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Littérature scientifique sur le sujet « Lodovico Domenichi »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Lodovico Domenichi"

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Prelipcean, Laura. « Dialogic Construction and Interaction in Lodovico Domenichi’s La nobiltà delle donne ». Renaissance and Reformation 39, no 2 (27 juillet 2016) : 61–84. http://dx.doi.org/10.33137/rr.v39i2.26854.

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Lodovico Domenichi (1515–64), one of the major polymaths of sixteenth-century Italy, is currently enjoying a marked revival in the critical literature. Although he has been studied in the context of his contemporary printing and publishing activities, the dissemination of works in the vernacular, the promotion of women’s writings, and the religious crisis of that time, little attention has been devoted to him as a writer. In 1549 Domenichi published a dialogue on and for women, La nobiltà delle donne (The nobility of women). This work allowed him to contribute to the advancement of the women’s cause in Italy. This article investigates how Domenichi modelled the speakers, facilitated their dialogic interaction, and delivered his defence of women. Finally, it sheds light on the role that the female moderator, Violante Bentivoglia, played during the five-day conversations and how she influenced the intellectual and cultural environment dominated by men. Lodovico Domenichi (1515–1564), un des plus grands humanistes italiens et reçoit actuellement un intérêt renouvelé parmi la littérature critique. Bien que son œuvre ait été étudiée dans le contexte de ses activités simultanées d’impression et d’édition, de la circulation de ses ouvrages en langue vernaculaire, de la promotion des écrits féminins et de la crise religieuse de l’époque, très peu de chercheurs se sont penchés sur son travail d’écrivain. En 1549, Domenichi a publié un dialogue sur les femmes et à leur intention, intitulé La nobilità delle donne (La Noblesse des Femmes). Cet ouvrage lui a permis de faire avancer la cause de femmes en Italie. Cet article explore comment Domenichi a construit ses protagonistes et facilité leur dialogue, tout en présentant sa défense des femmes. Enfin, on y met en lumière le rôle modérateur que tient Violante Bentivoglia pendant ces cinq jours de conversation et comment elle influence un environnement intellectuel et culturel dominé par les hommes.
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Faini, Marco. « Building the Chivalric Canon : Teofilo Folengo, Lodovico Domenichi, and Aretino’s Silence ». Italian Studies 74, no 2 (15 mars 2019) : 148–57. http://dx.doi.org/10.1080/00751634.2019.1587219.

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Eschrich, Gabriella Scarlatta. « Women Writing Women in Lodovico Domenichi's Anthology of 1559 ». Quaderni d'italianistica 30, no 2 (1 juin 2009) : 67–86. http://dx.doi.org/10.33137/q.i..v30i2.11903.

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In his Rime diverse d’alcune nobilissime et virtuosissime donne (1559), Lodovico Domenichi publishes the poetry of fifty-three women authors across borders of nation, city, politics, religion, profession, class, and genre. Among them, thirty-five dedicate or address their compositions to another woman, thus constructing their own female audience and community. Through the analysis of the sonnets of two well known writers, Veronica Gambara and Vittoria Colonna, and two almost unknown writers, Lucrezia Figliucci and Cassandra Petrucci, this article seeks to establish why and how so many Renaissance women authors dedicated poems to, or addressed another woman author, and how these poems inform our understanding of their authors’ relationships. These texts reveal the importance of literary friendships which encouraged and promoted reciprocal admiration and respect, and show that, although these women poets did abide by sixteenth-century conventions of language and imagery, they also drew consciously from each other’s writings, following closely each other’s cues, style, and preferences, thus establishing a meaningful dialogic mode.
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Valencia, María Dolores. « Interlocutoras femeninas y filosofía del amor en el Dialogo d’amore de Lodovico Domenichi ». LaborHistórico 8, no 3 (31 décembre 2022) : 139–49. http://dx.doi.org/10.24206/lh.v8i3.56313.

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Eisenbichler, Konrad. « Stella, Clara. Lodovico Domenichi e le Rime diverse d’alcune nobilissime et virtuosissime donne (1559) ». Renaissance and Reformation 45, no 2 (1 décembre 2022) : 359–61. http://dx.doi.org/10.33137/rr.v45i2.39796.

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Da Silva, Josie Agatha Parrilha, et Marcos Cesar Danhoni Neves. « DOMENICO CRESTI (PASSIGNANO) AND THE FIRST ARTISTIC REPRESENTATION OF THE GALILEAN TELESCOPIC MOON ». International Journal of Research -GRANTHAALAYAH 6, no 6 (30 juin 2018) : 260–80. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1372.

