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Journal articles on the topic 'Emanuele Tesauro'

Author: Grafiati

Published: 10 March 2023

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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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4

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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9

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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11

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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12

Glycofrydi-Leontsini, Athanasia. "Moral and political texts in the age of the greek enlightenment: tradition and innovation." Σύγκριση 12 (January 31, 2017): 71. http://dx.doi.org/10.12681/comparison.10811.

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Στη μελέτη αυτή διερευνώ την αρετολογική και καθηκοντολογική ηθική του Νεοελληνικού Διαφωτισμού και τη σύνδεση της με την πολιτική μέσα από κείμενα ηθικά και πολιτικά που αποδεικνύουν τις σχέσεις των Ελλήνων λογίων με την αρχαία ελληνική φιλοσοφική παράδοση και με τη δυτικοευρωπαϊκή, αντιστοίχως. Στις αρχές του 17ου αιώνα ο νεοαριστοτελισμός —τον οποίο ο Θεόφιλος Κορυδαλέας, ο σημαντικότερος Νεοέλληνας φιλόσοφος, διδάχθηκε στο Πανεπιστήμιο της Πάδοβας από τον Cesare Cremonini— κυριάρχησε στη φιλοσοφική παιδεία της ελληνικής Ανατολής και τα έργα του Αριστοτέλη, και όχι πλέον ή μόνον τα υπομνήματα των μεταγενέστερων του σχολιαστών και παραφραστών, σηματοδοτούν πλέον τη διδασκαλία των φιλοσοφικών μαθημάτων, κυρίως της λογικής, της ρητορικής και ποιητικής αλλά και της ηθικής, της φυσικής και της μεταφυσικής. Ερμηνευτικά υπομνήματα και «εξηγήσεις» των αριστοτελικών έργων, αλλά και βυζαντινών κειμένων της πρακτικής ρητορικής, των γνωστών «κατόπτρων ηγεμόνων», γράφονται για τις ανάγκες της διδασκαλίας και χρησιμοποιούνται σε όλο τον 17ο και 18ο αιώνα. Η αριστοτελική ηθική υπήρξε η πλέον σταθερή φιλοσοφική παράδοση, που κυριαρχούσε στη μεταβυζαντινή διδακτική πρακτική όπως αυτό είναι φανερό από την Περί αρετών και κακιών εξήγηση του Σεβαστού Κυμινήτη αλλά και από τα σχόλια αυτού στα Ηθικά Νικομάχεια. Παράλληλα, διαπιστώνεται η επίδραση της στωικής ηθικής, η οποία διδάσκεται στις Σχολές και τις Ακαδημίες του ελληνικού χώρου και της νοτιοανατολικής Ευρώπης. Ο εκλατινισμένος Αριστοτέλης προσελκύει επίσης την προσοχή των Ελλήνων λογίων του 17ου αιώνα, όπως αυτό είναι φανερό από τη μετάφραση του έργου του Conte Emanuele Tesauro Laf ilosofiam orale derivata dall' alto fonte del grande Aristotele, μετάφραση που φανερώνει το ενδιαφέρον τους για την αριστοτελική ηθική, η οποία συνδέεται με τη χριστιανική. Ιδιαίτερη έμφαση δίνεται στη διάκριση των αρετών και κακιών και στη διατύπωση συνόλου καθηκόντων προς τον θεό, τον εαυτό και τους άλλους ανθρώπους. Κατά την περίοδο του Νεοελληνικού Διαφωτισμού παρατηρείται παράλληλα εισαγωγή της νεοτερικής φιλοσοφίας και στο πλαίσιο των νέων ενδιαφερόντων των Ελλήνων λογίων μεταφράζονται τα έργα των Montesquieu, Locke, Voltaire, Rousseau, Muratori, Soave, Beccaria κ.ά. με σκοπό την ηθική και πολιτική διαπαιδαγώγηση του Γένους. Έργα όπως του L. Muratori και του Fr. Soave, που σχολιάζω στην ανακοίνωση αυτή, φανερώνουν τον συμφυρμό της αρετολογικής ηθικής της αρχαιότητας και της καθηκοντολογικής χριστιανικής ηθικής, που έχει ενσωματωθεί σε έργα Δυτικοευρωπαίων φιλοσόφων, αλλά και το ενδιαφέρον για προβλήματα της πολιτικής φιλοσοφίας, όπως τα ανθρώπινα δικαιώματα, οι κοινωνικές αρετές, τα καθήκοντα και οι υποχρεώσεις του ανθρώπου προς το θεό, τον εαυτό του και τους άλλους ανθρώπους, ή η ελευθερία στην πολυμορφία της. Η καθηκοντολογική ηθική ανευρίσκεται παράλληλα και σε πρωτότυπα έργα των Ελλήνων στοχαστών. Όλες αυτές οι κοινωνικές ιδέες διαδίδονται στο ευρύτερο κοινό της νοτιοανατολικής Ευρώπης μέσω της «εξήγησης», μορφής απλουστευτικής ερμηνείας του αρχαίου κειμένου, ή των σχολιασμένων αρχαίων κειμένων ή και μέσω των παραφράσεων και μεταφράσεων έργων δυτικοευρωπαϊκών. Ιδιαίτερα η μετάφραση αναδεικνύεται δίαυλος επικοινωνίας και μετάδοσης των νέων ιδεών. Πολιτική και ηθική συνδέονται, για να καταστήσουν φανερή την αναγκαιότητα των αρετών για τη δάπλαση του ανθρώπινου χαρακτήρα και για την πρόοδο της κοινωνίας, καθώς και την αξία της κανονιστικής ηθικής τόσο για την επίγεια ευτυχία όσο και για τη μακαριότητα της ψυχής.

