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Journal articles on the topic 'Sprezzatura'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

홍옥숙. "The Defense of Poesy and Astrophil and Stella: Sidney’s Strategy of Sprezzatura." New Korean Journal of English Lnaguage & Literature 51, no. 4 (November 2009): 83–103. http://dx.doi.org/10.25151/nkje.2009.51.4.004.

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12

O'Connell, Monique, and Harry Berger. "The Absence of Grace: Sprezzatura and Suspicion in Two Renaissance Courtesy Books." Sixteenth Century Journal 33, no. 1 (2002): 298. http://dx.doi.org/10.2307/4144314.

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13

Cabot, Aria Zan. "Eugenia Paulicelli, Writing Fashion in Early Modern Italy: From Sprezzatura to Satire." Forum Italicum: A Journal of Italian Studies 50, no. 3 (November 2016): 1238–40. http://dx.doi.org/10.1177/0014585816678794.

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14

Howard, Keith David. "Translatio Studii in Joan Boscán’s Cortesano and Charles V’s Performance of Sprezzatura." Comitatus: A Journal of Medieval and Renaissance Studies 40, no. 1 (2009): 153–76. http://dx.doi.org/10.1353/cjm.2009.0040.

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15

Leushuis, Reinier, and Harry Berger. "The Absence of Grace: Sprezzatura and Suspicion in Two Renaissance Courtesy Books." South Atlantic Review 66, no. 4 (2001): 201. http://dx.doi.org/10.2307/3202086.

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16

Griffiths, Tracey. "Writing Fashion in Early Modern Italy: From Sprezzatura to Satire by Eugenia Paulicelli." Parergon 32, no. 1 (2015): 266–67. http://dx.doi.org/10.1353/pgn.2015.0052.

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17

Doglioni, Francesco. "Villa Saraceno de Palladio. Veinte años tras su restauración." Loggia, Arquitectura & Restauración, no. 29 (December 23, 2016): 102. http://dx.doi.org/10.4995/loggia.2016.3997.

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<p>La restauración de la Villa Saraceno de Palladio, después de décadas abandonada a su suerte y sujeta al vandalismo, cumple veinte años. Este artículo recoge una reflexión personal del arquitecto autor de la restauración a la luz de un encuentro seminario celebrado con tal motivo dentro de la villa. El texto, que se convierte en toda una declaración de principios, recoge interesantes ideas y conceptos aplicables a la restauración como la sprezzatura (contraria a la afectación), la repristinación atemperada o la restauración imperfecta. La restauración del edificio ha demostrado funcionar correctamente durante todos estos años y las decisiones e intuiciones de antaño del autor se han confirmado en gran parte con el paso de los años.</p>
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18

Dobranski, Stephen B. "Clustering and Curling Locks: The Matter of Hair in Paradise Lost." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 337–53. http://dx.doi.org/10.1632/pmla.2010.125.2.337.

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In Paradise Lost Milton introduces Adam and Eve by lingering on their appearance, but instead of presenting a detailed catalog of the couple's physical attributes, he focuses on their hair. This essay challenges earlier readings of Adam and Eve's locks by examining Milton's imagery in the context of hair's cultural and spiritual value. Comparing depictions of hair in sixteenth-century sonnets and cavalier seduction poetry reveals how Milton appropriates the early modern aesthetic of sprezzatura to convey Adam and Eve's unique innocence. The essay shows that Milton's description is not merely superficial, nor even merely symbolic. Rather, when read in relation to early modern theories of hair's etiology and to Milton's own animist materialism, hair in Paradise Lost literally embodies Adam and Eve's prelapsarian love. Their clustering and curling locks enact the couple's amorous reciprocity and signify the paradoxical strength and fragility of their Edenic marriage.
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19

Simionescu-Panait, Andrei. "The Phenomenology of Elegance: an Outline." Studia Universitatis Babeș-Bolyai Philosophia 66, no. 3 (December 5, 2021): 231–45. http://dx.doi.org/10.24193/subbphil.2021.3.11.

