Relevant bibliographies by topics / Sprezzatura

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Sprezzatura'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

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Journal articles on the topic "Sprezzatura"

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Lederman, Norman G., and Lawrence B. Flick. "Sprezzatura." School Science and Mathematics 102, no. 4 (April 2002): 149–51. http://dx.doi.org/10.1111/j.1949-8594.2002.tb18196.x.

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Pousão-Smith, Maria-Isabel. "Sprezzatura, Nettigheid." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 54, no. 1 (2003): 258–79. http://dx.doi.org/10.1163/22145966-90000097.

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Renuga Devi, S. "Sprezzatura in Postmodern Perspective." Shanlax International Journal of English 8, no. 2 (March 1, 2020): 32–36. http://dx.doi.org/10.34293/english.v8i2.2100.

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Fashion in contemporary time is a prominent part of the art. In the status of fashion, Postmodernism plays a huge role in the art world. In this research paper, the researcher deals with the idea of Sprezzatura in the modern world, and it plays a vital role in the concept of Sprezzatura in work The Book of the Courtier by Baldassare Castiglione in Postmodern perspective. In recent times people misunderstand the word Sprezzatura, and it changed people’s inner thought and outer appearance through this concept.
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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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Ricci, Maria Teresa, and Cristiane Maria Rebello Nascimento. "Graça e Sprezzatura em Baldassar Castiglione." Revista Limiar 2, no. 3 (March 24, 2019): 5–31. http://dx.doi.org/10.34024/limiar.2014.v2.9266.

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Partindo da análise da etimologia da palavra “graça”, a autora analisa a teoria de Castiglione, condensada na frase “quem tem graça, é grato”, que indica tanto um sentido ativo, quanto um sentido passivo da palavra “graça”. Para receber a graça de seu príncipe, o nobre cortesão deve ser gracioso. A “graça”, portanto, torna-se um ornamento e uma estratégia. A “graça” nasce de uma “regra universal”: evitar afetação e demonstrar certa indiferença – sprezzatura. Sprezzatura, que implica disprezzo, desdém, é dissimulação da arte e similação de natureza. É o produto de uma longa “fadiga” que deve ficar completamente escondida. A “graça” pode ser, deste modo, resumida no oxímoro: arte sem arte.
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Baldini, Andrea. "Sprezzatura, Good Taste, and Socrates’ Dirty Toga." Philosophers' Magazine, no. 80 (2018): 42–47. http://dx.doi.org/10.5840/tpm20188012.

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Colella. "MÚSICA Y «SPREZZATURA» EN "EL CORTESANO" DE LUIS MILÁN." Revista de Musicología 39, no. 1 (2016): 47. http://dx.doi.org/10.2307/24878537.

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Lan, Tu. "Writing Fashion in Early Modern Italy: From Sprezzatura to Satire." Journal of Modern Italian Studies 20, no. 5 (October 20, 2015): 741–43. http://dx.doi.org/10.1080/1354571x.2015.1096529.

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Campagnoli, Ruggero. "Note sur sprezzatura et attillatura dans le Cortegiano de Baldassar Castiglione." Réforme, Humanisme, Renaissance 75, no. 1 (2012): 61–67. http://dx.doi.org/10.3406/rhren.2012.3181.

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Strong‐Wilson, Teresa. "Touchstones as sprezzatura: the significance of attachment to teacher literary formation." Changing English 13, no. 1 (April 2006): 69–81. http://dx.doi.org/10.1080/13586840500347491.

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Dissertations / Theses on the topic "Sprezzatura"

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Waters, Roderick-Pascal. "La "sprezzatura" : enjeux et concepts." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0011.

