The poetics of imitation in the Italian theatre of the Renaissance /:
"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...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Toronto :
University of Toronto Press,
2013.
|
| Schriftenreihe: | Toronto Italian studies.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "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 Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period."--Pub. desc |
| Beschreibung: | 1 online resource (x, 222 pages) |
| Bibliographie: | Includes bibliographical references (pages 199-212) and index. |
| ISBN: | 9781442667334 1442667338 9781442667341 1442667346 |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBA-ocn865019624 | ||
| 003 | OCoLC | ||
| 005 | 20241004212047.0 | ||
| 006 | m o d | ||
| 007 | cr cnu---unuuu | ||
| 008 | 131211s2013 onc ob 001 0 eng d | ||
| 040 | |a N$T |b eng |e rda |e pn |c N$T |d JSTOR |d OCLCO |d YDXCP |d CELBN |d OCLCQ |d OCLCO |d TEFOD |d AGLDB |d OCLCQ |d JBG |d EBLCP |d OCLCQ |d IOG |d OCLCA |d MERUC |d OCLCF |d OCLCO |d VTS |d AU@ |d OCLCQ |d EZ9 |d M8D |d UKAHL |d CAUOI |d YOU |d OCLCA |d OCLCQ |d OCLCO |d LUU |d OCLCO |d OCLCQ |d P@U |d OCLCO |d OCLCQ |d OCLCL | ||
| 019 | |a 865475025 |a 871355589 |a 1058119983 | ||
| 020 | |a 9781442667334 |q (electronic bk.) | ||
| 020 | |a 1442667338 |q (electronic bk.) | ||
| 020 | |a 9781442667341 |q (electronic bk.) | ||
| 020 | |a 1442667346 |q (electronic bk.) | ||
| 020 | |z 9781442647121 | ||
| 020 | |z 1442647124 | ||
| 035 | |a (OCoLC)865019624 |z (OCoLC)865475025 |z (OCoLC)871355589 |z (OCoLC)1058119983 | ||
| 037 | |a 22573/ctt4kcbgj |b JSTOR | ||
| 037 | |a 9225B88F-8CD9-4017-98BA-8AF49BAE7290 |b OverDrive, Inc. |n http://www.overdrive.com | ||
| 043 | |a e-it--- | ||
| 045 | |a e-it--- | ||
| 050 | 4 | |a PQ4139 |b .D56 2013eb | |
| 055 | 1 | 0 | |a PQ4139 |b D54 2013 |
| 072 | 7 | |a DRA |x 004000 |2 bisacsh | |
| 072 | 7 | |a DRA006000 |2 bisacsh | |
| 082 | 7 | |a 852/.409 |2 23 | |
| 049 | |a MAIN | ||
| 100 | 1 | |a Di Maria, Salvatore, |e author. | |
| 245 | 1 | 4 | |a The poetics of imitation in the Italian theatre of the Renaissance / |c Salvatore Di Maria. |
| 264 | 1 | |a Toronto : |b University of Toronto Press, |c 2013. | |
| 300 | |a 1 online resource (x, 222 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Toronto Italian studies | |
| 504 | |a Includes bibliographical references (pages 199-212) and index. | ||
| 505 | 0 | |a 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. | |
| 520 | |a "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 Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely | ||
| 520 | |a DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period."--Pub. desc | ||
| 588 | 0 | |a Print version record. | |
| 650 | 0 | |a Italian drama |y To 1700 |x History and criticism. | |
| 650 | 0 | |a Imitation in literature. | |
| 650 | 0 | |a Classical drama |x Influence. | |
| 650 | 6 | |a Théâtre italien |y Jusqu'à 1700 |x Histoire et critique. | |
| 650 | 6 | |a Imitation (Littérature) | |
| 650 | 6 | |a Théâtre ancien |x Influence. | |
| 650 | 7 | |a DRAMA |x Continental European. |2 bisacsh | |
| 650 | 7 | |a DRAMA |x Ancient & Classical. |2 bisacsh | |
| 650 | 7 | |a Imitation in literature |2 fast | |
| 650 | 7 | |a Italian drama |2 fast | |
| 650 | 7 | |a Drama |2 gnd |0 http://d-nb.info/gnd/4012899-4 | |
| 650 | 7 | |a Italienisch |2 gnd | |
| 650 | 7 | |a Nachahmung |2 gnd |0 http://d-nb.info/gnd/4170992-5 | |
| 648 | 7 | |a To 1700 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a The poetics of imitation in the Italian theatre of the Renaissance (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGpXTCjRvpqyJDCJBpPVcq |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Di Maria, Salvatore. |t Poetics of imitation in the Italian theatre of the Renaissance |z 9781442647121 |w (OCoLC)832256514 |
| 830 | 0 | |a Toronto Italian studies. |0 http://id.loc.gov/authorities/names/n95026425 | |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBA |q FWS_PDA_EBA |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=660253 |3 Volltext |
| 938 | |a Project MUSE |b MUSE |n musev2_106455 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH35089842 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH35089841 | ||
| 938 | |a Canadian Electronic Library |b CELB |n 10807280 | ||
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL4669814 | ||
| 938 | |a EBSCOhost |b EBSC |n 660253 | ||
| 938 | |a YBP Library Services |b YANK |n 11335985 | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBA | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocn865019624 |
|---|---|
| _version_ | 1816882253044645888 |
| adam_text | |
| any_adam_object | |
| author | Di Maria, Salvatore |
| author_facet | Di Maria, Salvatore |
| author_role | aut |
| author_sort | Di Maria, Salvatore |
| author_variant | m s d ms msd |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PQ4139 |
| callnumber-raw | PQ4139 .D56 2013eb |
| callnumber-search | PQ4139 .D56 2013eb |
| callnumber-sort | PQ 44139 D56 42013EB |
| callnumber-subject | PQ - French, Italian, Spanish, Portuguese Literature |
| collection | ZDB-4-EBA |
| contents | 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. |
| ctrlnum | (OCoLC)865019624 |
| dewey-full | 852/.409 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 852 - Italian drama |
| dewey-raw | 852/.409 |
| dewey-search | 852/.409 |
| dewey-sort | 3852 3409 |
| dewey-tens | 850 - Italian, Romanian & related literatures |
