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Relevant bibliographies by topics / Emanuele Tesauro

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Academic literature on the topic 'Emanuele Tesauro'

Author: Grafiati

Published: 10 March 2023

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Journal articles on the topic "Emanuele Tesauro"

1

Vígh, Éva. "Emanuele Tesauro politikus Aesopusa." Antikvitás & Reneszánsz, no. 5 (May 1, 2020): 127–49. http://dx.doi.org/10.14232/antikren.2020.5.127-149.

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Az aesopusi tanmesék több ezer éves története a reneszánsz és barokk korban valóban reneszánszát élte: változatos formában, nyelveken, emblémákon vizualizálva gazdagította a retorikai-etikai-ikonológiai célzattal megtámogatott kommunikációt. Jelen tanulmány a 17. századi itáliai művelődés egyik legfontosabb alakja, Emanuele Tesauro kevéssé ismert tanmese gyűjteményét veszi górcső alá: A phrüg Aesopus politikája c. műve a korabeli erkölcsiség és antimachiavellista politikai világkép jellemző látlelete. Amikor Tesauro politikai aforizmákra kiélezve átírta a phrüg Aesopus tanmeséit, tudatosan alkalmazta a retorikai funkció morálfilozófiai vetületét, s ennek tanúbizonysága fő műveiben is nyomon követhető, így az ezekkel való összevetés megkerülhetetlen. Tekintve, hogy a tanmesék tekintélyes részében állatok testesítik meg az emberi erényeket és vétkeket, a tanulmány a zooszimbolika jellegzetes morálfilozófiai aspektusaira is figyelmet fordít.

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2

Saldanha, Gustavo Silva, and Rosali Fernandez de Souza. "Teoria barroca da organização do conhecimento: Emanuele tesauro e o espelho turvo das tensões entre epistemologia, metodologia e sociedade." Informação & Informação 22, no. 2 (October 29, 2017): 11. http://dx.doi.org/10.5433/1981-8920.2017v22n2p11.

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Introdução: A proposta do estudo é discutir os pressupostos epistemológico-históricos da Organização do Conhecimento, compreendida aqui como um coletivo de ações intersubjetivas dedicadas à representação e à apropriação de saberes no plano da linguagem, a partir do pensamento e da obra de Emanuele Tesauro. O horizonte do trabalho é a identificação de elementos que colocam em discussão as dimensões e tensões entre epistemologia, metodologia e sociedade, a partir de uma teoria barroca da organização e representação dos saberes. Objetivos: O objetivo geral está em um plano teórico direcionado à compreensão das fronteiras que problematizam as relações entre as dinâmicas epistemológicas, aplicadas e sociopolíticas, que reencontram a teorização de Emanuele Tesauro tecida no século XVII. Metodologia: Trata-se de uma reflexão teórica, baseada em um estudo epistemológico-histórico, que procura reconhecer, discutir e relacionar as ideias presentes na teorização de Emanuele Tesauro no século XVII com a os desafios contemporâneos da Organização do Conhecimento. Resultados: A abordagem barroca de Tesauro, demarcada em seu espaço-tempo, e interpretada sob os dilemas contemporâneos da Organização do Conhecimento, demonstra sua atualidade para a reflexão sobre os regimes, as políticas e a economia política das práticas de representação do conhecimento. A abertura pragmática e semiótica do pensamento de Tesauro se apresenta, pois, como ferramenta teórica central para as discussões contemporâneas na epistemologia da Organização do Conhecimento, principalmente nos planos social e cultural. Conclusões: O estudo demonstra, a partir de Emanuele Tesauro, sob a influência aristotélica, uma base sólida, no plano teórico e no plano aplicado, de construção de uma argumentação sobre o simbólico para a Organização do Conhecimento.

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3

Chiuminatto, Pablo, and Eduardo Molina Cantó. "UN DISCURSO ACADÉMICO DE EMANUELE TESAURO: EL JUICIO." Onomázein Revista de lingüística filología y traducción 8 (2003): 175–96. http://dx.doi.org/10.7764/onomazein.8.10.

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Se presenta y comenta aquí un breve texto del italiano Emanuele Tesauro, uno de los más grandes tratadistas del Barroco europeo. Escritor, religioso, diplomático y profesor de retórica, Tesauro es una figura central para comprender la retórica del siglo XVII. El panegírico Il giudicio, un discurso académico del autor, aborda con lucidez y claridad el análisis de dos estilos de discurso oratorio: el familiar y el majestuoso, evaluando en ambos casos su peculiar belleza y eficacia persuasiva

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Molina Cantó, Eduardo, and Pablo Chiuminatto. "SOBRE LA AGUDEZA. UN CAPÍTULO DEL CATALEJO ARISTOTÉLICO DE EMANUELE TESAURO." Onomázein Revista de lingüística filología y traducción 9 (2004): 27–49. http://dx.doi.org/10.7764/onomazein.9.02.

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Se presenta y comenta aquí un texto sobre el concepto retórico de “agudeza”. El pasaje corresponde al capítulo primero del Catalejo aristotélico, la obra más importante del tratadista barroco Emanuele Tesauro. En este capítulo, el autor italiano aborda el problema de la etimología del término argutezza y describe sus tres géneros: la agudeza verbal, la lapidaria y la simbólica.