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Dans le "Livre du Courtisan" (Venise, 1528), Baldassare Castiglione (1478-1529) évoque « une certaine "sprezzatura", qui cache l'art et qui montre que ce que l'on a fait et dit est venu sans peine et presque sans y penser », d'où « dérive surtout la grâce », tant « chacun sait la difficulté des choses rares et bien faites, si bien que la facilité en elles engendre une grande admiration » (I, XXVI, trad. Pons). Nous en proposons d'abord une analyse conceptuelle en contexte, qui nous mène à en élaborer les termes structurants : grâce et beauté, nature et travail. Puis, par un examen généalogique, nous entreprenons une traduction de la grâce théologico-anthropologique (augustinienne) en termes esthétiques, témoignant d'une profonde cohérence du système de la "sprezzatura" ; nous confrontons alors Castiglione au « naturel » antique (Horace, Cicéron, Pline l'Ancien) et à la formation de la Doctrine Classique (Boileau, Rapin, Bouhours, Gracián). Dans une enquête ensuite contextuelle, nous exposons le système de la Cour, découvrons un certain nombre de penseurs contemporains de la Beauté et de la Grâce (Ficin, Alberti, Bembo, Diacceto, Varchi, Firenzuola, Della Casa, Romei, Sardi, Accetto) et confrontons enfin la "sprezzatura" à l'univers de la "Maniera" (spécialement chez Bronzino et Giambologna). Nous concluons par quelques éléments de discussion de la "Distinction" telle que l'a conceptualisée Bourdieu.La "sprezzatura" n'est pas une simple pensée classique de l'"ars est celare artem", et ne réduit pas plus la grâce au simple lustre de la beauté ; elle constitue au contraire une dramatique de l'imminence, et fait reposer son effet sur des usages esthétiques de l'imagination qui capitalisent sur l'imaginaire chrétien de la grâce. Dès lors, la "mediocritas" que revendique Castiglione n'est pas réductible à ce qu'en laisserait penser l'amalgame avec Della Casa et Accetto : elle est un juste milieu et un point d'équilibre entre le simplement naturel et le ridicule affecté (propre à une certaine tentation du sublime). Véritablement, la "sprezzatura" « s'avance à la frontière de la générosité » (Baltasar Gracián, "El Héroe", XIII, trad. Pelegrín).Diverses Annexes sont jointes, en particulier : une enquête sur les racines du concept d'« Ange » chez Ficin et Diacceto ; une revue de différentes cours de la Renaissance italienne et de leurs valeurs tant esthétiques que culturelles
In his 'Book of the Courtier' (Venice, 1528), Baldassare Castiglione (1478-1529) touches on 'a certain Recklessness ('sprezzatura'), to cover art withall, and seem whatsoever [the Courtier] does and says to do it without pain, and (as it were) not minding it', of which 'grace is much derived', 'for in rare matters and well brought to pass every man knows the hardness of them, so that a readiness therein makes great wonder' (I, XXVI, modern-spelling Hoby translation). Our study begins with a contextual analysis of 'sprezzatura''s main concepts : grace versus beauty, nature and artlessness versus labour. From a genealogical point of view, we then offer a fresh aesthetical translation of Augustine's theological (and anthropological) concept of grace, which turns out to strongly support 'sprezzatura''s conceptual frame ; we thereupon investigate Castiglione's relationship to the 'classical' value of artlessness, as found both among Ancients (Horace, Cicero, the Elder Pliny) and Moderns (Boileau, Rapin, Bouhours, Gracián). Setting back the focus on context, we then expound the inner workings of the Court, become acquainted with a number of contemporary theorists of Beauty and Grace (Ficino, Alberti, Bembo, Diacceto, Varchi, Firenzuola, Della Casa, Romei, Sardi, Accetto), and set 'sprezzatura' within the realm of 'Maniera' (especially Bronzino and Giambologna). Conclusions are eventually drawn while discussing Bourdieu's concept of 'Distinction'.We hold that 'sprezzatura' should not be reduced to the classical scheme of 'ars est celare artem', neither does it shrink grace to the mere lustre of beauty ; much to the contrary, it accounts for the very drama of imminence, thus making an aesthetical use of imagination inspired by the Christian understanding of grace. Neither should the 'mediocritas' claimed by Castiglione be reduced to its lesser self, inspired by the likes of Della Casa and Accetto : it strives for a perfect balance and a virtuoso equilibrium between the merely natural and the ridicule of 'affettazione' (which may be linked to the pursuit of the sublime). Truly, 'sprezzatura' 'reaches to the edge of generosity' (Baltasar Gracián, 'El Héroe', XIII, personal translation).Various Appendices are attached, especially : an enquiry into the roots of the concept of 'Angel' wielded by Ficino and Diacceto ; a review of various courts of the Italian Renaissance outlining their main aesthetical and cultural values
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Brough, Alisa. "Negotiation through Identification: Elizabeth Tudor's Use of Sprezzatura in Three Speeches." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1350.pdf.

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Paoletti, Erika. "Rhetorique d'Imagination et de Sprezzatura Chez Louise Labe et Isabella Andreini." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3713.

