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

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Pugliese (book author), Olga Zorzi, and Sherry Roush (review author). "Castiglione's The Book of the Courtier (Il libro del cortegiano). A Classic in the Making." Quaderni d'italianistica 30, no. 1 (January 1, 2009): 196–98. http://dx.doi.org/10.33137/q.i..v30i1.8434.

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12

Finucci, Valeria. "In the Name of the Brother: Male Rivalry and Social Order in Baldassarre Castiglione's Il libro del cortegiano." Exemplaria 9, no. 1 (January 1997): 91–116. http://dx.doi.org/10.1179/exm.1997.9.1.91.

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13

Baldini, Donatella. "The Play of the Courtier: Correspondences between Castiglione's Il libro del Cortegiano and Shakespeare's Love's Labour's Lost." Quaderni d'italianistica 18, no. 1 (April 1, 1997): 5–22. http://dx.doi.org/10.33137/q.i..v18i1.10028.

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14

Skowron, Maja. "Kobiece reguły gry. Spór o kobiety w dialogu Il merito delle donne Moderaty Fonte." Terminus 22, no. 3 (56) (2020): 209–32. http://dx.doi.org/10.4467/20843844te.20.012.12370.

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Women’s Rules of the Game: A Dispute over Women in the Dialogue Il merito delle donne by Moderata Fonte This paper concerns Moderata Fonte (Modesta dal Pozzo), a female Venetian writer who lived in the 16th century, and a dialogue she wrote, Il merito delle donne (On the Value of Women), in which seven women gathered in a garden have a lively discussion about men and their flaws. The author of the study presents the book and Fonte’s biography in the context of the early-modern dispute over women (querelle des femmes). She then analyses Il merito delle donne in terms of the functionality of both the genre in which it was written and the convention of play (game) that is relevant to the work, in order to answer the question of the importance of these devices for the topic Fonte raises. Skowron writes about what makes Il merito delle donne different from other dialogues published at the time by women, as well as from Balthazar Castiglione’s famous Book of the Courtier (Il libro del Cortegiano), and in discussing the motif of the play she uses the definition of the ludic element of Johan Huizinga of Homo ludens. She points to the presence of particular determinants of play in Il merito delle donne, wondering how the voluntary basis of the game, limited time and space, imposed rules or a situation different from ordinary life affect the female characters’ freedom to express their opinions in discussion, as well as the reception of the work itself. Il merito delle donne owes its unique character to its form because it allows not only different views in a dispute over women to be presented, but above all it involves the reader in a discussion which does not end with the last page of the dialogue.

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15

Abbrugiati, Perle. "Raffaele Ruggiero, Baldassarre Castiglione diplomatico.La missione del cortegiano." Italies, no. 22 (October 20, 2018): 296–98. http://dx.doi.org/10.4000/italies.6577.

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16

Ann Cavallo, Jo. "Olga Zorzi Pugliese. Castiglione's The Book of the Courtier (Il Libro Del Cortegiano): A Classic in the Making. Viaggio d'Europa Culture e letterature 10. Naples: Edizioni Scientifiche Italiane, 2008. 382 pp. index. illus. bibl. €40. ISBN: 978–88–495–1492–6." Renaissance Quarterly 62, no. 1 (2009): 206–7. http://dx.doi.org/10.1086/598397.

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17

Galle, Roland. "Dialogform und Menschenbild in CastiglionesIl Libro del Cortegiano." Neohelicon 17, no. 1 (March 1990): 233–51. http://dx.doi.org/10.1007/bf02092762.

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18

Pugliese, Olga Zorzi. "Humour in Il libro del cortegiano." Quaderni d'italianistica 14, no. 1 (April 1, 1993): 135–42. http://dx.doi.org/10.33137/q.i..v14i1.10175.

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19

Norton, Tom. "The role of the index in Il Libro del Cortegiano." Indexer: The International Journal of Indexing 25, no. 2 (October 2006): 108–13. http://dx.doi.org/10.3828/indexer.2006.29.

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20

Paternoster, Annick. "L'INTERAZIONE SCORTESE NELLA SECONDA REDAZIONE DEL CORTEGIANO DI BALDASSAR CASTIGLIONE." Italian Studies 57, no. 1 (January 1, 2002): 37–60. http://dx.doi.org/10.1179/007516302790508683.

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21

Langer, Ullrich. "Merit in Courtly Literature: Castiglione, Rabelais, Marguerite de Navarre, and Le Caron." Renaissance Quarterly 41, no. 2 (1988): 218–41. http://dx.doi.org/10.2307/2862204.

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Spesse volte mi viene un dubbio, s'é dato dal nascimento (come nell'altre cose ancora) ch'i Principi siano propitii & favorevoli verso questi, iniqui & crudeli verso quegli altri, o se pure è posto nella industria nostra…. (Francesco Sansovino,Propositioni in materia di cose di Stato, Vinegia, 1583, fol. 110)Castiglione'sLibro del cortegiano(1528) and Renaissance courtesy literature in general chart an uneven course between the description of an illustrious courtly ideal never fully incarnate and the establishment of a set of rules enabling courtly practice and prescription. These two intentions, one roughly Platonic and the other roughly Aristotelian, are in the end contradictory, for the more substantial the ideal becomes, the less can it accommodate varying experience and therefore practice. The impulse to set forth an ideal as something outside of variety through which experience is to be judged is incompatible with the production of that ideal through the experiential mean of varying extremes.