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5

Cullum, Hugh. "Rhetorical space – the hunting lodge at Venaria Reale." Architectural Research Quarterly 11, no. 2 (June 2007): 182–84. http://dx.doi.org/10.1017/s1359135507000668.

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Venaria Reale was built by the Savoy Duke Carlo Emanuele II on a marshy site about six miles north-east of Turin. It comprised a large palace cum hunting-lodge, gardens, a hunting wood and a small city through which the palace was approached. Designed by the architect Amadeo di Castellamonte, it was built almost entirely ex novo between about 1655 and 1675. The entire project was thematically structured around an elaborate programme of emblems (essentially mottos with illustrative paintings) drawn from contemporary rhetorical practice. This iconographic scheme was devised by the court philosopher and eminent theorist of rhetoric, Emanuele Tesauro. It is also clear that the Duke himself was involved in both the architecture and decoration of the scheme.

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6

Lammertse, Friso. "Hannibal's Dream: A Painting by Jan Miel after an Idea by Emanuele Tesauro." Journal of the Warburg and Courtauld Institutes 52 (1989): 253. http://dx.doi.org/10.2307/751555.

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7

Raviola, Blythe Alice, and Luca Bianco. "Non solo Roma. Torino, i Savoia e le Fiandre nei Campeggiamenti di Emanuele Tesauro (1639)." Incontri. Rivista europea di studi italiani 30, no. 2 (December 18, 2015): 56. http://dx.doi.org/10.18352/incontri.10133.

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8

Pérez Martínez, Ricardo. "Tres poéticas del ingenium en los siglos áureos: la sutileza, la agudeza y el temperamento." Acta poética 43, no. 2 (July 17, 2022): 13–32. http://dx.doi.org/10.19130/iifl.ap.2022.2.178x270s2.

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Wit is one of the most important notions in European culture during the Renaissance and the Baroque. This article shows, with examples from Caramuel, Góngora and Cervantes, that there are three traditions of this notion in the European culture of the 16th and 17th centuries: wit as mental subtlety, related to Theology and Philosophy; wit as verbal acuity, related to Rhetoric and Poetry; and wit as a bodily temperament, related to physics, medicine, politics, and satire. Although the bibliography is extremely extensive, these three traditions can be emblematized with the following treatises: Examen de ingenios para las ciencias (1575) by Juan Huarte de San Juan; Agudeza y arte de ingenio (1648) by Baltasar Gracián; and Il cannocchiale aristotelico (1663) by Emanuele Tesauro.

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Ardissimo, Erminia, and Silvana Scarinci. "Maravilha e conhecimento de Tasso a Vico." Per Musi, no. 24 (December 2011): 7–20. http://dx.doi.org/10.1590/s1517-75992011000200002.

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É um lugar comum associar o Barroco à meraviglia. Depois de contemplar o verso de Marino, è del poeta il fin la meraviglia, meu ensaio discutirá as concepções poéticas de Tasso, as quais unem o maravilhoso e a verossimilhança dentro do enquadramento da religião (ou seja, como uma representação do sobrenatural). A formulação de Tasso de que tudo que faz sentido é verdadeiro é discutida aqui em referência aos episódios amorosos de seu poema Jerusalem liberada. O ensaio abordará os escritos teóricos de Francesco Patrizi, que em seu Deca Ammirabil define o poeta como criador do maravilhoso, e também abordará o Cannocchiale Aristotelico de Emanuele Tesauro. O maravilhoso no século XVII também é uma característica dos escritos de Galileu, tanto como um traço da natureza das coisas, como uma manifestação da genialidade dos seres humanos na descoberta e invenção. A conclusão do ensaio enfoca a Scienza Nuova de Vico.

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10

Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

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Dissertations / Theses on the topic "Emanuele Tesauro"

1

Benassi, Alessandro. "«L'ultima meta de’ simboli» : poetica e retorica delle imprese nel XVI secolo in Italia." Doctoral thesis, Scuola Normale Superiore, 2016. http://hdl.handle.net/11384/86104.

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CUTRI', MAICOL. "Leggere il «libro aperto». Un’introduzione al «Cannocchiale aristotelico»." Doctoral thesis, Università Cattolica del Sacro Cuore, 2022. http://hdl.handle.net/10280/111138.

