The poetics of imitation in the Italian theatre of the Renaissance /

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"The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Rena...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Di Maria, Salvatore (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Toronto : University of Toronto Press, 2013.
Colección:Toronto Italian studies.
Temas:
To 1700
Italian drama > To 1700 > History and criticism.
Imitation in literature.
Classical drama > Influence.
Théâtre italien > Jusqu'à 1700 > Histoire et critique.
Imitation (Littérature)
Théâtre ancien > Influence.
DRAMA > Continental European.
DRAMA > Ancient & Classical.
Imitation in literature
Italian drama
Drama
Italienisch
Nachahmung
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Chapter I. Imitation: The link between past and present
  • 1. The Humanists turn to the Ancients
  • 2. From the Classical stage to the theater of Renaissance
  • 3. The poetics of the new theater
  • Chapter II. Machiavelli's Mandragola
  • 1. The characters: imitation vs. source
  • 2. New characters
  • 3. Machiavellian morality
  • Chapter III. Clizia. Form stage to stage
  • 1. The sons
  • 2. The fathers
  • 3. The wives
  • 4. A Machiavellian perspective
  • Chapter IV. Cecchi's Assiuolo: An apian imitation
  • 1. A contaminatio of sources
  • 2. Ambrogio: An original amator senex
  • 3. Oretta's immorality as a reflection of the times
  • Chapter V. Groto's Emilia: Fiction meets reality
  • 1. From the sources to the adaptation
  • 2. The stage pretense of realism undermined
  • 3. Erifila: a Venetian courtesan.
  • Chapter VI. Gli duoi fratelli rivali. Della Porta adapts Bandello's prose narrative to the stage
  • 1. The source's King vs. the play's Viceroy
  • 2. Eufranone vs. Lionato
  • 3. The women
  • 4. New characters and the comic element
  • Chapter VII. Orbecche: Giraldi's imitation of his own prose narrative
  • 1. The plot
  • 2. Orbecche and the question of womanhood
  • 3. Sulmone vs. Malecche: The debate on kingly prerogatives
  • 4. Machiavellian princeship anchored to religious morality
  • Chapter VIII. Dolce's Marianna: From history to the stage
  • 1. The historical source
  • 2. Josephus' Herod vs. Dolce's Erode
  • 3. Mariamme vs Marianna
  • 4. Erode and the theater audience.

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