| discipline | Romanistik |
| era | To 1700 fast |
| era_facet | To 1700 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>06128cam a2200805 i 4500</leader><controlfield tag="001">ZDB-4-EBA-ocn865019624</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20241004212047.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr cnu---unuuu</controlfield><controlfield tag="008">131211s2013 onc ob 001 0 eng d</controlfield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">N$T</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="e">pn</subfield><subfield code="c">N$T</subfield><subfield code="d">JSTOR</subfield><subfield code="d">OCLCO</subfield><subfield code="d">YDXCP</subfield><subfield code="d">CELBN</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">TEFOD</subfield><subfield code="d">AGLDB</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">JBG</subfield><subfield code="d">EBLCP</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">IOG</subfield><subfield code="d">OCLCA</subfield><subfield code="d">MERUC</subfield><subfield code="d">OCLCF</subfield><subfield code="d">OCLCO</subfield><subfield code="d">VTS</subfield><subfield code="d">AU@</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">EZ9</subfield><subfield code="d">M8D</subfield><subfield code="d">UKAHL</subfield><subfield code="d">CAUOI</subfield><subfield code="d">YOU</subfield><subfield code="d">OCLCA</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">LUU</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">P@U</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCL</subfield></datafield><datafield tag="019" ind1=" " ind2=" "><subfield code="a">865475025</subfield><subfield code="a">871355589</subfield><subfield code="a">1058119983</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781442667334</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">1442667338</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781442667341</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">1442667346</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9781442647121</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">1442647124</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)865019624</subfield><subfield code="z">(OCoLC)865475025</subfield><subfield code="z">(OCoLC)871355589</subfield><subfield code="z">(OCoLC)1058119983</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">22573/ctt4kcbgj</subfield><subfield code="b">JSTOR</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">9225B88F-8CD9-4017-98BA-8AF49BAE7290</subfield><subfield code="b">OverDrive, Inc.</subfield><subfield code="n">http://www.overdrive.com</subfield></datafield><datafield tag="043" ind1=" " ind2=" "><subfield code="a">e-it---</subfield></datafield><datafield tag="045" ind1=" " ind2=" "><subfield code="a">e-it---</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">PQ4139</subfield><subfield code="b">.D56 2013eb</subfield></datafield><datafield tag="055" ind1="1" ind2="0"><subfield code="a">PQ4139</subfield><subfield code="b">D54 2013</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">DRA</subfield><subfield code="x">004000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">DRA006000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">852/.409</subfield><subfield code="2">23</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Di Maria, Salvatore,</subfield><subfield code="e">author.</subfield></datafield><datafield tag="245" ind1="1" ind2="4"><subfield code="a">The poetics of imitation in the Italian theatre of the Renaissance /</subfield><subfield code="c">Salvatore Di Maria.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Toronto :</subfield><subfield code="b">University of Toronto Press,</subfield><subfield code="c">2013.</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (x, 222 pages)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Toronto Italian studies</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references (pages 199-212) and index.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">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.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">"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 Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period."--Pub. desc</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Italian drama</subfield><subfield code="y">To 1700</subfield><subfield code="x">History and criticism.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Imitation in literature.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Classical drama</subfield><subfield code="x">Influence.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Théâtre italien</subfield><subfield code="y">Jusqu'à 1700</subfield><subfield code="x">Histoire et critique.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Imitation (Littérature)</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Théâtre ancien</subfield><subfield code="x">Influence.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">DRAMA</subfield><subfield code="x">Continental European.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">DRAMA</subfield><subfield code="x">Ancient & Classical.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Imitation in literature</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Italian drama</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Drama</subfield><subfield code="2">gnd</subfield><subfield code="0">http://d-nb.info/gnd/4012899-4</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Italienisch</subfield><subfield code="2">gnd</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Nachahmung</subfield><subfield code="2">gnd</subfield><subfield code="0">http://d-nb.info/gnd/4170992-5</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">To 1700</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="a">Criticism, interpretation, etc.