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Elegance ranks low on the list of debated topics in philosophy, mainly because of the fleeting and mundane character of phenomena that it relies on for its existence. However, the rise of kinaesthesia as an important topic in today’s philosophical and phenomenological environment facilitates the inclusion of elegance in the canon of philosophical debates. This article reviews two important positions regarding elegance, that of Renaissance philosopher Baldassare Castiglione and of 20th Century realist phenomenologist Dietrich von Hildebrand. First, we underline three aspects of Castiglione’s concept of sprezzatura and showcase the significance and purpose of practicing elegance. This step is succeeded by a close look at von Hildebrand’s attachment to a realist phenomenological frame for understanding why he denies elegance the status of an ideal value. Last, we look at the connection between elegance and three ideas from a hybrid phenomenology from Husserl and Sheets-Johnstone. These connections form the basis for filling the significant gap between Castiglione’s Renaissance take on elegance and von Hildebrand’s realist perspective with a new phenomenological project regarding elegance. Keywords: Castiglione, von Hildebrand, Sheets-Johnstone, intentionality, kinaesthesia, axiology
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20

JONES, MATTHEW L. "MATTERS OF FACT." Modern Intellectual History 7, no. 3 (September 30, 2010): 629–42. http://dx.doi.org/10.1017/s1479244310000260.

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At the end of Matters of Exchange, Harold Cook's major revisionist account of the early modern scientific revolution, he locates the political and economic writings of Bernard Mandeville within the practices and values of contemporaneous Dutch observational medicine. Like Mandeville, Cook describes the potency of early modern capitalism and its attendant value system in generating industry and knowledge; like Mandeville, Cook finds coercive systems of moral regulation to be mistaken in their estimation of human capacities; and like Mandeville, Cook does not shy away from the violence that often made the worldwide commerce in matters of fact possible. “Every Part was full of Vice,” famously rhymed Mandeville, “Yet the whole Mass a Paradise.” The practices and values of science, this book suggests, stemmed from the vices of the merchant and the consumer, not the sprezzatura of the baroque courtier, the asceticism of the Christian gentleman, the speculation of the university philosopher, or the dour appraisal of the theologian. Interest, not claims to disinterest, made modern science and its attendant values possible. Scrupulous attention to goods from around the world and right at home created the conditions for natural knowledge.
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21

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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22

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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23

Dupras, Joseph A. "Fra Lippo Lippi, Browning's Naughty Hierophant." Browning Institute Studies 15 (1987): 113–22. http://dx.doi.org/10.1017/s0092472500001875.

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Fra Lippo Lippi, by mixing insults with affability, indignation with deference, self-righteousness with self-pity, and impenitence with confession, avoids arrest and professional embarrassment for his sportive sexuality and Bohemian sensibilities. Attempting to change the guards' perceptions (“Zooks, what's to blame? you think you see a monk!”) (vol. I, line 3) and win their sympathy, Lippo establishes a disarming fellowship of arrested development with them and identifies himself primarily as a painter from whom they should expect abnormal values. His clerical appearance falsifies his real character, which he insists they recognize so that their own blend of carnal sensations and immature artistic awareness will license his behavior. Lippo disrobes the “beast” (80) who cannot “subdue the flesh” (74), as he admits himself being, in hope that such creative stripteasing and sprezzatura will arrest the arresters. Fortunately for him, his auditors are susceptible enough to impulses of doing as one likes to disregard “the morality of [an] event [that] is indefensible” (Goldfarb 61); his methodical confirmation of them as his kindred souls undresses another spurious authority not entitled to enjoin his fleshliness. Moreover, the watch, being party to his ventures, vicariously satisfies a need to snatch a grace outside moral and social restraints, but imagined to be within art's reach. In awakening the police to greater artistic consciousness, Lippo tempts them with an idealized, barrierless profession partaking of holiness. He gains interpretive advantage by exploiting their naïveté, their torpor, and even their vain aspirations.
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24

Welch, Evelyn. "Writing Fashion in Early Modern Italy: From Sprezzatura to Satire. Eugenia Paulicelli. Visual Culture in Early Modernity. Farnham: Ashgate Publishing Limited, 2014. xv + 262 pp. $109.95." Renaissance Quarterly 68, no. 3 (2015): 1111–13. http://dx.doi.org/10.1086/683950.

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25

Gaston, Robert W. "Sprezzatura: Concealing the Effort of Art from Aristotle to Duchamp. Paolo D'Angelo. Columbia Themes in Philosophy, Social Criticism, and the Arts. New York: Columbia University Press, 2018. xvi + 170 pp. $30." Renaissance Quarterly 72, no. 3 (2019): 1018–19. http://dx.doi.org/10.1017/rqx.2019.272.