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This research reports the imagery representation of the Moon in the Virgin of the Immaculate Conception with Saints and Angels (1611) by Domenico Cresti (Passignano). Our goal is to defend this image as a telescopic representation of the Galilean Moon, that is, a cratered Moon as presented by Galileo Galilei in his work Sidereus nuncius (1610). Passignano was a friend of the artist Lodovico Cardi (Cigoli) who corresponded with Galileo and exchanged information on telescopic observations. This relationship between the artists and Galileo reinforces the possibility that the two painters had represented cratered the moons. The research consists of bibliographical and imaginary research and, at the end, the Moon of Passignano as the first representation of a Galilean Moon inside a Church.
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Silva, Josie Agatha Parrilha da, et Marcos Cesar Danhoni Neves. « Domenico Cresti (Passignano) e a representação imagética da Lua galileana ». Domínios da Imagem 12, no 22 (23 décembre 2018) : 90. http://dx.doi.org/10.5433/2237-9126.2018v12n22p90.

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Esta pesquisa reporta-se a representação imagética da Lua da obra Virgem da Imaculada Conceição com Santos e Anjos (1611) de Domenico Cresti (Passignano). Nosso objetivo é defender essa representação como a segunda Lua galileana, ou seja, uma Lua craterada como apresentada Galileo Galilei em sua obra Sidereus nuncius (1610). Passignano era amigo do artista Lodovico Cardi (Cigoli), ambos realizavam pinturas da Igreja Santa Maria Maggiore (local onde se encontra a primeira Lua craterada). Cigoli correspondia-se com Galileo e trocava informações sobre as observações que ele e Passignano realizavam. Para apresentar esse debate apresentaremos a vida e obra de Passignano, sua relação com Cigoli e Galileu e, por fim, uma análise imagética da sua Lua aos pés da Imaculada Conceição. Utilizaremos como referencial teórico Panofsky (2007) e Bredekamp (2015). A pesquisa compõe-se de pesquisa bibliográfica e imagética e ao final defenderá a possiblidade de Passignano representar a Lua galileana. Passignano, Cigoli e Galilei possibilitam o entendimento da relação existente entre as áreas de Arte e Ciência no Renascimento.
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Owczarek-Ciszewska, Joanna. « Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 1 ». Notes Muzyczny 1, no 9 (20 juin 2018) : 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.

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The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As far as the theory of aesthetics was concerned, despite the predominance of vocal and instrumental music which used lyrics and their meaning, it was the period when rapid development of purely instrumental genres such as symphony or instrumental concerto took place. Also the popularisation of public and concert life, as well as home music-making gave an impulse for the development of instrument making. The second chapter touches on the invention of Bartolomeo Cristofori, its earlier reception and the role of Domenico Scarlatti in the popularisation of that instrument. Attempts to construct a keyboard instrument with a mechanism making the strings vibrate by striking them date back to the 15th century. However, the turning point in the history of all family of string keyboard instruments was only when in 1698 Cristoforti constructed a technically advanced hammer action mechanism, with enabled nuancing piano e forte dynamics on the traditional cembalo. Probably, among first promoters of the new instrument was Scarlatti and it was through him that grand pianos appeared on Portuguese and Spanish courts. Despite certain stylistic features proving that he was inspired by the capacities of the new instrument, there is no explicit evidence that Scarlatti’s Sonatas were meant for the piano. Nevertheless, the name pianoforte (piano e forte) does appear on title pages of works written by two other composers of that time, i.e., Lodovico Giustini and Sebastián de Albero, and their pieces have been briefly analysed at the end of the article.
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Cerrato, Daniele. « Lodovico Domenichi e Lucia Bertani : un’amicizia letteraria nella Querelle des Femmes ». Cartaphilus. Revista de investigación y crítica estética, no 19 (19 avril 2022). http://dx.doi.org/10.6018/cartaphilus.485991.

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Il presente articolo analizza l’amicizia letteraria tra Lodovico Domenichi e Lucia Bertani ed esamina le opere più importanti del poligrafo piacentino in cui vi sono riferimenti alla poetessa modenese. Lucia Bertani compare sia come personaggio sia come dedicataria di opere e i riferimenti a lei sono costanti soprattutto negli ultimi anni della produzione di Domenichi. Il rapporto di reciprocità è dimostrato dai sonetti che Bertani gli dedica e la loro relazione si può inserire nell’ambito della Querelle des Femmes che caratterizzò il Cinquecento e dove Domenichi rappresenta uno dei principali protagonisti.
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Stefanuto, Clelia, et Manuel Giardina. « Figure femminili nelle Facezie di Lodovico Domenichi ». Cartaphilus. Revista de investigación y crítica estética, no 19 (19 avril 2022). http://dx.doi.org/10.6018/cartaphilus.485451.