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Il lavoro consiste in un’introduzione al "Cannocchiale aristotelico" di Emanuele Tesauro, che ne affronta le principali questioni testuali e interpretative proponendo dati aggiornati e nuovi approcci critici. Il primo capitolo tratta l’aspetto filologico. Sono ricostruiti la storia del testo e l’ambiente in cui esso prende forma; sono studiate le varianti delle edizioni riviste dall’autore; è proposta una nuova guida alla struttura definitiva dell’opera. Il secondo capitolo tratta i meccanismi compositivi del testo. Si studia, innanzi tutto, la fitta rete intertestuale, individuando le fonti e i metodi del loro utilizzo. Si propone poi un’interpretazione innovativa del tessuto narrativo dell’opera, fondato sul dialogo tra l’autore e Aristotele, e l’autore e il lettore: la conclusione è che quest’ultimo è invitato a partecipare dalla forma drammatica del testo, che ne favorisce lo sviluppo dell’apprendimento e, al tempo stesso, lo intrattiene. Il terzo capitolo è dedicato allo stile e all’uso della retorica. Dopo aver dibattuto la vicinanza al genere del panegirico in prosa, si mostrano le peculiarità del "Cannocchiale", che sfrutta tutte le possibilità della letteratura barocca per trasmettere più efficacemente, mostrandone concretamente i meccanismi, la teoria e la pratica delle argutezze.
This introduction to Emanuele Tesauro’s “Il Cannocchiale aristotelico” provides for the first time a unified research on different aspects of one of the most complex and eminent treaty of the Seventeenth Century European literature. First, philological questions are investigated, involving, through the treatment of new data, the history of the text, changes between the editions approved by the author and the general structure. Then, intertextual aspects, as quotations and imitations, are clarified, in order to make understandable the complex work of the author on the text. In add, a narrative pattern is discovered above the highly rhetorical composition of examples: it works as a dramatic dialogue on witty matters between the author and Aristotle, and then the author and the reader, who is fascinated and involved in this formative dramatization. The final chapter is dedicated to the style and the use of rhetoric. A connection with oratorical genres, such as panegyric, is pointed out, as are the philosophical peculiarities of the “Cannocchiale aristotelico”, a guide for human understanding which uses for its aim all the potentialities of the Baroque literature.

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Books on the topic "Emanuele Tesauro"

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Frare, Pierantonio. Retorica e verità: Le tragedie di Emanuele Tesauro. Napoli [etc.]: Edizioni scientifiche italiane, 1998.

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2

La messinscena delle idee: Emanuele Tesauro e il teatro delle maraviglie. Manziana (Roma): Vecchiarelli, 2007.

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3

Il velo di Alcesti: Metafora, dissimulazione e verità nell'opera di Emanuele Tesauro. Pisa: ETS, 2011.

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4

Ferraro, Igor. Alessandro Tesauro (1558-1621): Uomo di corte, poeta ed architetto presso il duca Carlo Emanuele I di Savoia. Cuneo: Nerosubianco, 2016.

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Book chapters on the topic "Emanuele Tesauro"

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Wild, Gerhard. "Tesauro, Emanuele." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18113-1.

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Reichenberger, Kurt. "Tesauro, Emanuele: Il cannocchiale aristotelico." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18114-1.

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Tammaro, Silvia. "In Effigiem Caroli Emanuelis II. Emanuele Tesauro e la sfida tra pittura e poesia nel Theatrum Sabaudiae." In Close Reading, 526–35. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110752762-050.

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4

Raviola, Blythe Alice. "Le ‘relazioni’ e la storia. Il racconto delle Fiandre di Giovanni Botero, Emanuele Tesauro e Galeazzo Gualdo Priorato." In La res publica di Galeazzo Gualdo Priorato (1606-1678) Storiografia, notizie, letteratura. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-627-5/004.

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A tangle of themes cluttered the pen of the 16th-17th-century polygraphers, but some more than others impressed them by their political urgency. This was the case with the dramatic Flanders Wars and the geo-political lacerations that religious conflicts entailed in Europe in the late 16th century and the first four decades of the following until the conclusion of the Thirty Years’ War. Giovanni Botero, author of The Reason of State but also of the Universal Relations, was among the first – in the wake of Antonio Possevino, Cesare Campana and Guido Bentivoglio – to narrate the events from a decidedly pro-Spanish perspective, yet attentive to the motivations and successes of the Dutch rebels, perceiving the harsh consequences triggered by confessional quarrels. How much could the Vicenza-born Gualdo, military man, witness and historiographer, make of this in his Historie delle guerre di Ferdinando II e Ferdinando III and in Guerriero prudente (1640)? What are the points of contact, then, with Campeggiamenti nelle Fiandre (1638) by the Jesuit Emanuele Tesauro, also a witness and historiographer in that case? Apart from palmistry comparisons, the contribution aims to grasp the close relationship between those baroque authors and their contemporary history, declined in the form of a living, fitting, reportage in fieri.

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"The Gem and the Mirror of Heroic Virtue: Emanuele Tesauro and the Heroic at the Court of Savoy." In Shaping Heroic Virtue, 67–94. BRILL, 2015. http://dx.doi.org/10.1163/9789004303782_006.

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6

"… vedere in vn Vocabulo solo, vn pien teatro di merauiglie. Emanuele Tesauros Cannocchiale aristotelico und die Kunstformen des Barock." In Archäologie der Spezialeffekte, 185–216. Wilhelm Fink Verlag, 2017. http://dx.doi.org/10.30965/9783846762660_011.

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"5 Writing on the Body and Looking through Its Wounds: The Mnemonic Metaphor of the Stigmata in Emanuele Tesauro’s Rhetoric." In Jesuit Image Theory, 102–18. BRILL, 2016. http://dx.doi.org/10.1163/9789004319127_006.

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