</subfield><subfield code="2">fast</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">The poetics of imitation in the Italian theatre of the Renaissance (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCGpXTCjRvpqyJDCJBpPVcq</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Di Maria, Salvatore.</subfield><subfield code="t">Poetics of imitation in the Italian theatre of the Renaissance</subfield><subfield code="z">9781442647121</subfield><subfield code="w">(OCoLC)832256514</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Toronto Italian studies.</subfield><subfield code="0">http://id.loc.gov/authorities/names/n95026425</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=660253</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Project MUSE</subfield><subfield code="b">MUSE</subfield><subfield code="n">musev2_106455</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH35089842</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH35089841</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Canadian Electronic Library</subfield><subfield code="b">CELB</subfield><subfield code="n">10807280</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest Ebook Central</subfield><subfield code="b">EBLB</subfield><subfield code="n">EBL4669814</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">660253</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">11335985</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| genre | Criticism, interpretation, etc. fast |
| genre_facet | Criticism, interpretation, etc. |
| id | ZDB-4-EBA-ocn865019624 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:25:40Z |
| institution | BVB |
| isbn | 9781442667334 1442667338 9781442667341 1442667346 |
| language | English |
| oclc_num | 865019624 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (x, 222 pages) |
| psigel | ZDB-4-EBA |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | University of Toronto Press, |
| record_format | marc |
| series | Toronto Italian studies. |
| series2 | Toronto Italian studies |
| spelling | Di Maria, Salvatore, author. The poetics of imitation in the Italian theatre of the Renaissance / Salvatore Di Maria. Toronto : University of Toronto Press, 2013. 1 online resource (x, 222 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Toronto Italian studies Includes bibliographical references (pages 199-212) and index. 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. "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 Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period."--Pub. desc Print version record. 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. bisacsh DRAMA Ancient & Classical. bisacsh Imitation in literature fast Italian drama fast Drama gnd http://d-nb.info/gnd/4012899-4 Italienisch gnd Nachahmung gnd http://d-nb.info/gnd/4170992-5 To 1700 fast Criticism, interpretation, etc. fast has work: The poetics of imitation in the Italian theatre of the Renaissance (Text) https://id.oclc.org/worldcat/entity/E39PCGpXTCjRvpqyJDCJBpPVcq https://id.oclc.org/worldcat/ontology/hasWork Print version: Di Maria, Salvatore. Poetics of imitation in the Italian theatre of the Renaissance 9781442647121 (OCoLC)832256514 Toronto Italian studies. http://id.loc.gov/authorities/names/n95026425 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=660253 Volltext |
| spellingShingle | Di Maria, Salvatore The poetics of imitation in the Italian theatre of the Renaissance / Toronto Italian studies. 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. 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. bisacsh DRAMA Ancient & Classical. bisacsh Imitation in literature fast Italian drama fast Drama gnd http://d-nb.info/gnd/4012899-4 Italienisch gnd Nachahmung gnd http://d-nb.info/gnd/4170992-5 |
| subject_GND | http://d-nb.info/gnd/4012899-4 http://d-nb.info/gnd/4170992-5 |
| title | The poetics of imitation in the Italian theatre of the Renaissance / |
| title_auth | The poetics of imitation in the Italian theatre of the Renaissance / |
| title_exact_search | The poetics of imitation in the Italian theatre of the Renaissance / |
| title_full | The poetics of imitation in the Italian theatre of the Renaissance / Salvatore Di Maria. |
| title_fullStr | The poetics of imitation in the Italian theatre of the Renaissance / Salvatore Di Maria. |
| title_full_unstemmed | The poetics of imitation in the Italian theatre of the Renaissance / Salvatore Di Maria. |
| title_short | The poetics of imitation in the Italian theatre of the Renaissance / |
| title_sort | poetics of imitation in the italian theatre of the renaissance |
| topic | 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. bisacsh DRAMA Ancient & Classical. bisacsh Imitation in literature fast Italian drama fast Drama gnd http://d-nb.info/gnd/4012899-4 Italienisch gnd Nachahmung gnd http://d-nb.info/gnd/4170992-5 |
| topic_facet | 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. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=660253 |
| work_keys_str_mv | AT dimariasalvatore thepoeticsofimitationintheitaliantheatreoftherenaissance AT dimariasalvatore poeticsofimitationintheitaliantheatreoftherenaissance |