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This article analyses the various female figures in the Facezie collected and written by Ludovico Domenichi, in their facets, in their parody and ironic-popular representation, which changes according to the social context in which the anecdotes are set. The roles of men and women are often reversed, especially the peasant women, who appear as enterprising women, both in their use of words and in their gestures and attitudes, provoking comedy with their jokes at the end of a squabble with a man. The female figures always have the last word, winning the verbal debate with their opponents, and, together with the malmaritate or adulteresses for pleasure, find ample space in these tales. Given the variety of topics addressed in the Facezie, misogynistic accents coexist in them, but the defenders or champions of women, to whom Ludovico Dominichi feels he belongs, are also represented. Il presente articolo si occupa di analizzare, nelle Facezie raccolte e scritte da Ludovico Domenichi, le diverse figure femminili nelle loro sfaccettature, nella parodizzazione e nella loro rappresentazione ironico-popolare, che cambia in base al contesto sociale in cui sono ambientati gli aneddoti. I ruoli femminili e maschili vengono spesso ribaltati soprattutto tra le contadine, che si presentano come donne intraprendenti, tanto nell’uso del linguaggio quanto nei gesti ed atteggiamenti, provocando l’effetto comico che generalmente si incontra nella chiusura del battibecco con l’uomo. Le figure femminili hanno sempre l’ultima parola, vincendo il dibattito verbale con i loro avversari, e, assieme alle malmaritate o adultere per diletto, occupano una posizione di rilievo all’interno della trama. Data la varietà degli argomenti che affrontano le Facezie, in esse convivono accenti misogini ma anche filogini, rappresentati dai difensori e paladini delle donne, di cui Ludovico Dominichi si sente farne parte.
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Thèses sur le sujet "Lodovico Domenichi"

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Carrano, Gabriella. « Lodovico Domenichi volgarizzatore di Plutarco : edizione e studio dell'operetta morale "Il convito de' sette savi" ». Doctoral thesis, Universita degli studi di Salerno, 2011. http://hdl.handle.net/10556/1310.

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2009 - 2010
La tesi si articola in due parti: la prima, di carattere introduttivo, presenta le circostanze e le congiunture storico-biografiche in cui nasce il progetto del volgarizzamento domenichino del Convito. Essa, a sua volta divisa in quattro paragrafi, mira a ricostruire la situazione testuale e editoriale del Convito quando Domenichi si accinge a volgarizzarlo, nonché la figura del piacentino quale poligrafo, editore, volgarizzatore di classici latini e greci e, nella fattispecie, volgarizzatore di Plutarco... [a cura dell'autore]
IX n.s.
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Livres sur le sujet "Lodovico Domenichi"

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1509-1564, Calvin Jean, Calvin Jean 1509-1564 et Domenichi Lodovico 1515-1564, dir. Lodovico Domenichi e i Nicodemiana di Calvino : Storia di un libro perduto e ritrovato. Manziana (Roma) : Vecchiarelli, 2004.

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Stella, Clara. Lodovico Domenichi e le Rime Diverse d'alcune Nobilissime et Virtuosissime Donne (1559). Classiques Garnier, 2022.

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Stella, Clara. Lodovico Domenichi e le Rime Diverse d'alcune Nobilissime et Virtuosissime Donne (1559). Classiques Garnier, 2022.

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Publishers, Museum. Notebook : Seated Monk Holding Book, N. D. , Probably Domenico Fiasella , or Possibly Lodovico Carracci , Italy, Black and White Chalk on Tan Laid Paper. Independently Published, 2020.

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Publishers, Museum. Notebook : Seated Woman with Book, N. D. , Probably Domenico Fiasella , or Possibly the Circle of Matteo Rosselli , or Possibly Lodovico Carracci , Italy, Red Chalk on Tan Laid Paper. Independently Published, 2020.

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Chapitres de livres sur le sujet "Lodovico Domenichi"

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Daly, Peter M. « THE IMPRESE OF LODOVICO DOMENICHI. CONCORDANCES, INDEXES, AND LISTS ». Dans English Emblem Tradition. Toronto : University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781442674509-009.

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Duer, Leslie T. « LODOVICO DOMENICHI CERTAIN NOTABLE DEVISES BOTH MILITARIE AND AMOROUS [LONDON : SIMON WATERSON, 1585] ». Dans English Emblem Tradition. Toronto : University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781442674509-005.

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