Vittoria Colonna

2013 ◽  
Author(s):  
Abigail Brundin
Keyword(s):  
Women Writers ◽  
16Th Century ◽  
Religion And Literature ◽  
Michelangelo Buonarroti ◽  
Pietro Bembo ◽  
Vittoria Colonna ◽  
Literary Figure ◽  
Close Friendship ◽  
Successive Generations ◽  
High Level

Vittoria Colonna (b. 1490/2–d. 1547) made her name as the author of numerous lyric poems in the Petrarchan style in 16th-century Italy. Her poetry was widely published in printed editions in her lifetime and after, as well as being set to music by many composers. She was admired as an impeccable stylist who manipulated the sonnet form with considerable agility while also demonstrating the appropriate decorum and gravity. At the same time, especially in her later spiritual verses, Colonna pushed the genre in new, innovative directions that proved very influential for successive generations of poets. Although she always claimed to have no desire to see her work circulate beyond a close group of friends, Colonna’s reputation as a literary figure was considerable by the time of her death in 1547. She began composing poetry early in life, but her renown as a Petrarchist grew in the wake of her husband’s death in 1525, when mourning became the dominant theme in her lyrics. She was promoted by Pietro Bembo, who admired her style and seriousness, and she corresponded with many of the major literary figures of her day. Her involvement with the religious controversies of the 1530s and 1540s brought a decidedly evangelical flavor to much of her mature poetic production, and was also integral to her close friendship with Michelangelo Buonarroti. Notably, Colonna was the first secular woman to achieve a high level of literary status in Italy for vernacular production, and her example opened the way for subsequent women writers to publish in all manner of genres. In this she was greatly aided both by her aristocratic status and by her widowhood, which conferred on her a degree of independence and wealth that allowed her the space to write. She resisted a second marriage and devoted her later years to religion and literature, producing some of her most striking spiritual poetry in the years before her death. She also wrote a number of prose meditations, expressing a female perspective on the reformed faith that so influenced her.

‘Inscribed Upon Their Hearts’: Copying and the Dissemination of Devotion

2021 ◽  
Author(s):  
Jessica Maratsos
Keyword(s):  
Vittoria Colonna ◽  
Close Friendship ◽  
The Relationship

The close friendship shared by Vittoria Colonna and Michelangelo inspired the production of intimate gifts in the form of sonnets and presentation drawings. These works exercised a considerable fascination over their contemporaries, who sought to obtain copies of the poems and drawings in a variety of different media. Both individually crafted and mass produced, these copies possessed multiple valences for different audiences, revealing the ways in which the relationship between original and copy, function and medium, collecting and devotion intersected in the Cinquecento. This chapter explores the ways in which sonnets and drawings were appropriated by broader audiences, focusing especially on the translation of Michelangelo’s Pietà drawing into bronze paxes created for popular, liturgical use.

scholarly journals Poeci polscy doby humanizmu wobec Rzymu / Polish Poets of the Age of Humanism and Rome

2012 ◽  
Vol 53 (6) ◽  
pp. 631-651
Author(s):  
Alina Nowicka-Jeżowa
Keyword(s):  
Middle Ages ◽  
Cultural Exchange ◽  
16Th Century ◽  
Holy See ◽  
15Th Century ◽  
The Arts ◽  
History Of ◽  
Roman Model ◽  
Successive Generations

Summary Based on earlier research, and especially Tadeusz Ulewicz’s landmark study Iter Romano- -Italicum Polonorum, or the Intellectual and Cultural Links between Poland and Italy in the Middle Ages and the Renaissance (1999) this article examines the influence of Rome - in its role as the Holy See and a centre of learning and the arts - on Poland’s culture in the 15th and 16th century as well as on the activities of Polish churchmen, scholars and writers who came to the Eternal City. The aim of the article is to trace the role of the emerging Humanist themes and attitudes on the shape of the cultural exchange in question. It appears that the Roman connection was a major factor in the history of Polish Humanism - its inner development, its transformations, and the ideological and artistic choices made by the successive generations of the Polish elite. In the 15th century the Roman inspirations helped to initiate the Humanist impulse in Poland, while in the 16th century they stimulated greater diversity and a search for one’s own way of development. In the post-Tridentine epoch they became a potent element of the Poland’s new cultural formation. Against the background of these generalizations, the article presents the cultural profiles of four poets, Mikołaj of Hussów, Klemens Janicjusz, Jan Kochanowski, and Mikołaj Sęp Szarzyński. They symbolize the four phases of the Polish Humanist tradition, which draw their distinctive identities from looking up to the Roman model

scholarly journals Virtue as Adventure and Excess: Intertextuality, Masculinity, and Desire in the Twilight Series

