Italian Humanism

Giacomo da Pesaro

by Alessandro Ottaviani

in: Dizionario Biografico degli Italiani, vol. 54 (2000)

The Many Shades of Praise: Diversity in Epideictic Rhetoric in Diplomatic Settings

by Brian Maxson

proofs of an article published in Rhetorik in Mittelalter und Renaissance: Konzepte – Praxis – Diversität, eds. Georg Strack and Julia Knödler, 393-412 (Munich: Herbert Utz Verlag, 2011).

The Many Shades of Praise: Diversity in Epideictic Rhetoric in Diplomatic Settings

Fifteenth-century... more The Many Shades of Praise: Diversity in Epideictic Rhetoric in Diplomatic Settings

Fifteenth-century diplomatic protocol required the city of Florence to send diplomats to congratulate both new and militarily victorious rulers.  Diplomats on such missions poured praise on their triumphant allies and new rulers at friendly locations.  However, political realities also meant that these diplomats would sometimes have to praise rulers whose accession or victory opposed Florentine interests.  Moreover, different allies and enemies required different levels of praise.  Jealous rulers compared the gifts, status, and oratory that they received from Florence to the Florentine entourages sent to their neighbors.  Sending diplomats with too little or too much social status and eloquence could spell diplomatic disaster.  Diplomats met these challenges by varying the style, structure, and content of their speeches.  Far from formulaic pronouncements of goodwill, diplomatic orations varied from one speech to the next in order to meet the demands of the complex diplomatic world into which they fit.  Contextualizing these orations reveals the subtle reservations of diplomats praising a hostile ruler, the insertion of specific citations to flatter specific audiences, and the changing intellectual and stylistic interests of humanists throughout the fifteenth century.  This essay will examine the different shades of flattery practiced by Florentine diplomats and the contexts that explain these variations.

Lorenzo Valla and the Authenticiy of Sacred Texts

by Cornelia Linde

in Humanistica Lovaniensia 60 (2011), pp. 35-63
published by Leuven University Press
(© Universitaire Pers Leuven/Leuven University Press)
UPL website: http:// http://upers.kuleuven.be/en/titel/9789058678843

“L”agiografia di Mantegna.” Mantegna e Roma. L’artista davanti all’antico. Ed. Leandro Ventura. Rome: Bulzoni, 2010

by Stephen J. Campbell

Kings and Tyrants: Leonardo Bruni's translation of Xenophon's Hiero

by Brian Maxson

published in "Renaissance Studies" April 2010

Leonardo Bruni published one of his most widely copied translations, Xenophon's pro-monarchical Hiero, shortly before... more Leonardo Bruni published one of his most widely copied translations, Xenophon's pro-monarchical Hiero, shortly before he penned his more famous original works, his Dialogues and Panegryic to the City of Florence.  Scholars have traditionally focused on the political ideas present in these original treatises; yet, despite the centrality of political ideas to the Hiero, its temporal proximity to these works, and its enormous popularity (the work exists in 200 fifteenth-century manuscripts), scholars have neglected to offer a full assessment of Bruni's translation in the context of these works.  Bruni's translation of Xenophon's Hiero fit into a debate in early fifteenth-century Florence about Julius Caesar and the Florentine poet Dante.  The two major thinkers in the debate, Bruni and Coluccio Salutati, agreed that a distinction had to be made between kings and tyrants based on legal claim and quality of rule.  The Hiero reinforced this assumption.  The two men disagreed, however, about which category applied to Julius Caesar and what this meant for the reputation of Dante.

John Hothby, Lorenzo il Magnifico e Robert Morton in una nuova fonte manoscritta a Mantova.

by Pedro Memelsdorff

Published in: Acta musicologica, 78/1 (2006), pp. 1-32.

Jacopo Bonfadio, in Autografi dei letterati italiani. Il Cinquecento, vol. II, diretto da Matteo Motolese ed Emilio Russo, a cura di Matteo Motolese - Paolo Procaccioli - Emilio Russo, con la consulenza paleografica di Antonio Ciaralli, Roma, Salerno Editrice (in lavorazione)

by Paolo Marini

Las praelectiones de Agustín Valerio a su Rhetorica Ecclesiastica ad Clericos (preprint)

by Manuel López-Muñoz

En prensa. Todos los derechos reservados.