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Thesis advisor: Laurie Shepard
"Rhetoric of Imagination and of Sprezzatura in Louise Labé and Isabella Andreini" redefines the relationship between gender and imagination in the act of writing. The goal is not to argue that women write in a different manner than men, rather, by reading their texts together with male contemporaries, this work illustrates how writers engaged in various strategies, and in particular the rhetoric of imagination and of sprezzatura, to establish themselves within the literary culture of the period. Labé (c.1520-1566) and Andreini (1562-1604), grant themselves the authority to write by modeling their needs on the examples set by their male counterparts. The Introductory Chapter consists of a statement of the purpose of the study, its significance, and an outline of the work; it also includes biographies of Louise Labé and Isabella Andreini and contextualizes their socio-economical status. Chapter 1: Prefaces in Louise Labé and Isabella Andreini, A Means to Self-Promotion, analyzes the prefaces of Labé and Andreini, in which they solicit patronage. This practice is an important tool for those seeking social mobility, security, and recognition by others. Chapter 2: Rhetoric of Imagination in Louise Labé and Isabella Andreini, elaborates the role and essential androgyny of imagination. By focusing on the fundamental characteristics of this faculty, its "power of sensory representation," this dissertation argues that Petrarca and Montaigne's idea of imagination is intimately related to man's desire to transform reality, to produce images and, ultimately, to engage in the act of writing, and both Labé and Andreini self-consciously reflect on this function in their words. Both writers develop a rhetoric of imagination that permits them to surpass the very question of gender by taking a position of power with respect to their writing and their rights as authors. Chapter 3: Rhetoric of sprezzatura in Louise Labé and Isabella Andreini, examines how Labé and Andreini use sprezzatura as a rhetorical strategy that allows them to identify with their male ounterparts and cross the boundaries of society while seeking "fame." From my analysis of imagination and sprezzatura I have observed that these are two conditions that create tension between their private and public spheres of Labé and Andreini. On the one hand, imagination is a mental effort, and belongs to the realm of the private; and, on the other, sprezzatura is tied to the rules of eloquence, thus belongs to the realm of the public. In their texts this duality manifests itself through the interplay of the androgynous "I" which masks their identity. In conclusion, this study shows how Labé and Andreini manipulate the existing dominating structure of society to fit gender expectations
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Southwick, Margaret Ann. "Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1547.

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This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.
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Urbain, Ruano Elise. "La mode du négligé et le portrait français : de la "sprezzatura" au "naturel" le "négligé", 1670-1790." Thesis, Lille 3, 2020. http://www.theses.fr/2020LIL3H006.

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Le choix des vêtements représentés dans un portrait est rarement anodin, et ceci est particulièrement vrai à l’époque moderne. Les significations de nombreux attributs et costumes officiels ont été largement étudiées et commentées, mais qu’en est-il des portraits en négligé ? À partir des années 1670, le sens du terme « négligé » prend une nouvelle acception moins péjorative et qualifie des vêtements confortables, opposés à la grande parure. Il s’agit de déterminer les circonstances qui amènent à une revalorisation du point de vue sur le négligé et expliquer son succès dans le portrait. La question est posée dans le cadre des relations entre la France et l’Angleterre faites d’alternance de périodes d’assimilation et de rejet dont les effets sur les pratiques artistiques ne sont plus à démontrer.Au XVIIIe siècle, le terme « négligé » désigne aussi bien des vêtements que des styles artistiques en peinture ou littérature, ou encore une attitude totalement artificielle liée chez les femmes au rituel codifié de la toilette : il concerne les pratiques sociales d’élites caractérisées par un souci constant de la représentation. Par certains aspects, le négligé évoque la « sprezzatura » de Baldassare Castiglione, mais au cours du XVIIIe siècle il est rapproché de, ou opposé à, l’idée de « naturel ». Enfin, la diffusion des modes négligées est à lier au rejet des codes de la parure, contribuant au brouillage de la hiérarchie sociale d’Ancien Régime et permettant une affirmation individuelle au détriment de l’identité de groupe. De nouvelles clefs de lecture sont ainsi données pour des portraits dans lesquels la représentation des vêtements ne paraissait pas significative
The choice of clothing depicted in a portrait is often meaningful, and this is especially true in the Early Modern Period and the Enlightment. The meanings of many official attributes and costumes have been extensively studied and commented on, but what about portraits « en négligé » ? From the 1670s onwards, the meaning of the French « négligé » took on a new, less pejorative meaning and qualified comfortable clothing, opposed to great adornment. This study aims at determining the circumstances that lead to a revaluation of the point of view on the « négligé » and explaining its wide use in portraits, in the context of relations between France and England, which are alternating periods of assimilation and rejection, the effects of which on artistic practices are no longer to be demonstrated. In the eighteenth century, the term « négligé » refers to clothing as well as artistic styles in painting or literature, or a totally artificial attitude linked, for women, to the codified ritual of the toilet : it concerns the social practices of elites, characterized by a constant concern for representation. In some ways, the « négligé » evokes the « sprezzatura » of Baldassare Castiglione, but during the eighteenth century it is associated to, or opposed to, the idea of « natural ». Finally, the « négligé » fashion is linked to the rejection of the codes of adornment, contributing to the blurring of the Ancien Regime social hierarchy, and allowing an individual affirmation at the expense of group identity. New reading keys are thus given for portraits in which the representation of clothing did not seem significant
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Nilsson, Amanda. "Imitation & Sprezzatura : En komparativ studie av Machiavellis furstespegel och Castigliones hovmannaideal speglade i fyra porträtt av Cosimo I de' Medici och Eleonora di Toledo." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157540.

