"Il Libro del Cortegiano" di Baldassarre Castiglione, a stampa nel 1528, costituisce l’archetipo di una florida tradizione: numerosi i trattati e i dialoghi che, dopo il 1528, mettono a fuoco qualità e prerogative richieste a corte, confutando oppure corroborando il modello delineato nel classico cinquecentesco. La dissertazione intende vagliare l’eredità dell’opera di Castiglione isolando alcuni temi rintracciabili in contributi pubblicati in volgare dopo il 1528 e sino al 1640; fra gli autori considerati spiccano Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo e Francesco Baldelli (volgarizzatore dell’opera latina di Nifo), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini ed Agostino Mascardi, senza dimenticare i più celebri Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. Le proposte di questi autori sono state accostate ed intrecciate alla voce di Castiglione nei primi tre capitoli della tesi, suggellata da una appendice che presenta e riproduce l’inedito "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte" di Camillo Baldi, custodito presso la Biblioteca Classense di Ravenna. / Baldassarre Castiglione’s "Libro del Cortegiano", printed in 1528, represents the archetype of a flourishing written tradition: refuting or corroborating the model drafted in the sixteenth-century masterpiece, many essays and dialogues published after 1528 have focused on qualities and prerogatives required at court. The present thesis aims at sifting through Castiglione’s heritage, selecting themes and topics from some works printed in Italian between 1528 and 1640; the authors of the books examined are Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo (his essay, first published in Latin, was translated by Francesco Baldelli), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini and Agostino Mascardi, not forgetting the more famous Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. These authors’ proposals have been compared with Castiglione’s ideas in the first three chapters of the thesis, which is completed by an appendix that reproduces and analyzes Camillo Baldi’s "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte", an unpublished work located at the Biblioteca Classense of Ravenna.

Made available in DSpace on 2016-04-27T17:27:30Z (GMT). No. of bitstreams: 1 Daniel William da Silva Santos.pdf: 736281 bytes, checksum: 32a148fafc696dad08ac576fdcd21ed7 (MD5) Previous issue date: 2009-09-30 / Secretaria da Educação do Estado de São Paulo / The present research seeks to investigate the disparity reasons that comes out between Il Principe, of Niccolò Machiavelli, and the Book Fourth by Il Cortegiano, of Baldassare Castiglione, which is about the indicated behavior for the governing class that is looking for possession and power exercise; a fact that put such books inside the same literature genres Speculum Princeps. This kind of genre also constitute a object of study through which it s possible to point out the reasons why, even having a common origin, the referred books end different perspectives for giving advices to the governing class. So, this distinction seems to be based on the different interpretations of theoretical elements among those that articulate in Speculum Princeps genre since The Old Age. Therefore, as this research intends to point out, what is created among the thoughts expressed by Machiavelli and Castiglione isn t a rupture, as its particularities would suggest, but a tension, due to the confront that these works allow to see certain contiguity / A presente pesquisa busca investigar as razões das disparidades que afloram do confronto entre Il Principe, de Niccolò Machiavelli, e o Livro Quarto de Il Cortegiano, de Baldassare Castiglione, no que concerne à conduta indicada aos governantes com vistas à posse e exercício do poder; fator em virtude do qual tais obras inscrevem-se igualmente no interior do gênero literário Speculum Princeps. Esse gênero, por seu turno, também constitui objeto de análise, por meio da qual é possível evidenciar as razões pelas quais, mesmo possuindo uma ascendência comum, as referidas obras encerram perspectivas distintas quanto ao aconselhamento dos governantes. Com efeito, tal distinção parece fundar-se nas diferentes interpretações dos elementos teóricos que se articulam na história do gênero Speculum Princeps desde a Antiguidade. Portanto, como o estudo ora empreendido pretende mostrar, o que se engendra entre as reflexões expressas por Machiavelli e Castiglione não é uma ruptura, como suas particularidades poderiam sugerir, senão uma tensão, posto que o cotejo de suas obras permite vislumbrar certa contiguidade