2013 ◽  
Vol 5 (2) ◽  
pp. 213-237
Author(s):  
Claudia Lindén
Keyword(s):  
Women Writers ◽  
19Th Century ◽  
Gender Norms ◽  
Literary Tradition ◽  
Gothic Fiction ◽  
Sexuality And Gender ◽  
Literary Figure ◽  
And Gender ◽  
The 19Th Century ◽  
Twilight Series

The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnici-ty. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction.

scholarly journals Кириллический рукописный учебник древнееврейского языка (список XVI в.) и его учебно-методические приемы

2013 ◽  
Vol 58 (2) ◽  
pp. 7-34
Author(s):  
Сергей Юрьевич Темчин
Keyword(s):  
Old Testament ◽  
Word Formation ◽  
Song Of Songs ◽  
16Th Century ◽  
Learning Material ◽  
15Th Century ◽  
Presentation Methods ◽  
Grand Duchy Of Lithuania ◽  
High Level ◽  
Grand Duchy

В статье обосновывается характеристика недавно обнаруженного рукописного кириллического учебника древнееврейского языка, созданного совместными усилиями православных и иудейских книжников, как учебного пособия, с методической точки зрения значительно превосходящего иные восточнославянские двуязычные справочные материалы того же времени. С этой целью подробно описаны применяемые в нем приемы, направленные на такую подачу языкового и сопутствующего текстового (религиозно-культурного) материала, которая облегчила бы его усвоение потенциальным читателем. Методическую сторону рассматриваемого памятника письменности следует признать одним из результатов еврейского вклада в его создание.Ключевые слова: Великое княжество Литовское, кириллическая письменность, иудейско-христианские отношения, древнееврейский язык, руськамова, библейские переводы, жидовствующие....Sergei TemchinCyrillic 16th-century manuscript “Manual of Hebrew” and its teaching methods A concise Manual of Hebrew, recently discovered in a Cyrillic manuscript miscellany of the 3rd quarter of the 16th century (Moscow, the Russian State Archive of Early Acts, F. Mazurin collection (f. 196), inventory 1, No 616, f. 124–130) is very important for the history of the Ruthenian written culture in the Grand Duchy of Lithuania. The Manual of Hebrew comprises material of three different kinds: a) some excerpts from the original Hebrew Old Testament text (Ge 2.8, 32.27–28; Ps 150; So 3.4 (or 8.2), 8.5; Is 11.12) written in Cyrillic characters; b) a bilingual Hebrew–Ruthenian vocabulary with explanatory notes; c) small quotations from the Ruthenian text of three Old Testament books (Genesis, Isaiah, Song of Songs).The meta-language used in the Manual of Hebrew is Ruthenian. The translations present in the Manual had been made directly from Hebrew. A comparison of the quotations from the Song of Songs found in the Manual and all the known Cyrillic and Glagolitic versions of this book (referring to both the manuscript and the printed sources of different periods) reveals their principal coincidence with the Ruthenian translation found in the Vilnius Old Testament Florilegium (Vilnius, Wróblewskie Library of the Lithuanian Academy of Sciences, F 19–262). The originals of the two manuscripts probably originated in the 2nd half of the 15th century in the circle of the learned Kievan Jew Zachariah ben Aaron ha-Kohen who is also known as Skhariya, the initiator of the Novgorod movementof the Judaizers (1471–1504).The Cyrillic Manual of Hebrew is a clear evidence of this language being taught/learned in the Grand Duchy of Lithuania during the late 15th–early 16th century. The learning material and its presentation methods reveal a quite elaborate (although inconsistently implemented) pedagogical approach which puts the Manual aside from the rest of early East Slavic glossaries of the same or earlier date. Thus, the Manual presents, among other features: a) a number of original Hebrew texts written in Cyrillic, divided into small portions (each with a Ruthenian translation) which are then put together to form a continuoustext; b) certain trilingual glossary entries where Hebrew, “Greek” (in reality Slavic borrowings from Greek) and Slavic words are juxtaposed, while in other cases double translations in two different Slavic languages (Ruthenian and Old Church Slavonic) are given; c) some long elaborated definitions, sometimes containing synonymous variants or alternative translations; d) information about the sources of variant Hebrew forms or their meanings; e) information on certain grammatical (gender, plural, possessive) forms and word formation (compounds), etc.It is beyond doubt that the Cyrillic manuscript “Manual of Hebrew” is a result of joint efforts of Jewish and East Slavic bookmen, but the relatively high level of pedagogical and linguistic sophistication of the joint result is to be ascribed to the Jewish compilers of the Manual rather than to their East Slavic co-authors.