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Följande uppsats behandlar fyra hovporträtt av konstnären Bronzino föreställande fursteparet Cosimo I de’ Medici och Eleonora di Toledo speglade mot de litterära källorna Machiavellis Fursten och Castigliones Boken om hovmannen. Uppsatsen empiriska material kommer således att bestå av ovanstående material placeras framför varandra för att belysa dess beröringspunkter, både i fråga om likheter och olikheter. Analysens teoriangrepp kommer med avstamp i Roland Barthes semiotiska bildanalys att närma sig porträttens denotativa men främst konnotativa uttryck. Vidare har Shearer Wests bok Portraiture använts för förståelsen kring porträttet som genre i dess historiska kontext. Undersökningens disposition består av två huvudrubriker varav den första behandlar den historiska kontexten och den sista delen själva bildanalyserna. Resultatet visar på att samtliga porträtt av Cosimo och Eleonora finner flera beröringspunkter i Machiavellis furstespegel som Castigliones hovmannaideal, men skiljer sig delvis beroende på porträtt. Vidare har undersökningen visat på att Cosimo i sina två utvalda statsporträtt – valde att i det senare gestalta sig själv i en måttfullare stil – inte helt olik den måttfullhet som skildras i såväl Castigliones litterära verk som visuella porträtt. Cosimos tidigare porträtt svarar dock bättre mot Machiavellis idé om imitering. De två porträtten av Eleonora finner även dom olika samband med textmaterial och där Eleonoras senare statsporträtt tycks besitta flera av hertiginnans drag – något som inte med samma tydlighet framträder i det tidigare porträttet. Gemensamt för alla porträtt är deras avsaknad av sprezzatura som den allra viktigaste egenskapen för en person vid hovet.
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Métaux, Sandra. "La désinvolture : Esthétique et éthique de l'art (de vivre) postmoderne. L'art contemporain italien au regard de la "Sprezzata desinvoltura" de Baldassar Castiglione." Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1001/document.

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L’Italie, berceau de la sprezzata desinvoltura de Castiglione, est assurément le pays où l’ambiguïté des relations entre art, politique et images médiatiques est la plus forte. Le pavillon Italien des biennales de Venise de 2009 et 2011 illustre ce jeu complexe des apparences, qui « fait des mondes » ou « illumine des nations ». En relisant l’histoire de l’art à travers le prisme du concept de Castiglione, la thèse nous donne à voir que le monde (de l’art) est lui-même l’effet de l’ambivalence de cette désinvolture. Loin d’avoir assujetti l’art à leurs concepts, les grands hommes, qu’ils soient rois, philosophes ou hommes d’affaires seraient des effets de cette désinvolture de l’art. Comme Monsieur Jourdain, ils feraient de l’art sans le savoir. Exit Machiavel ! Il est aujourd’hui urgent de penser cette « ruse de l’art » qui mène le monde. Tel est l’enjeu fondamental de cette thèse qui, s’appuyant sur le schème nietzschéen de l’éternel retour, distingue plusieurs figures de la désinvolture, historiques, philosophiques et esthétiques
Italy, the cradle of Castiglione’s sprezzata desinvoltura, is undoubtedly the country where the ambiguous relationship between art, politics and media is the strongest. The Italian pavilion of the Venice Biennale in 2009 and 2011 illustrates the complex game of appearances, which are “making worlds" or "lighting up nations." Reading again the history of art through the prism of Castiglione’s concept, the thesis shows us that the world (of art) is itself the effect of this “disinvoltura” ambivalence. Far from having subjugate art to their concepts, the great men, whether kings, philosophers or businessmen are the effects of this casualness (“desinvoltura”) of art. Like Monsieur Jourdain, they would make art without knowing it. Exit Machiavelli! It is now urgent to think this "ruse of art" that leads the world. These are the fundamental stakes of this thesis, that basing itself on the Nietzschean eternal return schema, distinguishes several casualness figures, historical, philosophical and aesthetic
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Benevento, Tomas. ""Der Aquarellist ist vielleicht auf dem Gebiet der Malerei ein Feuilletonist." - Robert Walsers Feuilletons in Stefan Grossmans Tage-Buch." Doctoral thesis, 2022. http://hdl.handle.net/11562/1069226.

