This article examines the profound and enduring legacy of the treatise on classical drama known as Praenotamenta ascensiana in shaping early modern dramatic poetics. Written by Flemish scholar Jodocus Badius Ascensius (1462–1535) as a preface to his 1502 edition of the Classical plays of Terence, this work has been unjustly overlooked by the critics that have invariably credited Aristotle’s Poetics for foregrounding the debate on early modern dramatic criticism, following Alessandro de Pazzi’s first Latin translation (1536) and Francesco Robortello’s monumental commentary (1548). The purpose of Praenotamenta was to provide educators, students and playwrights with a concise and accessible compendium of ancient dramatic poetics. This treatise circulated widely across Europe and helped disseminate ideas that became central to early modern discourse on poetics, such as verisimilitude and decorum, as well as discussion on the didactic and civic role of poetry. Blended with Aristotelian doctrine, these concepts became the tenets of late sixteenth-century poetics treatises in England, France, Italy and Spain.
{"title":"The role of the Praenotamenta of Jodocus Badius Ascensius in shaping early modern dramatic criticism","authors":"Giulia Torello-Hill","doi":"10.1111/rest.12904","DOIUrl":"https://doi.org/10.1111/rest.12904","url":null,"abstract":"This article examines the profound and enduring legacy of the treatise on classical drama known as <i>Praenotamenta ascensiana</i> in shaping early modern dramatic poetics. Written by Flemish scholar Jodocus Badius Ascensius (1462–1535) as a preface to his 1502 edition of the Classical plays of Terence, this work has been unjustly overlooked by the critics that have invariably credited Aristotle’s <i>Poetics</i> for foregrounding the debate on early modern dramatic criticism, following Alessandro de Pazzi’s first Latin translation (1536) and Francesco Robortello’s monumental commentary (1548). The purpose of <i>Praenotamenta</i> was to provide educators, students and playwrights with a concise and accessible compendium of ancient dramatic poetics. This treatise circulated widely across Europe and helped disseminate ideas that became central to early modern discourse on poetics, such as verisimilitude and decorum, as well as discussion on the didactic and civic role of poetry. Blended with Aristotelian doctrine, these concepts became the tenets of late sixteenth-century poetics treatises in England, France, Italy and Spain.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"42 3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What if a new Masaccio were found? This article offers a 16th century ekphrasis of a “lost” Masaccio so ornate, funny, and lusty that it upends prior conceptions of the artist. I examine this description and two others, all by the comic writer Anton Francesco Grazzini (“Il Lasca,” 1503-1584), to see how art could be leveraged within Florence's literary and artistic culture as class commentary. I have located in Florence two of the works of art that clearly motivated Grazzini's literary portraits and, by analyzing Grazzini's texts in relation to these and other possible inspirations, I reveal his associative view of Florence, one that links upper-class, humanist concerns with lower-class stereotypes. What emerges is a Florence with boundaries removed: in Grazzini's words, the material and literary fabric of the city are knitted together in a new way, one that elides eras as it conjures the visions, sounds, and even tastes of Florence's carnival streets. My analysis suggests why Grazzini may have wanted such juxtapositions, and will show that while his vision is fantastic, it is grounded in identifiable, even material, cultural production.
