par Gracian s'éloigne du cortegiano. Gracian donne des préceptes pour l'individu qui veut parvenir et se maintenir. A l'homme de cour de Castiglione, qui vit dans un monde enchanté, sous le signe de la "grâce", Gracian oppose l'homme du calcul qui vit dans un monde où homo homini lupus. A l'idéalisme de Castiglione, Gracian opposera le pragmatisme

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Malavolta, Marilia Gabriela. "Sobre a arte e a necessidade da dissimulação em "Il libro del cortegiano"." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270239.

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Orientador: Carlos Eduardo Ornelas Berriel
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-06T05:56:52Z (GMT). No. of bitstreams: 1 Malavolta_MariliaGabriela_M.pdf: 4534104 bytes, checksum: a75c53f2eb43d223c3fbcf4a5bcc9fec (MD5) Previous issue date: 2006
Resumo: A obra de Baldassare Castiglione, Il Libro del Cortegiano, é composta por diálogos que têm como finalidade a construção, com palavras, daquele que, tendo cumprido uma série de preceitos, poderia ser tido como um perfeito homem de corte. Este assunto principal (o objetivo da obra) é levado a cabo a partir de uma série de outros assuntos, como, para citar apenas alguns: a questão da língua italiana, a arte, o merecimento individual contraposto à nobreza de nascimento, a verdadeira função da cortesania, amizade versus adulação, a importância da primeira impressão bem como da opinião universal, os vícios, as virtudes e a fortuna. A obra é composta, igualmente, por referências (anunciadas e não anunciadas) ao que ilustres antigos (como Platão, Aristóteles, Xenofonte, Cícero, Ovídio, Horácio, Sêneca ou Quintiliano) já haviam pensado sobre tal matéria - a perfeição - ou sobre outras que, para o pleno desempenho do gentil-homem, serão essenciais: a graça, a medida ou decoro, a sprezzatura e a dissimulação. O domínio destas fontes clássicas constitui um dos aspectos do refinamento cortês (e, dado ser a Corte o cenário do Cortegiano, as citadas referências ajudam a compor a exemplaridade da obra em si). Com efeito, manter uma atitude sprezzata ("desenvolta") é manter uma atitude elegante. De forma ligeiramente menos completa, manter uma atitude dissimulada deve consistir em uma eventual necessidade de ocultamento com fins valorosos, como orientar o Príncipe e manter preservado o clima cordial e refinado da Corte. Em tempo, dissimular significa enganar, ocultar algo, mentir, fingir; sprezzatura, por sua vez, implica engano, ocultamento, mentira, fingimento SEM a aplicação visível de esforço. Uma e outra são valorosas se atreladas ao conhecimento: conhecimento de si próprio, das circunstâncias, das Humanidades
Abstract: The book II Libro dei Cortegiano, by Baldassare Castiglione, presents, in the form of dialogues, the precepts that a man should achieve in order to become a perfect courtier. This main subject (the purpose of the work) is carried out by a series of other subjects, such as, too name a few: the issue of the italian language, the art, the individual merit against the nobleness birth, the real function of the courtliness, friendship versus adulation, the importance of first impression and of universal opinion, the addictions, the virtues and the fortune. The work is composed, equally, by references (announced and not announced) of what ancient illustriuos (such as Plato, Aristotle, Xenophon, Cicero, Ovidio, Horatio, Seneca, Quintilian) had already thought about this matter - perfection - or about others that, for the total fulfillment of the nobleman will be essential: grace, measure or decorum, sprezzatura and dissimulation. The domain of this classical sources constitute one of the aspects of the courteous refinement (and, beeing the Court the scenario of the Cortegiano, the cited references help composing the exemplicity of the work in itself). In fact, maintaining a sprezzata attitude is maintaining an elegant attitude. In a little less complete form, to maintain a dissimulated attitude must consist in a occasional need of concealment with valuable ends, such as orientate the Prince and sustain preserved the cordial and refined climate of the Court. In time, to dissimulate means to deceive, hide something, lie, pretend; sprezzatura, in the meantime, implies deceit, concealment, lie, pretense WITHOUT a visible application of effort. One and another are valuable if harnessed to knowledge: knowledge of yourself, of the circumstances, of Humanities
Mestrado
Mestre em Teoria e História Literária

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VILLA, VIVIANA FRANCESCA. "SULLE ORME DEL 'CORTEGIANO'. IL 'SAVIO IN CORTE' NELLA TRATTATISTICA DEI SECOLI XVI-XVII." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39110.