Il lavoro si propone di dare l’edizione critica e commentata della produzione poetica volgare di Baldassar Castiglione e Cesare Gonzaga. Esso ricostruisce dettagliatamente la fortuna e la tradizione dei testi, indagando il contesto storico e geografico in cui le liriche dei due mantovani furono diffuse. Sono affrontati problemi attributivi, con l’espunzione di un testo apocrifo assegnato dalla vulgata a Castiglione, e la pubblicazione di diversi inediti. Il corpus totale delle rime extravaganti si attesta così a 32 componimenti, comprese le sei poesie che compongono la piccola silloge dedicata ad Elisabetta Gonzaga dai due cugini. I testi con tradizione multipla sono dotati di due fasce di apparato, di tipo negativo, in cui si raccolgono le varianti di tradizione, rispettivamente sostanziali e grafico-morfologiche. Il commento discute i rari casi in cui è possibile attribuire le varianti redazionali all’autore. Seguono le ottave pastorali del "Tirsi". Il commento ai testi, attraverso il reperimento di modelli e luoghi paralleli, oltre ad illustrare la progressiva adesione alla rigorosa imitazione petrarchesca (da Rvf e Trionfi) proposta dal Bembo, mostra il rapporto dei due autori con la poesia cortigiana contemporanea. / The paper aims to give a critical and annotated edition of vernacular poems by Baldassar Castiglione and Cesare Gonzaga. It reconstructs in detail the history of the circulation and tradition of the poems, and it examinates the historical and geographical context in which the texts were copied and spread. Attribution problems are discussed, an apocryphal poem is expunged from Castiglione’s corpus, unpublished texts are published. The whole corpus is composed of 32 texts, including the little collection of six lyric poems dedicated to Elisabetta Gonzaga. The negative apparatus is divided into two parts, where text variants and morphological differences between the witnesses are shown. Lyric poems are followed by the eclogue ‘Tirsi’. A commentary is provided, where models and parallel places are illustrated, aiming to highlight how the two poets pursued a faithful imitation of Petrarch poetry, following Pietro Bembo’s teachings, and showing their debts with the XVth Century court poetry.

Jacques-Émile Blanche (1861-1942) is rarely included in histories of late nineteenth-century French art, despite his prolific career as an artist who produced over 2,000 paintings. A portraitist, Blanche’s upbringing as the son of an eminent psychiatrist provided him with a wealth of sitters connected to his father’s fashionable clinic and, I argue, a distinctive approach to their representation. These relatively unstudied portraits of famous Parisian intellectuals and socialites deserve our attention as works of ‘psychological impressionism’. Combining penetrating observation with painterly execution, Blanche’s methods emphasised the ‘nervous’ disposition of his sitters. Blanche’s practice as a portraitist is one of the reasons for his neglect. His contemporaries were evasive when it came to writing about the genre, uncertain of how to evaluate it – a critical apprehension that has persisted to this day. Art historians are as implicated in what may be thought of as a hesitation around the status and significance of portraiture in late-nineteenth-century French art. The thesis seeks in part to redress this through its examination of Blanche’s portraits as intuitive works of art that not only reflected but also, more actively, produced particular forms of knowledge about the ‘nervous’ condition of Parisian high society. With a focus on Blanche’s depictions of Marcel Proust (1871-1922) and the Comtesse de Castiglione (1837-1899), the thesis considers Blanche’s ‘neurasthenic portraits’ in relation to discourses on modern psychiatry, modernity, and modern art, drawing attention to how they enrich our understanding of the social, cultural and artistic contexts in which Blanche lived and worked. By situating Blanche’s artistic practice within his father’s clinical practice, and by embracing a methodology that draws upon both the histories of art and psychiatry, I argue that the language of Blanche’s portraiture was environmentally connected to the language of nervous disorder. As such this thesis will provide an original contribution to the scholarship on Blanche and offer significant insights into the entanglement of art, culture and nerves in nineteenth-century Paris.