如果发现了一个新的马萨乔呢?这篇文章提供了一个16世纪的“迷失”马萨乔的术语，如此华丽，有趣和充满活力，它颠覆了艺术家之前的概念。我研究了这段描述，以及漫画作家安东·弗朗西斯科·格拉齐尼(Anton Francesco Grazzini, 1503-1584)的另外两段描述，以了解艺术如何在佛罗伦萨的文学和艺术文化中被用作阶级评论。我在佛罗伦萨找到了两件艺术作品，它们明显激发了格拉齐尼的文学肖像，通过分析格拉齐尼的文本与这些和其他可能的灵感的关系，我揭示了他对佛罗伦萨的联想观点，一种将上层社会的人文主义关注与下层社会的刻板印象联系起来的观点。用格拉齐尼的话来说，这个城市的物质和文学结构以一种新的方式编织在一起，它使人联想到佛罗伦萨狂欢节街道的视觉、声音甚至味道，从而忽略了时代。我的分析揭示了为什么格拉齐尼可能想要这样的并列，并将表明，尽管他的愿景是奇妙的，但它是建立在可识别的，甚至是物质的文化生产基础上的。
{"title":"A New Masaccio—and Other Low-Life Images—from Anton Francesco Grazzini's Florentine Art History","authors":"Karen Hope Goodchild","doi":"10.1111/rest.12908","DOIUrl":"https://doi.org/10.1111/rest.12908","url":null,"abstract":"What if a new Masaccio were found? This article offers a 16th century ekphrasis of a “lost” Masaccio so ornate, funny, and lusty that it upends prior conceptions of the artist. I examine this description and two others, all by the comic writer Anton Francesco Grazzini (“Il Lasca,” 1503-1584), to see how art could be leveraged within Florence's literary and artistic culture as class commentary. I have located in Florence two of the works of art that clearly motivated Grazzini's literary portraits and, by analyzing Grazzini's texts in relation to these and other possible inspirations, I reveal his associative view of Florence, one that links upper-class, humanist concerns with lower-class stereotypes. What emerges is a Florence with boundaries removed: in Grazzini's words, the material and literary fabric of the city are knitted together in a new way, one that elides eras as it conjures the visions, sounds, and even tastes of Florence's carnival streets. My analysis suggests why Grazzini may have wanted such juxtapositions, and will show that while his vision is fantastic, it is grounded in identifiable, even material, cultural production.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"79 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In his De gloria et gaudiis beatorum , printed in 1501, the clergyman Zaccaria Lilio explores a popular topic in the religious life of Renaissance Italy: what is heaven like and what kind of experience awaits the blessed there? And his answer represents a snapshot of a characteristic manner in which heaven was imagined in the period, both in written and visual form, one strongly focused on a sensory understanding of the afterlife and in which music played an important part. By identifying the sources of Lillio's interpretation of the sense of hearing in the afterlife, a network of clergymen interested in heavenly sensory delights is revealed, initiated by an Italian curiosity for a fourteenth‐century text by a follower of Meister Eckart. This article aims not only to bring to the attention of scholars Lilio's neglected sensory treatise, but also to provide an in‐depth analysis of the intricate connections between Italian authors of sensory treatises from the fifteenth century. The implications of this textual tradition disseminated through preaching are of great importance to the development of the image of heaven and its music in Renaissance Italy, for which the sensory perspective was of crucial importance.
牧师Zaccaria Lilio在1501年出版的《De gloria et gaudiis beatorum》一书中探讨了文艺复兴时期意大利宗教生活中的一个热门话题:天堂是什么样子的?在那里等待着被祝福的人的是什么样的体验?他的回答反映了当时人们对天堂的独特想象，无论是书面形式还是视觉形式，都强烈关注对来世的感官理解，音乐在其中发挥了重要作用。通过确定利里奥对来世听觉的解释的来源，揭示了一个对天堂感官享受感兴趣的神职人员网络，这是由一位意大利人对埃卡特(Meister Eckart)的追随者所写的14世纪文本的好奇心发起的。这篇文章的目的不仅是引起学者们对Lilio被忽视的感官论文的注意，而且还提供了一个深入的分析，从15世纪开始，意大利感官论文作者之间的复杂联系。这种通过布道传播的文本传统的含义对意大利文艺复兴时期天堂形象及其音乐的发展具有重要意义，其中感官视角至关重要。