Este trabajo presenta una breve aproximación al estudio de la Rhetorica Ecclesiastica ad clericos, de Agostino... more Este trabajo presenta una breve aproximación al estudio de la Rhetorica Ecclesiastica ad clericos, de Agostino Valiero. Las praelectiones que pronunció el propio autor son una buena fuente de información, toda vez que de ellas surgen tanto un stemma editionum tentativo cuanto una duda razonable sobre la autoría del tratado. También se presenta un estudio de las fuentes textuales de las praelectiones con el propósito de establecer un marco de análisis estable en la metodología del estudio de uso de los intertextos en los autores neolatinos.

¿Qué tiene de borromea la Retórica de Agostino Valier? (Preprint)

by Manuel López-Muñoz

En prensa. Todos los derechos reservados.

Desde que, en el año 1980, Marc Fumaroli enunció la existencia de un grupo de retóricas eclesiásticas a las que... more Desde que, en el año 1980, Marc Fumaroli enunció la existencia de un grupo de retóricas eclesiásticas a las que denominó "borroneas" por su relación con el conocido Cardenal, los estudios que se han venido haciendo sobre la teoría predicadora de la última parte del siglo XVI han reproducido tal acusación sin entrar siquiera a decir si existen o no motivos que justifiquen la asunción de una categoría como la mencionada. No obstante, existen motivos para dudar de la pertinencia (incluso de la existencia) de las llamadas "retóricas borroneas". Esta comunicación, tras situar la cuestión en sus justos términos, analizará hasta qué punto es adscribible a ese grupo de manuales el publicado por Agostino Valier en 1574 a instancias de su amigo el Cardenal Carlos Borromeo.

Music and Moral Philosophy in Early Fifteenth-Century Padua

by Jason Stoessel

Published in Identity and Locality in Early European Music 1028-1740, edited by Jason Stoessel, 107–27. Farnham: Ashgate, 2009.

Per l'attività padovana di Antonio Vivarini

by Vincenzo M. Buonocore

La palabra en la ocasión: Alfonso V como Rex Facetus a través del Panormita

by Alberto Montaner

Montaner Frutos, Alberto, «La palabra en la ocasión: Alfonso V como Rex Facetus a través del Panormita», e-Spania: Revue interdisciplinaire d’études hispaniques médiévales, núm. 4 (décembre 2007), accesible en línea en <http://e-spania.revues.org/document1503.html&gt;.

El opúsculo de Antonio Beccadelli el Panormita ofrece una fuente privilegiada para acceder a la “palabra familiar” de... more El opúsculo de Antonio Beccadelli el Panormita ofrece una fuente privilegiada para acceder a la “palabra familiar” de Alfonso V de Aragón y en particular para explorar su vertiente como rex facetus. Ésta sirve de puente entre una representación del monarca netamente medieval y otra ya renacentista, mediante el cauce del ingenio cortesano. En efecto, el ámbito propio de la facecia alfonsina es el de su círculo íntimo dentro de la corte y no el de los actos públicos y formales. Pese a ello, sus manifestaciones facetas transmiten un determinado ideal de actuación presidido por la urbanitas y la ciuilitas.

The" Hypnerotomachia Poliphili", Image, Text, and Vernacular Poetics

by Rosemary Trippe

Art of Memory: Recollecting Rome in Giovanni Marcanova's Collectio antiquitatum

by Rosemary Trippe

An Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento, with Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus

by Joshua B. Mailman

Music Analysis, v.28, ii-ii (2009)

Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3)... more Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity.

Lecturas y traducciones de Ficino en Castilla bajo Isabel la Católica, in Francisco Bautista Pérez & Jimena Gamba Corradine (eds.), Estudios sobre la Edad Media, el Renacimiento y la temprana modernidad, San Millán de la Cogolla, CiLengua, 2010, pp. 467-476

by Roland Béhar

Poggio correcting himself: the case of Florence, Ricc. 71 and Copenhagen, NKS 234 4o

by Outi Merisalo

H. Spilling, éd. La Collaboration dans la production de l'écrit médiéval. Actes du XIIIe colloque du Comité international de paléographie latine. Matériaux pour l'histoire publiés par l'École des chartes 4. Paris 2003, 269-280.

Petrarca y la restauración de la “humanitas” antigua: el fragmento y el sueño de la integridad perdida, in Pedro Aullón de Haro (ed.), Teoría del humanismo, Madrid, Editorial Verbum, 2010, pp. 409-475

by Roland Béhar