An insider's view of court life during the Renaissance, here is the handiwork of a 16th-century diplomat who was called upon to resolve the differences in a war of etiquette among the Italian nobility.
In The Book of the Courtier (1528), Baldesar Castiglione, a diplomat and Papal Nuncio to Rome, sets out to define the essential virtues for those at Court. In a lively series of imaginary conversations between the real-life courtiers to the Duke of Urbino, his speakers discuss qualities of noble behaviour - chiefly discretion, decorum, nonchalance and gracefulness - as well as wider questions such as the duties of a good government and the true nature of love. Castiglione's narrative power and psychological perception make this guide both an entertaining comedy of manners and a revealing window onto the ideals and preoccupations of the Italian Renaissance at the moment of its greatest splendour.
Castiglione’s Book of the Courtier (Il libro del cortegiano, 1528), a dialogue in which the interlocutors attempt to describe the perfect courtier, was one of the most influential books of the Renaissance. In recent decades a number of postmodern readings of this work have appeared, emphasizing what is often characterized as the playful indeterminacy of the text, and seeking to detect inconsistencies which are interpreted as signs of anxiety or bad faith in its presentation. In contrast to these postmodern readings, the present study conducts an experiment. What understanding does one gain of Castiglione’s book if one attempts an early modern reading? The author approaches The Book of the Courtier as a text in which some of its most important aspects are intentionally concealed and veiled in allegory. W.R. Albury argues that this early modern reading of The Book of the Courtier enables us to recover a serious political message which has a great deal of contemporary relevance and which is lost from sight when the work is approached primarily as a courtly etiquette book, or as a lament for the lost influence of the aristocracy in an age when autocratic nation-states were coming into being, or as an impersonal textual field upon which a free play of transformations and deconstructions may be performed.
Literature reveals that the hidden strings of the human `passional soul' are the creative source of the specifically human existence. Continuing the inquiry into the `elemental passions of the soul' and the Human Creative Soul pursued in several previous volumes of this series, the present volume focuses on the `passions of the earth', bringing to light some of the primogenital existential threads of the innermost bonds of the Human Condition and mother earth. In Tymieniecka's words, the studies purpose to unravel the essential bond between the living human being and the earth - a bond that lies at the heart of our existence. A heightened awareness of this bond should enlighten our situation and help us find our existential bearings.
The Singleton Translation : an Authoritative Text Criticism
Author: conte Baldassarre Castiglione
Publisher: W. W. Norton
Today the Book remains the most reliable and illuminating account of Renaissance court life and of what it took to be the "Perfect Courtier" and "Court Lady." The Singleton translation--the most acclaimed and accurate available--is accompanied by annotations. "Criticism" features ten essays on The Book of the Courtier, which represent the best interpretations from the United States, Italy, and England including the backgrounds-rich essays by Amedeo Quondam and James Hankins. A Selected Bibliography, a Chronology, and an Index are included.
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It is widely accepted that English Renaissance drama owes its extraordinary richness and variety to the blending of elements originating from the medieval heritage and classical and Italian dramatic traditions. This grafting of the "Italian world" onto the English Renaissance goes far beyond the conventional research of the literary sources. The articles in this collection explore English Renaissance drama through new and challenging aspects of influence and through investigations into classical and Italian theater. The volume moves from early Elizabethan to late Jacobean drama. The area of research ranges from New Classical Comedy to commedia erudita, from the Renaissance theory of tragedy and tragicomedy to the birth of pastoral drama and beyond.
Applying recent developments in new historicism and cultural materialism-along with the new perspectives opened up by the current debate on intertextuality and the construction of the theatrical text-the essays collected here reconsider the pervasive infl