{"title":"‘De Voluptate Aurium’: The Sounds of Heaven in a 1501 Sensory Treatise on the Afterlife","authors":"Laura Ștefănescu","doi":"10.1111/rest.12916","DOIUrl":"https://doi.org/10.1111/rest.12916","url":null,"abstract":"Abstract In his De gloria et gaudiis beatorum , printed in 1501, the clergyman Zaccaria Lilio explores a popular topic in the religious life of Renaissance Italy: what is heaven like and what kind of experience awaits the blessed there? And his answer represents a snapshot of a characteristic manner in which heaven was imagined in the period, both in written and visual form, one strongly focused on a sensory understanding of the afterlife and in which music played an important part. By identifying the sources of Lillio's interpretation of the sense of hearing in the afterlife, a network of clergymen interested in heavenly sensory delights is revealed, initiated by an Italian curiosity for a fourteenth‐century text by a follower of Meister Eckart. This article aims not only to bring to the attention of scholars Lilio's neglected sensory treatise, but also to provide an in‐depth analysis of the intricate connections between Italian authors of sensory treatises from the fifteenth century. The implications of this textual tradition disseminated through preaching are of great importance to the development of the image of heaven and its music in Renaissance Italy, for which the sensory perspective was of crucial importance.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"10 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135169365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The satires of Juvenal were immensely popular in Renaissance Italy, printed in various forms over 70 times in the period 1469‐1520, and five times in 1501 alone. The satires contain a wealth of references to instruments, instrumentalists, and playing practices that are frequently used in double entendres connoting lewd acts and infidelity, most potently in the sixth satire. The five Renaissance commentaries printed alongside the satires in 1501 editions suggest how much contemporary scholars wished to say, or indeed not say, about these saucy musical passages. This article will examine the ways in which contemporary commentators unpack and explain musical aspects of the sixth satire, their surprisingly detailed and determined efforts adding up to a distinctive strand of music‐historical study that is in evidence across numerous books of commentated classical verse from our 1501 corpus.
{"title":"Commenting on Music in Juvenal's Sixth Satire","authors":"Ciara O'Flaherty, Tim Shephard","doi":"10.1111/rest.12914","DOIUrl":"https://doi.org/10.1111/rest.12914","url":null,"abstract":"Abstract The satires of Juvenal were immensely popular in Renaissance Italy, printed in various forms over 70 times in the period 1469‐1520, and five times in 1501 alone. The satires contain a wealth of references to instruments, instrumentalists, and playing practices that are frequently used in double entendres connoting lewd acts and infidelity, most potently in the sixth satire. The five Renaissance commentaries printed alongside the satires in 1501 editions suggest how much contemporary scholars wished to say, or indeed not say, about these saucy musical passages. This article will examine the ways in which contemporary commentators unpack and explain musical aspects of the sixth satire, their surprisingly detailed and determined efforts adding up to a distinctive strand of music‐historical study that is in evidence across numerous books of commentated classical verse from our 1501 corpus.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135779380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Giovanni Pontano’s dialogue Antonius can be read almost as a thick description of the soundscape of a Neapolitan street in the mid‐ to late‐15th century, complete with public announcements, street performers, domestic arguments, workers’ banter, charms and spells, processions, errand boys, bells, clocks, cockerels, and much more. Antonius was first printed in 1491, and then in a 1501 Opera edition alongside another dialogue, Charon , Pontano’s treatises De fortitudine , De principe and De obedientia , and his treatises on the “social virtues,” De liberalitate , De benificentia , De magnificentia , De splendore , and De conviventia . Using the street soundscape of Antonius as a framework, this essay interleaves both sonic reportage and reflections on the ethics and purpose of sound drawn from the other works included in the 1501 edition, to construct a rich and surprisingly detailed impression of the urban soundscape as it struck Pontano, or at least as he represented it in a literary context.
