Visual art as a form of individualization of collective experience: Renaissance discourse

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

Critical philology and Dante’s Commedia: A couple of thoughts and a few examples

Not only literary students, but also well-known scholars share the idea that the reconstruction of a text is a routine job which leaves little room for creativity. After some 40 years during which I have edited or prepared the edition of works of Machiavelli ( Discorso intorno alla nostra lingua), Pietro Aretino ( Cortegiana) and Torquato Tasso ( Aminta), and 17 years devoted to the textual transmission and the text of Dante’s Commedia, I think that, except for the first phases of the job, textual editing requires almost constant critical thought and interpretation. I shall present a little series of examples, mostly from Dante’s Commedia, with cases ranging from decisions in the realm of accidentals to rather complicated choices among competing substantial readings and to the risky enterprise of emendation against all the witnesses of the work. While these examples can give an idea of the novelty of some solutions of my forthcoming edition (the introduction and Inferno will appear in the summer of 2021), in my view, they seem to confirm the opinion of the great classical philologist Giorgio Pasquali, for whom textual criticism isn’t mechanical; it is methodical.

La centralità politico-culturale di Venezia negli scambi epistolari del primo Cinquecento

Pietro Aretino intrattiene da Venezia diverse corrispondenze con personaggi di spicco del panorama politico e culturale, come traspare dai nomi altisonanti presenti nelle sue Lettere. Quando decide di rendere noti i suoi contatti epistolari e di includerli in un libro, ottiene un immediato successo che spinge il suo editore, Francesco Marcolini, a stampare nuove edizioni dell’opera. Con l’intento di ribadire il suo primato nell’epistolografia in volgare, Aretino biasima gli scrittori e i tipografi che pubblicano, subito dopo di lui, una moltitudine di libri di lettere, imitandolo. Dalla sua critica esonera però le persone più in vista di Venezia, tra cui Paolo Manuzio, prolifico autore ed editore di raccolte epistolari. Il presente lavoro si propone di analizzare quelle lettere che svelano il complesso meccanismo editoriale che sta dietro agli scambi epistolari del primo Cinquecento.

Entre a prostituta e a santa: a composição da trajetória feminina no Ragionamento de Pietro Aretino (1534)

O presente artigo tem como objetivo analisar a composição da trajetória feminina na obra Ragioamento della Nanna e della Antonia de autoria do escritor italiano Pietro Aretino, publicada no ano de 1534. O enredo se passa em Roma e conta com o diálogo entre duas prostitutas. Nanna, a protagonista, compartilha com Antonia suas aventuras enquanto foi freira, esposa e prostituta para decidirem qual dentre essas possibilidades seria o caminho ideal para a filha de Nanna. Por Aretino abordar três modelos distintos e definidos do feminino, esse trabalho se deterá em observar essa trajetória a partir da construção cristã de Eva, Virgem Maria e Maria Madalena, buscando observar as divergências e aproximações que o autor faz entre suas personagens e as representações femininas bíblicas.