Se intenta ofrecer una explicación sociocultural del programa romanista del Inca Garcilaso en función de sus coordenadas biográficas (peruana y española), analizando especialmente su destino andaluz, tanto por sus coordenadas sociales (conquista reciente del mundo islámico y presencia de conversos judíos) como por las propiamente culturales (clasicismo real y nobiliario, conexión con jesuitas). No se trata, pues, de una solución individual y aislada (por aristocrática), ni tampoco de una opción meramente literaria o religiosa (a pesar de expresarse en esa clave). / In this paper I offer a socio-cultural explanation of Inca Garcilaso’s Romanist program, taking into account the analysis of his biographical anchorages in both Perú and Spain, specially his andalusian experience. To do so, I follow the social events he lived through (the recent conquest of the Islamic world and presence of Jewish converts), as well as the more cultural aspects of his stay in Spain (Royal and nobility classicism, relationship with the Jesuits). By broadening the scope of the interpretation of his texts, we are no longer talking merely about an individual and isolated (if aristocratic) experience, nor about a merely religious or literary option (even if it is expressed in such a way).

Ancré dans une perspective historique, ce mémoire cherche à mettre en application une relecture de la théorie wébérienne de la « rationalisation éthique » comme facteur explicatif de la reconfiguration moderne du rapport entretenu entre les individus et la religion. Un retour sur les changements survenus dans la pensée religieuse de la Renaissance — pensée mise en contraste avec la situation religieuse des populations du Moyen-Âge — permet de mettre en évidence le passage d’une religion syncrétique, ritualiste et imprégnée de magie, à un christianisme épuré, intériorisé et rationnel. L’étude de la pensée religieuse de l’humaniste Érasme de Rotterdam, pris comme « figure historique » porteuse de cette transformation, pointe vers la diffusion à la Renaissance d’un christianisme compris comme système philosophique compréhensif dépouillé de son caractère mystique. Cette diffusion d’un « esprit » chrétien, et l’importance accordée à la mise en œuvre d’une conduite de vie méthodique spécifiquement orientée vers le salut, participe au premier chef d’un processus de « quotidianisation » du charisme religieux, prélude essentiel, dans une perspective wébérienne, à la « rationalisation éthique » et à l’autonomisation de la sphère religieuse dans la vie sociale. / By way of a historical perspective, this masters thesis aims to reconsider the weberian “ethical rationalization” theory as an explanatory factor for the modern transformation of the relationship between individuals and religion. Reviewing the changes in Renaissance religious thought—and contrasting it with the Medieval religious context—enables us to uncover a shift from a syncretic and ritualized religion that is filled with magical elements, towards an uncluttered, internalized and rational Christianity. The focus on Erasmus of Rotterdam’s religious humanist thought—considered here as a “historical figure” and carrier of these transformations—brings light on how Christianity was stripped of its mystical aspects and came to be understood as a comprehensive philosophical system. The dissemination of such a Christian “spirit”, as well as the importance granted to a methodical way of life specifically oriented towards salvation, play a key role in the appearance of a “quotidian ritualization” of religious charisma, which is in itself, according to Weber, an essential preliminary to an “ethical rationalization” and thus to the “autonomization” of the religious sphere in the social life.

O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico. / The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.

Ancré dans une perspective historique, ce mémoire cherche à mettre en application une relecture de la théorie wébérienne de la « rationalisation éthique » comme facteur explicatif de la reconfiguration moderne du rapport entretenu entre les individus et la religion. Un retour sur les changements survenus dans la pensée religieuse de la Renaissance — pensée mise en contraste avec la situation religieuse des populations du Moyen-Âge — permet de mettre en évidence le passage d’une religion syncrétique, ritualiste et imprégnée de magie, à un christianisme épuré, intériorisé et rationnel. L’étude de la pensée religieuse de l’humaniste Érasme de Rotterdam, pris comme « figure historique » porteuse de cette transformation, pointe vers la diffusion à la Renaissance d’un christianisme compris comme système philosophique compréhensif dépouillé de son caractère mystique. Cette diffusion d’un « esprit » chrétien, et l’importance accordée à la mise en œuvre d’une conduite de vie méthodique spécifiquement orientée vers le salut, participe au premier chef d’un processus de « quotidianisation » du charisme religieux, prélude essentiel, dans une perspective wébérienne, à la « rationalisation éthique » et à l’autonomisation de la sphère religieuse dans la vie sociale. / By way of a historical perspective, this masters thesis aims to reconsider the weberian “ethical rationalization” theory as an explanatory factor for the modern transformation of the relationship between individuals and religion. Reviewing the changes in Renaissance religious thought—and contrasting it with the Medieval religious context—enables us to uncover a shift from a syncretic and ritualized religion that is filled with magical elements, towards an uncluttered, internalized and rational Christianity. The focus on Erasmus of Rotterdam’s religious humanist thought—considered here as a “historical figure” and carrier of these transformations—brings light on how Christianity was stripped of its mystical aspects and came to be understood as a comprehensive philosophical system. The dissemination of such a Christian “spirit”, as well as the importance granted to a methodical way of life specifically oriented towards salvation, play a key role in the appearance of a “quotidian ritualization” of religious charisma, which is in itself, according to Weber, an essential preliminary to an “ethical rationalization” and thus to the “autonomization” of the religious sphere in the social life.

O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico. / The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.