{"title":"Giovanni Pontano hears the street soundscape of Naples","authors":"Tim Shephard, Melany Rice","doi":"10.1111/rest.12913","DOIUrl":"https://doi.org/10.1111/rest.12913","url":null,"abstract":"Abstract Giovanni Pontano’s dialogue Antonius can be read almost as a thick description of the soundscape of a Neapolitan street in the mid‐ to late‐15th century, complete with public announcements, street performers, domestic arguments, workers’ banter, charms and spells, processions, errand boys, bells, clocks, cockerels, and much more. Antonius was first printed in 1491, and then in a 1501 Opera edition alongside another dialogue, Charon , Pontano’s treatises De fortitudine , De principe and De obedientia , and his treatises on the “social virtues,” De liberalitate , De benificentia , De magnificentia , De splendore , and De conviventia . Using the street soundscape of Antonius as a framework, this essay interleaves both sonic reportage and reflections on the ethics and purpose of sound drawn from the other works included in the 1501 edition, to construct a rich and surprisingly detailed impression of the urban soundscape as it struck Pontano, or at least as he represented it in a literary context.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135732029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract A modern user of a printed encyclopedia expects to find concise entries on a wide range of subjects organised alphabetically for ease of reference. In the fifteenth and sixteenth centuries a number of scholarly texts of a particularly long and wide‐ranging character were essentially ‘encyclopedized’ through the provision of compendious subject indexes, appearing before the start of the text in some printed editions, to facilitate reference use. Two such texts that enjoyed a particular spike in Italian printed editions in the decades either side of 1501 were Niccolo Perotti's Cornucopiae, and the Aristotelian (or rather pseudo‐Aristotelian) Problemata, which was sometimes packaged together with Problemata by Alexander of Aphrodisias and Plutarch. Working with 1501 ‘encyclopedized’ editions of both texts, this essay asks a simple question: what would a reader learn by looking up music‐related terms in the indexes?
{"title":"Looking up music in two ‘encyclopedias’ printed in 1501","authors":"Tim Shephard, Charlotte Hancock","doi":"10.1111/rest.12915","DOIUrl":"https://doi.org/10.1111/rest.12915","url":null,"abstract":"Abstract A modern user of a printed encyclopedia expects to find concise entries on a wide range of subjects organised alphabetically for ease of reference. In the fifteenth and sixteenth centuries a number of scholarly texts of a particularly long and wide‐ranging character were essentially ‘encyclopedized’ through the provision of compendious subject indexes, appearing before the start of the text in some printed editions, to facilitate reference use. Two such texts that enjoyed a particular spike in Italian printed editions in the decades either side of 1501 were Niccolo Perotti's Cornucopiae, and the Aristotelian (or rather pseudo‐Aristotelian) Problemata, which was sometimes packaged together with Problemata by Alexander of Aphrodisias and Plutarch. Working with 1501 ‘encyclopedized’ editions of both texts, this essay asks a simple question: what would a reader learn by looking up music‐related terms in the indexes?","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"174 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136034043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay conducts a paleographic study of Egerton Manuscript 2614, more commonly known as the “diary” of Margaret Hoby. To date, all scholarly studies of this document have been based on one of two print editions of the text. Unfortunately, these editions regularly mistranscribe and misrepresent the early modern manuscript and reduce its palimpsestic complexity. This is the first systematic study of this manuscript as a manuscript and what this textual artefact with all of its scratches, blots, strikethroughs, rewrites, and unfamiliar layout can tell us about how and why Hoby wrote it, and how and why she spent considerable time returning to and amending it. I argue that by looking at never before considered manuscriptal evidence we can conclude that Margaret Hoby produced her manuscript via a multistep process of rereading and revision, and that by approaching her revisionary marks as a form of tattoo, that is, as a form of writing over the self, we can better understand these marks as evidence of an iterative early modern form of self‐making through self‐writing and rewriting.
