By Richard R. La Croix
An interdisciplinary selection of essays of a few of the innovations important to Augustine's philosophy of artwork, principally missed in earlier works.
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Nato advert Arezzo l'anno della scoperta dell'America, Pietro Aretino è poeta, scrittore e drammaturgo conosciuto principalmente in keeping with alcuni suoi scritti dal contenuto considerato, all'epoca, oltremodo licenzioso. l. a. sua figura di letterato risulta esser stata amata, ma anche molto discussa e in diversi casi odiata perché percepita come quella di un cortigiano assai spregiudicato e arrivista.
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Extra info for Augustine on Music: An Interdisciplinary Collection of Essays (Studies in the History and Interpretation of Music)
Meanwhile, the mainstream of vernacular dialogue tradition that lies between Pontano, who died in 1503, and Bruno, who was burned alive in 1600, remained imbued with Neoplatonism. ∞∞ Finally, to return to the poet with whom we started, we discover Neoplatonism in the various dialogues of Tasso that deal with such topics as love, friendship, beauty, virtue, and art. Just as Bruno’s hybrid Italian fails to heed Bembo’s injunction that good Italian prose be modeled on Boccaccio’s Tuscan dialect, so Bruno’s Italian dialogues—brimming with satire and poking fun at pedantry in all its forms—refuse to adhere to the norms of Neoplatonizing tradition.
23: ‘‘scripsi igitur Aristoteleo more, quemadmodum quidem volui, tres libros in disputatione ac dialogo De Oratore’’ [I have written, I say, on the model of Aristotle—at least that is how I wanted to do it—three books in the form of a discussion and dialogue, entitled The Orator]. 6. For this initial discussion of the dialogue in Greek and Latin letters, we are indebted to Rudolf Hirzel, Der Dialog: Ein literar-historischer Versuch (1895), and David Marsh, The Quattrocento Dialogue: Classical Tradition and Humanist Innovation (1980).
11. , and her function parallels Sophia’s in the Spaccio: existing on an idealized, transcendent plane, the woman is in position to act as advocate to the gods for the philosopher and his ideas. Authorial ambivalence exists even here, however, inasmuch as Bruno is addressing a dead woman, and Sophia / Wisdom serves as the mouthpiece for antifeminist attitudes expressed in the Spaccio. Yet Bruno’s ironies are not limited to the feminine gender: Prudenzio, the ridiculous pedant of La cena, is called ‘‘more prudent than prudence itself, for you are prudence masculini generis [of male gender]’’ (Jaki 1975, 53).