Ludovico Ariosto

2011 ◽  
Author(s):  
Dennis Looney
Keyword(s):  
16Th Century ◽  
Italian Renaissance ◽  
Latin Literature ◽  
The Novel ◽  
Michelangelo Buonarroti ◽  
Miguel De Cervantes ◽  
Ludovico Ariosto ◽  
15Th Century ◽  
Literary Revival ◽  
Modern Fiction

Ludovico Ariosto (b. 1474–d. 1533), whose work links 15th-century humanism with the vernacular classicism that burgeoned later in the 16th century, is a crucial figure in the development of Italian Renaissance literary culture. An accomplished Neo-Latin poet whose earliest letter is a request for books on Platonism from the Venetian publisher Aldus Manutius (1498), Ariosto used his considerable knowledge of classical Latin literature to forge a literary corpus that blends ancient literary models with medieval ones to create an impressive example of vernacular classicism. No less than his contemporary Michelangelo Buonarroti did for art, Ariosto took the literary revival of Antiquity to new heights. Accordingly, Ariosto can be seen as a forerunner of Miguel de Cervantes and other vernacular prose artists whose critical recapitulations of medieval chivalric fiction under the influence of classical works and classicizing authors like Ariosto eventually led to the birth of the novel. For modern readers who are accustomed to the conventions of modern fiction, at times Ariosto sounds strangely familiar, even postmodern.

The Authenticity of De Hollanda's Dialogos em Roma

PMLA ◽  
1946 ◽  
Vol 61 (4-Part1) ◽  
pp. 1018-1028
Author(s):  
Robert J. Clements
Keyword(s):  
Good Friend ◽  
Michelangelo Buonarroti ◽  
Vittoria Colonna

Francisco de Hollanda has been assured a modest paragraph in the ledger of history for three principal merits: he was a competent miniaturist, he was one of Portugal's most enthusiastic humanists, and he was a friend of Michelangelo Buonarroti. Curiously enough, it was this latter acquaintanceship which constituted his chief claim to fame. In the month of October, 1538, Francisco was present at three conversations on art and aesthetics in which participated, among others, Michelangelo and his good friend Vittoria Colonna. Francisco recorded these conversations for posterity. Together with a fourth dialogue in which Michelangelo does not figure, these Dialogos em Roma form the latter half of Francisco's Da pintura antigua, published at Lisbon in 1548.

MÍSTICA E POESIA NA INTERFACE ENTRE RELIGIÃO E LITERATURA: A VIA MÍSTICA DE SÃO JOÃO DA CRUZ EM SEU CÂNTICO ESPIRITUAL "Mystique and poetry on the interface between Religion and Literature: the mystical Path of São João da Cruz in his Spiritual Canticle"

2014 ◽  
Vol 5 (10) ◽  
pp. 251
Author(s):  
Francisco Augusto Lima Paes ◽  
Josias Da Costa Júnior
Keyword(s):  
United States ◽  
The United States ◽  
Spiritual Journey ◽  
Religion And Literature ◽  
Poetic Text ◽  
John Of The Cross ◽  
Mystical Literature ◽  
High Level ◽  
Phd Thesis ◽  
The Relationship

