Obiettivo del corso è l’acquisizione di conoscenze specialistiche sulla letteratura italiana del Rinascimento e sul suo rapporto con le arti figurative, attraverso l’approfondimento delle opere di autori che sono stati attivi sia nella produzione letteraria sia in quella artistica, secondo le più aggiornate prospettive di ricerca. Al termine del corso lo studente otterrà strumenti interpretativi adeguati di carattere storico, storico-letterario e linguistico per l’analisi dei testi letterari del Rinascimento connessi con la produzione artistica e potrà applicare su di essi metodologie d’analisi avanzate.
scheda docente
materiale didattico
Francesco Petrarch, The Canzoniere or Rerum vulgarium fragmenta, trans. Mark Musa (Bloomington, IN: Indiana University Press, 1996), sonnets 77, 78, and 187.
Ames-Lewis, Francis, “Image and Text: The Paragone” and “Painting and Poetry,” in The Intellectual Life of the Early Renaissance Artist (New Haven: Yale University Press, 2000), 141–176.
Leonardo da Vinci, Leonardo on Painting, ed. Martin Kemp, selected and trans. by Martin Kemp and Margaret Walker (New Haven: Yale University Press, 1989), 22–46.
Baldassarre Castiglione, The Book of the Courtier, ed. Daniel Javitch, trans. Charles Singleton (New York: W.W. Norton & Company, 2002), 3–63 and 147–206 (Books 1 & 3)
Matteo Bandello, “Savoir-vivre in a Courtesan’s Parlor (Novella 42 of Novelle, Part III).” in A Renaissance Storybook, ed. and trans. Morris Bishop (Ithaca: Cornell UP, 1971), 121-122.
Matteo Bandello, "Appendix I" and “Appendix II.” in Deanna Shemek, Ladies Errant: Wayward Women and Social Order in Early Modern Italy (Durham: Duke University Press, 1998), 181-190.
Aragona, Tullia d’, The Poems and Letters of Tullia d’Aragona and Others: A Bilingual Edition, ed. and trans. Julia L. Hairston (Toronto: Iter and the Centre for Reformation and Renaissance Studies, 2014), 62–64, 94–95, 97–99, 102–104.
Michelangelo Buonarroti, The Poetry of Michelangelo: An Annotated Translation, trans. James M. Saslow (New Haven: Yale University Press, 1991), poems 111, 151, 152, 160, 162, and 235.
Vittoria Colonna, Sonnets for Michelangelo: A Bilingual Edition, ed. and trans. Abigail Brundin (Chicago: University of Chicago Press, 2007), poems 1, 6, 42, 97, 102, and 103.
Benvenuto Cellini, Autobiography, trans. with an introduction by George Bull (London: Penguin Books, 1998), 1–59.
Michael Rocke, “Gender and Sexual Culture in Renaissance Italy,” in The Renaissance: Italy and Abroad, ed. John Jeffries Martin (London and New York: Routledge, 2003), 139–159.
Giovanni Della Casa, Galateo: A Renaissance Treatise on Manners, trans. Konrad Eisenbichler (Toronto: Centre for Reformation and Renaissance Studies, 2001), 31–98.
Programma
During the Italian Renaissance the paragone debate over which artistic form was superior—poetry, painting, or sculpture—filled thousands and thousands of pages. In Italian the word paragone means “comparison” but it also—as in the English “paragon”—is used in the expression pietra di paragone (touchstone), a standard used to identify a thing of excellence. The process of comparing one thing to another implies evaluation and judgment, and some translate the paragone debate as the “rivalry among the arts.” The impetus to compete and the desire to prevail is considered by many to be one of the driving forces behind the Italian Renaissance and may be found in a variety of contexts such as the the figurative arts vs. literature, the use of Latin vs. the vernacular, the topos of the ancients vs. the moderns, the presentation of the self, the codification of professional roles such as the courtier, the artist, the prince, and the debate on the gender roles of men and women in fifteenth- and sixteenth-century Italian society. We will discuss these and other topics in the works of Francesco Petrarca, Leonardo da Vinci, Baldassarre Castiglione, Tullia d'Aragona, Matteo Bandello, Benvenuto Cellini, Michelangelo Buonarroti, and Vittoria Colonna.Testi Adottati
All are provided as PDFs on the Moodle for this course.Francesco Petrarch, The Canzoniere or Rerum vulgarium fragmenta, trans. Mark Musa (Bloomington, IN: Indiana University Press, 1996), sonnets 77, 78, and 187.
Ames-Lewis, Francis, “Image and Text: The Paragone” and “Painting and Poetry,” in The Intellectual Life of the Early Renaissance Artist (New Haven: Yale University Press, 2000), 141–176.
Leonardo da Vinci, Leonardo on Painting, ed. Martin Kemp, selected and trans. by Martin Kemp and Margaret Walker (New Haven: Yale University Press, 1989), 22–46.
Baldassarre Castiglione, The Book of the Courtier, ed. Daniel Javitch, trans. Charles Singleton (New York: W.W. Norton & Company, 2002), 3–63 and 147–206 (Books 1 & 3)
Matteo Bandello, “Savoir-vivre in a Courtesan’s Parlor (Novella 42 of Novelle, Part III).” in A Renaissance Storybook, ed. and trans. Morris Bishop (Ithaca: Cornell UP, 1971), 121-122.
Matteo Bandello, "Appendix I" and “Appendix II.” in Deanna Shemek, Ladies Errant: Wayward Women and Social Order in Early Modern Italy (Durham: Duke University Press, 1998), 181-190.
Aragona, Tullia d’, The Poems and Letters of Tullia d’Aragona and Others: A Bilingual Edition, ed. and trans. Julia L. Hairston (Toronto: Iter and the Centre for Reformation and Renaissance Studies, 2014), 62–64, 94–95, 97–99, 102–104.
Michelangelo Buonarroti, The Poetry of Michelangelo: An Annotated Translation, trans. James M. Saslow (New Haven: Yale University Press, 1991), poems 111, 151, 152, 160, 162, and 235.
Vittoria Colonna, Sonnets for Michelangelo: A Bilingual Edition, ed. and trans. Abigail Brundin (Chicago: University of Chicago Press, 2007), poems 1, 6, 42, 97, 102, and 103.
Benvenuto Cellini, Autobiography, trans. with an introduction by George Bull (London: Penguin Books, 1998), 1–59.
Michael Rocke, “Gender and Sexual Culture in Renaissance Italy,” in The Renaissance: Italy and Abroad, ed. John Jeffries Martin (London and New York: Routledge, 2003), 139–159.
Giovanni Della Casa, Galateo: A Renaissance Treatise on Manners, trans. Konrad Eisenbichler (Toronto: Centre for Reformation and Renaissance Studies, 2001), 31–98.
Modalità Frequenza
Questo corso si svolge il mercoledì dalle 14-16 (Aula 1) e il giovedì dalle 15-17 (Aula 25) a partire dal 26 marzo fino al 28 maggio. This course meets on Wednesdays 2-4 pm (Aula 1) and Thursdays 3-5 pm (Aula 25) from March 26 through May 28.