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26

Kennedy, William J. "Harry Berger, Jr., The Absence of Grace: Sprezzatura and Suspicion in Two Renaissance Courtesy Books. Stanford: Stanford University Press, 2000. xiv + 267pp. $55. (cl), $18.95 (pbk). ISBN: 0-8047-3904-8 (cl), 0-8047-3905-6 (pbk)." Renaissance Quarterly 54, no. 4-Part2 (2001): 1595–96. http://dx.doi.org/10.2307/1262170.

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27

BASAK, Rasim. "SPREZZATURA: MODA, MÜZİK VE RESİMDE; SANATSALLIĞI GİZLEME SANATI." Art-e Sanat Dergisi, December 1, 2020. http://dx.doi.org/10.21602/sduarte.685669.

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28

"The absence of grace: sprezzatura and suspicion in two Renaissance courtesy books." Choice Reviews Online 38, no. 07 (March 1, 2001): 38–3791. http://dx.doi.org/10.5860/choice.38-3791.

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29

Lobsien, Verena Olejniczak. "Literarische Sprezzatura: Unsichtbare Ordnung in Thomas Brownes The Garden of Cyrus (1658)." Anglia - Zeitschrift für englische Philologie 127, no. 3 (January 2010). http://dx.doi.org/10.1515/angl.2009.061.

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30

Warr, Cordelia. "Review of 'Writing Fashion in Early Modern Italy: From Sprezzatura to Satire'." Reviews in History, 2015. http://dx.doi.org/10.14296/rih/2014/1799.

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31

Nichols, Charlotte. "Charlotte Nichols. Review of "Writing Fashion in Early Modern Italy: From Sprezzatura to Satire" by Eugenia Paulicelli." caa.reviews, March 3, 2016. http://dx.doi.org/10.3202/caa.reviews.2016.27.

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32

Mainberger, Sabine. "Lässig – subtil – lakonischAbgesehen von den Anmerkungen und wenigen kleineren Modifikationen entspricht der folgende Text demjenigen der Antrittsvorlesung, die ich zur Übernahme meines Lehrstuhls für Vergleichende Literaturwissenschaft (SoSe 2010) am 25. Mai 2011 an der Rheinischen Friedrich-Wilhelms-Universität Bonn gehalten habe. Der Charakter des Vortrags (für ein nicht nur akademisches Publikum) wurde nach Möglichkeit gewahrt. Die Hinweise auf Forschungsliteratur beschränken sich auf ein Minimum." Arcadia 47, no. 2 (January 2013). http://dx.doi.org/10.1515/arcadia-2012-0026.

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AbstractThe concept of grace is as complex as it is wide-ranging: it is relevant to social history and the history of religion, to mythology, theology, law, ethics, social aesthetics, art theory, and the theory of culture. The Three Graces embody a structure of giving, receiving, and returning, i.e., actions that form part of the discourse on exchanging goods and gifts, – one that is normally quite distinct from the discourse on aesthetics and art theory. The question arises: how can aspects of the grace-discourse be reformulated by means of the gift-discourse? How can we form a conceptual configuration of gift, social interaction, and art? From a wide array of possible examples, some are singled out here for closer inspection: Castiglione’s sixteenth-century model of courtly society, the connection between the social aesthetic use of the concepts of grazia and sprezzatura, and their role in art theory, as well as the enhanced meaning of these concepts in the combined discourses on love, art, and (theological) grace that are to be found in the friendship between Michelangelo and the poet Vittoria Colonna; examples from the eighteenth to the twentieth century include Schiller’s considerations on grace and Charis, giving and being gifted, as well as Nietzsche’s new morality associated with lightness and self-giving. The essay is framed by Pliny the Elder’s anecdote about the competition between Apelles, the master of charis, and his fellow painter Protogenes, and by Pasternak’s modern version of it: a short story about two rival writers and their antagonistic exchange of gifts.
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33

"Idleness and Freedom in Michel de Montaigne’s “Essays”." Philosophical Literary Journal Logos 29, no. 1 (2019): 189–202. http://dx.doi.org/10.22394/0869-5377-2019-1-189-200.

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The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.
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