{"title":"“[A]ltered that a litle which before I had written”: how Margaret Hoby wrote and rewrote her manuscript","authors":"Juan Pedro Lamata","doi":"10.1111/rest.12910","DOIUrl":"https://doi.org/10.1111/rest.12910","url":null,"abstract":"Abstract This essay conducts a paleographic study of Egerton Manuscript 2614, more commonly known as the “diary” of Margaret Hoby. To date, all scholarly studies of this document have been based on one of two print editions of the text. Unfortunately, these editions regularly mistranscribe and misrepresent the early modern manuscript and reduce its palimpsestic complexity. This is the first systematic study of this manuscript as a manuscript and what this textual artefact with all of its scratches, blots, strikethroughs, rewrites, and unfamiliar layout can tell us about how and why Hoby wrote it, and how and why she spent considerable time returning to and amending it. I argue that by looking at never before considered manuscriptal evidence we can conclude that Margaret Hoby produced her manuscript via a multistep process of rereading and revision, and that by approaching her revisionary marks as a form of tattoo, that is, as a form of writing over the self, we can better understand these marks as evidence of an iterative early modern form of self‐making through self‐writing and rewriting.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136142103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article signs a light on the musical contents of a “book of births”, the Liber Nativitatum or Albubather , written by the Persian Astrologer Abu Bakr al‐Hassan ibn al‐Khasib in the ninth century, translated into Latin at the beginning of the thirteenth century, and published in Venice in 1501. “Books of births” served to show how an individual's fortune and personal traits could be ascertained from the position of the celestial bodies throughout the individual's gestation period. A significant portion of these traits pertain to loquacity, hearing, musical skill and the likelihood of a musical profession. Thanks to the connotations each celestial body bore – positive and negative – and the traits they are described as imparting, the Liber Nativitatum makes it possible to identify the skills and traits requisite for good musical performance, as well as those traits which might inhibit it.
本文对《出生书》(Liber Nativitatum or Albubather)的音乐内容进行了探讨。《出生书》由波斯占星家Abu Bakr al - Hassan ibn al - Khasib于9世纪撰写，13世纪初被翻译成拉丁语，1501年在威尼斯出版。“出生书”展示了一个人的命运和个人特征是如何从整个孕期的天体位置来确定的。这些特征中的很大一部分与口才、听力、音乐技能和从事音乐职业的可能性有关。由于每个天体所具有的内涵——积极的和消极的——以及它们被描述为传授的特征，《自然命理》使我们有可能识别出良好音乐表演所必需的技能和特征，以及那些可能抑制音乐表演的特征。
{"title":"Musicianship and the masteries of the stars: music and musicians in the <i>Liber Nativitatum</i>","authors":"Oliver Doyle","doi":"10.1111/rest.12912","DOIUrl":"https://doi.org/10.1111/rest.12912","url":null,"abstract":"Abstract This article signs a light on the musical contents of a “book of births”, the Liber Nativitatum or Albubather , written by the Persian Astrologer Abu Bakr al‐Hassan ibn al‐Khasib in the ninth century, translated into Latin at the beginning of the thirteenth century, and published in Venice in 1501. “Books of births” served to show how an individual's fortune and personal traits could be ascertained from the position of the celestial bodies throughout the individual's gestation period. A significant portion of these traits pertain to loquacity, hearing, musical skill and the likelihood of a musical profession. Thanks to the connotations each celestial body bore – positive and negative – and the traits they are described as imparting, the Liber Nativitatum makes it possible to identify the skills and traits requisite for good musical performance, as well as those traits which might inhibit it.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135917990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tim Shephard, Laura Ștefănescu, Oliver Doyle, Ciara O'Flaherty
Abstract The essays included here present case studies prepared within the project ‘Sounding the Bookshelf 1501: Music in a Year of Italian Printed Books’, funded by the Leverhulme Trust and hosted at the University of Sheffield. The project asks a simple question: standing in a Venetian bookshop towards the end of the year 1501, what information about music might you encounter as you browse the new printed titles available for purchase? Very few of the books printed in Italy in 1501 were ‘about’ music, but almost all of them mention music in passing, and sometimes at length, whilst discussing something else. These kinds of casual, fragmentary comments on music were surely read by many more people than specialist music theory, the audience for which was probably quite small. To recover these comments, and characterise the contradictory and incoherent field of everyday musical knowledge they comprise, we are reading every book printed in Italy in 1501 cover‐to‐cover, excerpting every passage mentioning music, sound or hearing. The final product of our project—a co‐authored book, yet to be written—will present our findings in synoptic fashion. The essays presented here take a different approach, offering detailed case‐studies on particular books within our 1501 corpus.