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Books on the topic "Sprezzatura"

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Hamburg, Museumspädagogischer Dienst, and Hamburger Kunsthalle, eds. Sprezzatura, oder, Die Handschrift des Malers. Hamburg: Museumspädagogischer Dienst, 1990.

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Lindenhovius, Willemijn. Sprezzatura: Vijftig jaar Italiaanse schilderkunst 1860-1910. Zwolle: WBOOKS, 2019.

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Laulajan sprezzatura: Fenomenologinen tutkimus italialaisen varhaisbarokin musiikin laulaen puhumisesta. Jyväskylä]: Suomen musiikkitieteellinen seura, 2011.

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Berger, Harry. The absence of grace: Sprezzatura and suspicion in two Renaissance courtesy books. Stanford, Calif: Stanford University Press, 2000.

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Lüdtke, Karsten. Con la sudetta sprezzatura: Tempomodifikation in der italienischen Musik der ersten Hälfte des 17.Jahrhunderts. Kassel: Bosse, 2006.

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Spafford, Anne. Rain Gardening in the South: Ecologically Designed Gardens for Drought, Deluge and Everything in Between. Hillsborough, NC, USA: Eno Publishers, 2013.

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Kraus, Helen. Rain Gardening in the South: Ecologically Designed Gardens for Drought, Deluge and Everything in Between. Hillsborough, NC, USA: Eno Publishers, 2009.

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Dishman, Tommy. Sprezzatura. Independently Published, 2019.

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Acosta, Yerandys. Sprezzatura. Independently Published, 2017.

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Hay, Carla. Dolce Sprezzatura: La Vecchia Signora - Tome 2. Independently Published, 2020.

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Book chapters on the topic "Sprezzatura"

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Rust, Holger. "Sprezzatura." In Klassische Inspirationen zu professioneller Gelassenheit, 25–39. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-21613-9_3.

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Peacock, John. "Sprezzatura and its Afterlife." In Picturing Courtiers and Nobles from Castiglione to Van Dyck, 40–74. New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003009993-3.

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Lipińska, Aleksandra. "Alabasterskulptur zwischen sprezzatura und Verwandlung." In Spur der Arbeit, 111–26. Köln: Böhlau Verlag, 2018. http://dx.doi.org/10.7788/9783412505080.111.

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Reuter, Guido. "Sprezzatura – Rembrandts „Porträt des Jan Six“." In Haltung und Affekt, 53–64. Köln: Böhlau Verlag, 2020. http://dx.doi.org/10.7788/9783412520748.53.

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Romersberger, Sara J. "Festina Lente and Sprezzatura in action." In Physical Dramaturgy, 28–38. Abingdon, Oxon ; New York, NY : Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315544861-3.

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Pender, Patricia. "From Self-Effacement to Sprezzatura: Modesty and Manipulation." In Early Modern Women’s Writing and the Rhetoric of Modesty, 16–35. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137008015_2.

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"Preface to the First Edition." In Sprezzatura, ix—xii. Columbia University Press, 2018. http://dx.doi.org/10.7312/dang17582-001.

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"Note to the Second Italian Edition." In Sprezzatura, xiii—xvi. Columbia University Press, 2018. http://dx.doi.org/10.7312/dang17582-002.

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"1 Concealment." In Sprezzatura, 1–13. Columbia University Press, 2018. http://dx.doi.org/10.7312/dang17582-003.

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"2 Part of Eloquence Is to Hide Eloquence." In Sprezzatura, 14–28. Columbia University Press, 2018. http://dx.doi.org/10.7312/dang17582-004.

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Reports on the topic "Sprezzatura"

1

Rhee, Jongeun. “Sprezzatura”: The influence of Studied Nonchalance on Fashion. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-542.

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