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22

Muñiz, María de las Nieves. "Il libro del Cortegiano tradotto da Boscán: Nota su un lapsus maschile pro femminile." Quaderns d’Italià 6 (November 3, 2001): 101. http://dx.doi.org/10.5565/rev/qdi.58.

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23

Comellas Solé, Jordi. "La música dentro de las cortes europeas del siglo XVI. El modelo de Il Cortegiano y el papel de las damas en su consolidación. El ejemplo de las cortes italianas." Philostrato. Revista de Historia y Arte, no. 7 (June 26, 2020): 5–32. http://dx.doi.org/10.25293/philostrato.2020.01.

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Durante el siglo XVI las élites nobiliarias tomaron como modelo de comportamiento al gentiluomo descrito por Baldassare de Castiglione en su Cortegiano. Según este ideal, la música jugaba un papel esencial en la formación de príncipes y cortesanos. El soberano humanista debía conjugar la doble faceta de intérprete y patrón. Paradójicamente y bajo este prisma, en las cortes italianas de Mantua y Ferrara la figura de la mujer adquirió una relevancia especial en dos ámbitos, por un lado en el intenso patronazgo musical ejercido por las princesas de las familias gobernantes, y por otro en la importancia de las cortesanas y profesionales como intérpretes. Todo ello posibilitó el desarrollo de un estilo de canto de gran refinamiento y de un virtuosismo extremo, explicitado en el concerto delle dame de la corte estense de Ferrara de finales del siglo XVI.

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24

Volpini, Paola. "Baldassarre Castiglione diplomatico: La missione del Cortegiano. Raffaele Ruggiero. Biblioteca dell’“Archivum Romanicum” Serie I: Storia, Letteratura, Paleografia 471. Florence: Olschki, 2017. xvi + 154 pp. €22." Renaissance Quarterly 71, no. 4 (2018): 1444–45. http://dx.doi.org/10.1086/702049.

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25

Ruggiero, Raffaele. "Baldassarre Castiglione, Il Libro del Cortegiano." Laboratoire italien, November 3, 2017. http://dx.doi.org/10.4000/laboratoireitalien.1686.

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26

Castiñeira Ezquerra, Marina. "El principado de Urbino como corte-jardín : Castiglione y su tratado de cortesanía." Espacio Tiempo y Forma. Serie IV, Historia Moderna, no. 12 (January 1, 1999). http://dx.doi.org/10.5944/etfiv.12.1999.3388.

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El presente artículo se propone realizar la exégesis de un tratado renacentista de "buenas maneras», II libro del cortegiano de Baldassare Castiglione, utilizando como herramienta clave el concepto de «jardín». Nuestro análisis examina este concepto en la obra mencionada, entonces, en cuanto arquetipo mítico de la cultura occidental que ha servido en los periodos bajomedieval y renacentista para legitimar política y socialmente la ideología cortesana. Encuadrada bajo los supuestos de esta ideología, la acción política «ajardina» el territorio al civilizarlo. La «corte-jardín» se convierte en el escenario cultural utópico de la sociedad urbana y colonizadora del campo de un cierto periodo histórico. II libro del cortegiano de Baldassare Castiglione, demuestra de manera destacada esa tendencia de unificar sociedad, cultura y naturaleza. Esta obra literaria es un tratado de corte, referido al principado de Urbino, publicado en Venecia en 1528, y que gozó de gran acogida y amplia repercusión en toda Europa tiasta la caída del Antiguo Régimen. Al intentar legitimar la institución cortesana, el autor compone sistemáticamente una segunda naturaleza domesticada o «corte-jardín» que representa la cultura cortesana del principado italiano renacentista. La institución gubernamental aparece entonces como una prolongación de la naturaleza, y el territorio político semeja un jardín.The present article is aimed to accomplish the exegesis of a Renaissance treatise of «good manners», II libro del cortegiano from Baldassare Castiglione, by using the «garden» concept as a key tool. Our analysis examines this concept through the above aforementioned piece of work, then, as for mythical archetype in western culture which was of use along Low Middie Ages and Renaissance to politically and socially legitimize the court ideology. Framed under this ideology assumptions, the politic action «gardens» the territory when civllizing. The «court-garden» becomes the utopian cultural scenario for the urban society and a colonist of country for a certain historical period. II libro del cortegiano from Baldassare Castiglione boldly shows that tendency to unify society, culture and nature. This literature piece of work is a court treatise, concerning Urbino princedom, published in Venice in 1528, which enjoyed good reception and was far-reaching throughout Europe until the fall of the Oíd Regime. When trying to legitimize the court institution, the author systematically makes up a second tame nature or «court-garden» representing the court culture for Renaissance Italian princedom. The government institution appears then as an extensión of nature, and the political territory resembles a garden.

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