O principal objetivo deste artigo é aproximar mística e poesia a partir da via mística de João da Cruz em seu Cântico espiritual. Mística e poesia (CARVALHO, 2012; COSTA JÚNIOR, 2012) procedem da mesma fonte. Ambos os fenômenos não resultam da lógica racional e se expressam em discursos que se esbarram, penetram-se mutuamente: um texto místico exala o perfume poético, assim como o texto poético inala mística, mesmo que o poeta não confesse religião. Aproximar religião e mística oferece aos estudos de literatura a oportunidade de ampliar a visão reducionista do ser humano, à medida que seja superada a sua herança positivista, que impediu, quase completamente, a possibilidade de abertura à transcendência e ao mistério. Na verdade, a relação entre a religião cristã e variadas expressões artísticas motivou debates muito expressivos, tanto na Europa, quanto nos Estados Unidos (MAGALHÃES, 2000, p. 21). A religião sempre foi vista com certa desconfiança, recebendo críticas requintadas dos artistas e carregadas de alto teor de ironia que muitas vezes foi confundida com subserviência. Ao mesmo tempo em que se pode fazer essas constatações, não se pode deixar de registrar também que a literatura se apropriou, com extrema liberdade, de narrativas de textos sagrados, e com elas construiu verdadeiros tesouros literários. Metodologicamente, trata-se de um trabalho de revisão bibliográfica entre as abordagens de TEIXEIRA (2006); OLIVEIRA (2013) e SOUZA (2010), com alguns aspectos da tese de doutorado de Karol Wojtyla A doutrina da Fé segundo São João da Cruz.Palavras-chave: Itinerário espiritual. Poesia mística. Cântico espiritual.AbstractThe main objective of this paper is to get closer to the mystique and poetry through the mystical way from John of the Cross in his spiritual Canticle. Mystique and poetry (oak, 2012; COSTA JÚNIOR, 2012) Both phenomena are the result of rational logic and are expressed in speeches that collide, penetrate each other: a mystical text exudes the poetics smell. As well as the poetic text inhale Mystique, even if the poet did not confess religion. Approaching religion and mystical literature studies offers the opportunity to broaden the reductionist vision of the human being, as it surpassed its positivist heritage, which prevented, almost completely, the possibility of opening to transcendence and mystery. Actually, the relationship between Christian religion and varied artistic expressions motivated a lot of expressive debates in Europe and in the United States (MAGELLAN, 2000, p. 21). Religion has always been regarded with some suspicion, receiving critiques of artists and being loaded with sophisticated high level of irony that often was confused with subservience. At the same time you can make these findings, one can't help but register that literature also appropriated, with extreme freedom, narratives of sacred texts, and with them built true literary treasures. Methodologically, it is a work of literature review between the approaches of TEIXEIRA (2006); OLIVEIRA (2010) and SOUZA (2010), with some aspects of the PhD thesis of Karol Wojtyla the doctrine of Faith according to Saint John of the Cross.Keywords: Spiritual journey. Mystical poetry. Spiritual song.

scholarly journals Blending: A brief history of misconception

2021 ◽  
pp. 135-147
Author(s):  
Aleksey A. Streltsov ◽  
Keyword(s):  
20Th Century ◽  
English Language ◽  
Word Formation ◽  
16Th Century ◽  
Early 20Th Century ◽  
Word Play ◽  
Scientific Papers ◽  
History Of ◽  
The Subject ◽  
High Level

The article considers the main aspects of word-fusion, which is a means of word-building that has become popular in the last few decades. As a result, many scientific papers appeared whose authors are quite often not familiar with each other’s findings. That is why we aimed to highlight the major challenging aspects as well as little-known aspects of word-fusion and to present the main results obtained by researchers. We have shown that word-fusion has been in use at least since the 16th century, and not only in the English language. Now words derived according to the pattern are found in many languages of Continental Europe (German, French, Italian, etc.) and presumably existed in some languages, that are now extinct. There is a considerable number of literature on the subject that first appeared in the early 20th century, whereas in this country it happened half a century later. However, there were no less than ten theses, defended by Soviet and Russian linguists indicating a relatively high level of scrutiny. Nowadays, practically everyone recognizes the fact, that word-fusion is a separate productive word-building means used not only for word-play but also for term-building, and nomination of new objects and phenomena, mostly hybrid ones. As far as there is still no universally accepted term for the word-formation means in question, we propose “blending” which is mostly used by foreign and many Russian scholars, or “word-fusion” which is brief and semantically transparent.

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