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With the Paduan playwright Angelo Beolco, aka Ruzante, as a focal
point, this book sheds new light on his oeuvre and times - and on
Venetian patrician interest in him - by embedding the Venetian
aspects of his life within the monumental changes taking place in
fifteenth- and sixteenth-century Venice, politically, economically,
socially, and artistically. In a study of patronage in the broadest
sense of the term, Linda Carroll draws on vast quantities of new
archival information; and by reading the previously unpublished
primary sources against each other, she uncovers remarkable and
heretofore unsuspected coincidences and connections. She documents
the well-known links between the increasingly fruitless trade to
the north and the need for new investments in land (re)gained by
Venice on the mainland, links between problems of governance and
political networks. She unveils the significance and potential
purposes of those who invited Ruzante to perform in what are
interpreted as "rudely" metaphorical truth-telling plays for
Venetians at the highest social and political levels. Focusing on a
group of patrons of art works in S. Maria Gloriosa dei Frari, the
first chapter establishes their numerous interrelated commercial
and political interests and connects them to the content of the
works and artists chosen to execute them. The second chapter
demonstrates the economic interests and related political tensions
that lay behind the presence of many high-ranking government
officials at a scandalous 1525 Ruzante performance. It also draws
on these and materials concerning previous generations of the
Beolco family and Venetian patricians to provide an entirely new
picture of Beolco's relationships with his Venetian supporters. The
third chapter analyzes an important Venetian literary manuscript of
the period in the Bodleian Library of Oxford University whose
copyist had remained unknown and whose contents have been little
studied. The identity of the copyist, a central figure in the
worlds of theatrical and historical and, now, literary writing in
early sixteenth century Venice, is clarified and the works in the
manuscript connected to the cultural worlds of Venice, Padua and
Rome.
Taking as axiomatic the concept that artistic output does not
simply reflect culture but also shapes it, the essays in this
interdisciplinary collection take a holistic approach to the
cultural fashioning of sexualities, drawing on visual art, theatre,
music, and literature, in sacred and secular contexts. Although
there is diversity in disciplinary approach, the interpretations
and readings offered in each essay have a historical basis.
Approaching the topic from the point of view of both visual and
auditory media, this volume paints a comprehensive picture of
artists' challenges to erotic boundaries, and contributes to new
historicizing thinking on sexualities. Collectively, the essays
demonstrate the role played by artistic production-visual arts,
literature, theatre and music-in fashioning, policing, and
challenging early modern sexual boundaries, and thus help to
identify the ways in which the arts contributed to both the
disciplining and the exploration of a range of sexualities.
With the Paduan playwright Angelo Beolco, aka Ruzante, as a focal
point, this book sheds new light on his oeuvre and times - and on
Venetian patrician interest in him - by embedding the Venetian
aspects of his life within the monumental changes taking place in
fifteenth- and sixteenth-century Venice, politically, economically,
socially, and artistically. In a study of patronage in the broadest
sense of the term, Linda Carroll draws on vast quantities of new
archival information; and by reading the previously unpublished
primary sources against each other, she uncovers remarkable and
heretofore unsuspected coincidences and connections. She documents
the well-known links between the increasingly fruitless trade to
the north and the need for new investments in land (re)gained by
Venice on the mainland, links between problems of governance and
political networks. She unveils the significance and potential
purposes of those who invited Ruzante to perform in what are
interpreted as "rudely" metaphorical truth-telling plays for
Venetians at the highest social and political levels. Focusing on a
group of patrons of art works in S. Maria Gloriosa dei Frari, the
first chapter establishes their numerous interrelated commercial
and political interests and connects them to the content of the
works and artists chosen to execute them. The second chapter
demonstrates the economic interests and related political tensions
that lay behind the presence of many high-ranking government
officials at a scandalous 1525 Ruzante performance. It also draws
on these and materials concerning previous generations of the
Beolco family and Venetian patricians to provide an entirely new
picture of Beolco's relationships with his Venetian supporters. The
third chapter analyzes an important Venetian literary manuscript of
the period in the Bodleian Library of Oxford University whose
copyist had remained unknown and whose contents have been little
studied. The identity of the copyist, a central figure in the
worlds of theatrical and historical and, now, literary writing in
early sixteenth century Venice, is clarified and the works in the
manuscript connected to the cultural worlds of Venice, Padua and
Rome.
Taking as axiomatic the concept that artistic output does not
simply reflect culture but also shapes it, the essays in this
interdisciplinary collection take a holistic approach to the
cultural fashioning of sexualities, drawing on visual art, theatre,
music, and literature, in sacred and secular contexts. Although
there is diversity in disciplinary approach, the interpretations
and readings offered in each essay have a historical basis.
Approaching the topic from the point of view of both visual and
auditory media, this volume paints a comprehensive picture of
artists' challenges to erotic boundaries, and contributes to new
historicizing thinking on sexualities. Collectively, the essays
demonstrate the role played by artistic production-visual arts,
literature, theatre and music-in fashioning, policing, and
challenging early modern sexual boundaries, and thus help to
identify the ways in which the arts contributed to both the
disciplining and the exploration of a range of sexualities.
This volume presents a full transcription of the three extant
manuscripts of Angelo Beolco's Prima oratione, delivered to
Cardinal Marco Cornaro in 1521 at his villa in Asolo subsequent to
his entrance as bishop of Padua. Praising the new bishop on his
accomplishment, the peasant orator expounds boisterously on the
agricultural riches of the Paduan countryside and concludes with a
request that the bishop enact a series of laws that will improve
the lives of his fellow peasants, including allowing both men and
women to take four spouses. Masked by the humour, however, are
serious considerations on contemporary issues. Accompanying the
transcription is an extensive historical-literary introduction and
notes.
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