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"Il Libro del Cortegiano" di Baldassarre Castiglione, a stampa nel 1528, costituisce l’archetipo di una florida tradizione: numerosi i trattati e i dialoghi che, dopo il 1528, mettono a fuoco qualità e prerogative richieste a corte, confutando oppure corroborando il modello delineato nel classico cinquecentesco. La dissertazione intende vagliare l’eredità dell’opera di Castiglione isolando alcuni temi rintracciabili in contributi pubblicati in volgare dopo il 1528 e sino al 1640; fra gli autori considerati spiccano Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo e Francesco Baldelli (volgarizzatore dell’opera latina di Nifo), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini ed Agostino Mascardi, senza dimenticare i più celebri Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. Le proposte di questi autori sono state accostate ed intrecciate alla voce di Castiglione nei primi tre capitoli della tesi, suggellata da una appendice che presenta e riproduce l’inedito "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte" di Camillo Baldi, custodito presso la Biblioteca Classense di Ravenna.
Baldassarre Castiglione’s "Libro del Cortegiano", printed in 1528, represents the archetype of a flourishing written tradition: refuting or corroborating the model drafted in the sixteenth-century masterpiece, many essays and dialogues published after 1528 have focused on qualities and prerogatives required at court. The present thesis aims at sifting through Castiglione’s heritage, selecting themes and topics from some works printed in Italian between 1528 and 1640; the authors of the books examined are Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo (his essay, first published in Latin, was translated by Francesco Baldelli), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini and Agostino Mascardi, not forgetting the more famous Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. These authors’ proposals have been compared with Castiglione’s ideas in the first three chapters of the thesis, which is completed by an appendix that reproduces and analyzes Camillo Baldi’s "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte", an unpublished work located at the Biblioteca Classense of Ravenna.

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Almeida, Jorge. "A arte cheia de graça: il libro del Cortegiano de Baldesar Castiglione." Master's thesis, 2012. http://hdl.handle.net/10451/6960.

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Tese de mestrado, Teoria da Literatura, Universidade de Lisboa, Faculdade de Letras, 2012
Esta tese consiste numa reflexão sobre os conceitos de graça e sprezzatura na obra Il Libro del Cortegiano de Baldesar Castiglione e sobre a influência que estes tiveram sobre a teoria da arte do século XVI. Tentar-se-á demonstrar que no Cortegiano existe não só a disposição teórica dos mesmos conceitos, mas uma exemplificação dos mesmos na prática e de como esta é sempre mais importante, para os interesses de Castiglione, do que qualquer tipo de teoria. E, uma vez que Castiglione exemplifica em que consiste a graciosidade, será posta em questão a afirmação de Harry Berger Jr. segundo a qual o Cortegiano é um livro que evidencia um processo de “falling from grace”, pois creio que o Cortegiano está cheio da graça que Castiglione dizia ser característica da verdadeira arte. Será ainda discutida a legitimidade de dois lugares-comuns dos estudos sobre o Cortegiano: o suposto acaso responsável pelas ideias artísticas de Castiglione e também a ideia segundo a qual o Cortegiano é um livro de boas maneiras.
Abstract: This dissertation consists of a reflection on the concepts of grace and sprezzatura present in Il Libro del Cortegiano, by Baldesar Castiglione, and how these influenced 16th century aesthetic theory. We will try to prove that Cortegiano not only presents a theoretical disposition of these concepts but also offers practical examples, and how these, in the eyes of Castiglione, are always more relevant than any kind of theory. In addition, we will address Castiglione‟s understanding of grace. By doing so, we will question Harry Berger Jr.‟s theory, according to which Cortegiano is a book that shows a “falling from grace”. For that matter, I will argue that Cortegiano is filled with the grace Castiglione said to be fundamental to true art. Finally, we will analyse the legitimacy of two commonplaces in Cortegiano studies: firstly, that Castiglione‟s artistic ideas are a matter of pure chance and secondly, the notion according to which Cortegiano is a book of good manners.

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Books on the topic "Il libro del cortegiano (Castiglione)"

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The economy of human relations: Castiglione's Libro del cortegiano. New York: P. Lang, 1992.

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Varietas und Veritas: Normen und Normativität in der Zeit der Renaissance : Castigliones Libro del Cortegiano. München: Fink, 2001.