{"title":"Reading for musical knowledge in early sixteenth‐century Italy: Introduction","authors":"Tim Shephard, Laura Ștefănescu, Oliver Doyle, Ciara O'Flaherty","doi":"10.1111/rest.12911","DOIUrl":"https://doi.org/10.1111/rest.12911","url":null,"abstract":"Abstract The essays included here present case studies prepared within the project ‘Sounding the Bookshelf 1501: Music in a Year of Italian Printed Books’, funded by the Leverhulme Trust and hosted at the University of Sheffield. The project asks a simple question: standing in a Venetian bookshop towards the end of the year 1501, what information about music might you encounter as you browse the new printed titles available for purchase? Very few of the books printed in Italy in 1501 were ‘about’ music, but almost all of them mention music in passing, and sometimes at length, whilst discussing something else. These kinds of casual, fragmentary comments on music were surely read by many more people than specialist music theory, the audience for which was probably quite small. To recover these comments, and characterise the contradictory and incoherent field of everyday musical knowledge they comprise, we are reading every book printed in Italy in 1501 cover‐to‐cover, excerpting every passage mentioning music, sound or hearing. The final product of our project—a co‐authored book, yet to be written—will present our findings in synoptic fashion. The essays presented here take a different approach, offering detailed case‐studies on particular books within our 1501 corpus.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136063325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The article discusses Richard Brome's engagement with Italy and its cultural legacy in his corpus. Apparently, the playwright's interest in Italy does not seem particularly profound since his works offer several examples of well‐known and worn‐out cultural stereotypes. Nevertheless, at a closer look, the dramatist may be indisputably listed among the early modern English playwrights who were drawn to Italian culture, art and language. Brome's use of Italian settings and his references to Italy and its literary, cultural and theatrical tradition work as a vehicle for a form of political and moral ideology which reflects the concerns of his country in the 1620s and 1630s. As happened for many playwrights from the period, Italy became a screen for the projection of moral, political and social anxieties as well as a mirror to look at England from another perspective. The analysis of Brome's oeuvre offers a fresh and unexpected angle on an area dominated by Shakespearean criticism while re‐igniting the interest in a playwright who has been an understudied figure in the critical debate, despite his contribution to the development of the Anglo‐Italian discourse in the Caroline age.
{"title":"‘After the fashion of Italy’: Richard Brome and Italian culture","authors":"Cristina Paravano","doi":"10.1111/rest.12909","DOIUrl":"https://doi.org/10.1111/rest.12909","url":null,"abstract":"Abstract The article discusses Richard Brome's engagement with Italy and its cultural legacy in his corpus. Apparently, the playwright's interest in Italy does not seem particularly profound since his works offer several examples of well‐known and worn‐out cultural stereotypes. Nevertheless, at a closer look, the dramatist may be indisputably listed among the early modern English playwrights who were drawn to Italian culture, art and language. Brome's use of Italian settings and his references to Italy and its literary, cultural and theatrical tradition work as a vehicle for a form of political and moral ideology which reflects the concerns of his country in the 1620s and 1630s. As happened for many playwrights from the period, Italy became a screen for the projection of moral, political and social anxieties as well as a mirror to look at England from another perspective. The analysis of Brome's oeuvre offers a fresh and unexpected angle on an area dominated by Shakespearean criticism while re‐igniting the interest in a playwright who has been an understudied figure in the critical debate, despite his contribution to the development of the Anglo‐Italian discourse in the Caroline age.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135899863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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