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A Companion to Pietro Aretino最新文献

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Aretino and the Court 阿雷蒂诺和法院
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_006
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引用次数: 0
Aretino’s Theater
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_012
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引用次数: 0
Aretino at Home 阿雷蒂诺在家
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_004
Harald Hendrix
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引用次数: 0
Aretino as a Target for Criticism, and His Enemies from Berni to Muzio 阿雷蒂诺作为批评的对象,他的敌人从伯尼到穆齐奥
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_020
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引用次数: 0
Aretino’s Troubled Afterlife 阿雷蒂诺的麻烦的死后
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_021
H. Hendrix, J. Burckhardt
Aretino’s death in 1556 coincided with a major shift in artistic, ethical and political attitudes governing early modern Italian culture. The experimental and highly creative drive based on the fundamental claim to freedom – in the arts like in religion and politics – that had inspired his generation came to a sudden end, being substituted by a culture in which order, control and obedience were of paramount importance. While this shift had been seasoning for some time, from the mid 1540s onwards, it was able to impose itself only at the end of the next decade, but with great force and long lasting effects. In this violent clash of cultures Pietro Aretino became a key figure of undisputed symbolic importance, recognised by partisans of both sides for whom he was a vilain or a hero. For many he represented even a combination of evil and excellence, as his legacy was seen with both disgust and admiration. Yet, its impact is undisputed, since both detractors and admirers were well aware of the far reaching implications of his example, rejecting it, contemplating it with curiosity, or using it as inspiration for their own projects. Only when in the mid nineteenth century scholarly historiography on early modern Italy developed, Aretino’s highly controversial and contested reputation changed. Starting from Burckhardt’s still somewhat ambiguous celebration as one of the finest specimens of a ‘Renaissance man’ wholly dedicated to develop his individuality and enjoy life, Aretino slowly became recognised as what he is: a profoundly innovative and courageous spirit who both as an artist and as a public intellectual imposed himself in a still predominantly closed context, providing fundamentally new ideas and examples to his generation and far beyond. Modern scholarship on Aretino has been developing this assessment into what now is a rich
阿雷蒂诺于1556年去世,与统治早期现代意大利文化的艺术、伦理和政治态度的重大转变同时发生。基于对自由的基本要求的实验性和高度创造性的动力——在艺术上就像在宗教和政治上一样——激励了他这一代人,突然结束了,被一种秩序、控制和服从至上的文化所取代。从1540年代中期开始,这种转变已经酝酿了一段时间,但直到10年后,这种转变才开始实施,但其力量巨大,影响持久。在这场激烈的文化冲突中,彼得罗·阿雷蒂诺成为了一个具有无可争议的象征意义的关键人物,被双方的支持者所认可,对他们来说,他要么是恶棍,要么是英雄。对许多人来说,他甚至代表了邪恶和卓越的结合,因为他的遗产既令人厌恶又令人钦佩。然而,它的影响是无可争议的,因为无论是批评者还是崇拜者都很清楚他的榜样的深远影响,拒绝它,好奇地思考它,或者把它作为他们自己项目的灵感。直到19世纪中期,关于早期现代意大利的学术史学发展起来,阿雷蒂诺备受争议和争议的声誉才发生了变化。从Burckhardt仍然有些模糊的庆祝开始,作为一个完全致力于发展自己的个性和享受生活的“文艺复兴时期的人”的最好的标本之一,阿雷蒂诺慢慢地被认识到他是什么:一个深刻的创新和勇敢的精神,作为一个艺术家和一个公共知识分子,他在一个仍然主要封闭的环境中强加自己,为他的一代和远远超过他的人提供了新的思想和榜样。关于阿雷蒂诺的现代学者一直在发展这一评估,现在已经成为一个丰富的
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引用次数: 0
The Figurative Rhetoric of Pietro Aretino’s Religious Works 阿雷蒂诺宗教作品的比喻修辞
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_016
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引用次数: 0
Aretino as a Writer of Letters 阿雷蒂诺作为一个作家
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_018
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引用次数: 0
“Pietro Aretino, the Ferocious Prophet,” and Pasquino 彼得罗·阿雷蒂诺,《凶猛的先知》和《Pasquino》
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_005
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引用次数: 0
Pietro Aretino and Publication
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_019
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引用次数: 0
Pietro Aretino: Attributed Works Pietro Aretino:署名作品
Pub Date : 2021-08-06 DOI: 10.1163/9789004465190_013
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引用次数: 0
期刊
A Companion to Pietro Aretino
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