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Castiglione's The book of the courtier (Il libro del cortegiano): A classic in the making. Napoli: Edizioni scientifiche italiane, 2008.

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Baldassarre, Castiglione. Il libro del cortegiano. Torino: Einaudi, 1998.

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Baldassarre, Castiglione. Il libro del cortegiano. Roma: Bulzoni, 1986.

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Castiglione, Baldassarre. Il libro del cortegiano. 2nd ed. Milano: Garzanti, 1987.

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Baldassarre, Castiglione. Il libro del cortegiano. 8th ed. [Milano]: Garzanti, 1999.

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Baldassarre, Castiglione. Il libro del cortegiano. Roma: Bulzoni, 1986.

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Questo povero Cortegiano: Castiglione, il libro, la storia. Roma: Bulzoni, 2000.

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Università cattolica del Sacro Cuore. Dipartimento di studi medioevali, umanistici e rinascimentali., ed. Castiglione e il mito di Urbino: Studi sulla elaborazione del "Cortegiano". Milano: Vita e pensiero, 2003.

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Book chapters on the topic "Il libro del cortegiano (Castiglione)"

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Kremers, Dieter. "Castiglione, Baldassare Graf: Il libro del Cortegiano." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3042-1.

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Hinz, Manfred. "Castigliones Libro del Cortegiano und die Begründung der Hofmannskunst." In Rhetorische Strategien des Hofmannes, 73–220. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03395-6_3.

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Rust, Holger. "„Il Libro del Cortegiano“." In Klassische Inspirationen zu professioneller Gelassenheit, 9–23. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-21613-9_2.

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Palma, Flavia. "Il Boccaccio di Baldassar Castiglione: la duplice immagine del Certaldese nelle pagine del Cortegiano." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 231–45. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.14.

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Giovanni Boccaccio is quoted several times in Castiglione’s Cortegiano, but all these mentions are inserted in two specific contexts: on the one hand, the debate on literary language, developed in the letter of dedication to don Michel De Silva and in the first book; on the other hand, the definition of the joke in book II. Starting from these premises, this essay analyses the meanings of Boccaccio’s presence in the Cortegiano. It shows that Castiglione’s treatise provides two different and concurrent representations of the author of the Decameron: a positive one, connected to the ‘questione della lingua’, that offers Boccaccio as a promoter of the usage (‘uso’); a critical one, deriving from the theory of the ‘facezia’, that makes Boccaccio a challenging and challenged model.

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Mac Carthy, Ita. "Grace and Favour." In The Grace of the Italian Renaissance, 50–75. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0004.

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This chapter shows that the life of Renaissance grace begins in earnest with Baldassare Castiglione's Libro del cortegiano (Book of the Courtier, 1516) and Raphael's portrait of Castiglione (1514–1516). It does so because preoccupations with grace and its multiple senses are central to both the book of manners and the painting, so much so that Castiglione came to be known as the great theorist of grace while Raphael was identified as its painter. Both have been referred to in countless studies from the sixteenth century to today as the embodiments of Renaissance grace. In addition, the network of interconnections between them makes Castiglione and Raphael a promising point of departure. It is an ideal testing ground for observing how grace behaves in different media and examining the extent to which it can be said to contribute to those interdisciplinary rivalries and friendships that allowed Renaissance learning, literature, and arts to flourish.

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"IV. Existenzielle Persuasion: Das Geheimnis der grazia in Castigliones „Libro del Cortegiano“." In Decorum. Berlin, Boston: DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110260557.127.

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García-Medall, Joaquín. "Sobre una nueva traducción al español de Il libro del cortegiano." In Voces dialogantes. Estudios en homenaje al professor Wiaczesław Nowikow. Wydawnictwo Uniwersytetu Łódzkiego, 2019. http://dx.doi.org/10.18778/8142-564-3.38.

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"Das Frauenbild in Vives' 'De institutione feminae christianae' und Castigiiones 'Libro del cortegiano'." In Juan Luis Vives, 55–74. Vervuert Verlagsgesellschaft, 1995. http://dx.doi.org/10.31819/9783964563408-006.

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Pugliese, Olga Zorzi. "The Development of Dialogue in II libro del cortegiano: From the Manuscript Drafts to the Definitive Version." In Printed Voices, edited by Dorothea Heitsch and Jean-Francois Vallee. Toronto: University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442678743-007.

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