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13

Neukirchen, Thomas. "Ad aeternam Auctoris celebritatem. Zeitanspruch und Gelehrsamkeit der hofisch-solennen 'Inscriptiones' Emanuele Tesauros." Marburger Jahrbuch für Kunstwissenschaft 24 (1997): 191. http://dx.doi.org/10.2307/1348693.

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14

Snyder, Jon R. "Art and Truth in Baroque Italy, or the Case of Emanuele Tesauro’s Il cannocchiale aristotelico." MLN 131, no. 1 (2016): 74–96. http://dx.doi.org/10.1353/mln.2016.0014.

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15

Ossi, Massimo. ""Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace." Journal of Musicology 21, no. 2 (2004): 175–200. http://dx.doi.org/10.1525/jm.2004.21.2.175.

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Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal in exaggerating the comic and parodistic (in the non-musicological sense of the word) aspects of the situation. In this essay, I explore the background of the kiss imagery, focusing specifically on the "bacio mordace" as an expression of "lover's furor" in Classical and Renaissance sources. I then relate the particular conceit of Marino's poem to Emanuele Tesauro's analysis of the dynamics of literary comedy: the device of decettione [deception or reversal] as part of the ridicolo [comedy] and its attendant burle [pranks]. Finally, I offer a reading of Monteverdi's madrigal in terms of Tesauro's definitions, in which I argue that the setting interjects an extra level of interpretation between the poet and the audience. This musical "filter" introduces new ambiguity into the poem's already equivocal situation, expanding its comic aspects.

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16

Maggi, Armando. "The Word’s Self‐Portrait in Blood: The Shroud of Turin as Ecstatic Mirror in Emanuele Tesauro’s Baroque Sacred Panegyrics." Journal of Religion 85, no. 4 (October 2005): 582–608. http://dx.doi.org/10.1086/431811.

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17

Chistova, Liubava D. "STRUCTURE OF THE METAPHOR IN THE EMANUELE TESAURO’S TREATISE “ARISTOTELIAN TELESCOPE” AND GIOVANNI BATTISTA BRACELLI’S PRINT SUITE “BIZZARIE DI VARIE FIGURE”." Articult, no. 1 (2019): 115–37. http://dx.doi.org/10.28995/2227-6165-2019-1-115-137.

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18

Niebelska-Rajca, Barbara. "Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past." Roczniki Humanistyczne 66, no. 1 SELECTED PAPERS IN ENGLISH (October 23, 2019): 19–31. http://dx.doi.org/10.18290/rh.2018.66.1-2e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.

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