30,384 research outputs found
Interpreting breast iconography in Italian art, 1250-1600
No full textThe motif of the uncovered female breast is ubiquitous in art of all ages and
cultures. Modern analysis of breast imagery tends to be biased by the sexual
significance that breasts have now. However in Italian renaissance art the exposed
breast appears in many different manifestations. The purpose of this thesis is to
explore several specific types of breast iconography.
The first chapter will examine images of Maria lactans, and consider the
religious, cultural and psychological meaning held within the image and the social
changes which were to lead to its loss of popularity. Chapter Two will consider the
appearance of secular images of breastfeeding, particularly in the city-states of north
Italy in the early Renaissance, and examine possible sociological reasons for the
political use of the depiction of breast feeding. Other associated breast iconography
will also be considered. Chapter Three will focus on images of the tortured breast,
particularly depictions of St. Agatha suffering the removal of her breasts during
martyrdom. Both the sacred and sado-sexual elements of such images will be
examined.
The fourth chapter will look at images of Lucretia. It will be examined why
in so many cases artists chose to depict her with her breasts exposed (in
contradiction to ancient sources) and with the dagger actually pointing at or
embedded in her breast. It will be argued that the breast was used in art as external
symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources
when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be
achieved in the contrast of paintings of Mary suckling Christ with images of
Cleopatra apparently breastfeeding a snake
Morte di Cleopatra
No full textAnalisi storico-artistica della celebre rappresentazione della morte di Cleopatra
Parution: Anna Maria Montanari "Cleopatra in Italian and English Renaissance Drama"
No full textParution: "Cleopatra in Italian and English Renaissance Drama", écrit par Anna Maria Montanari, publié par Amsterdam University Press, date de publication 22 - 07 - 2019 This book considers some of the main adaptations of the character of Cleopatra for the Renaissance stage, travelling from Italy to England to arrive finally to Shakespeare. It shows how each reading of the story of Cleopatra is unique to and expressive of the culture which produced it, even as writers drew from the same sour..
Cleopatra altera Laura. La presenza di Petrarca in un personaggio del teatro tragico cinquecentesco
No full textLa figura di Cleopatra ha un enorme successo nel panorama tragico cinquecentesco, probabilmente per le molteplici implicazioni morali e civili del personaggio e della situazione storica. La ricerca si concentra dunque sul testo di quattro tragedie cinquecentesche incentrate su tale personaggio (Cleopatra di G. B. Giraldi Cinzio; Cleopatra di Cesare de’ Cesari; Marc’Antonio e Cleopatra di Celso Pistorelli e l’anonima Marc’Antonio e Cleopatra Tragedia), per tratteggiarne le parentele con il modello petrarchesco. In misura diversa a seconda della sensibilità e delle finalità dei singoli autori, Laura (e Francesco in quanto “personaggio” del Canzoniere) compaiono in filigrana, attraverso il riuso del testo, laddove le situazioni lo consentano
Ancora su 'Cleopatra in Campania'
No full textStarting point from the research of Susan Walker, the paper aims to identify the marks of a Cleopatra’ virtual presence on some Pompeiian paintings. Following Olga Elia’s suggestion, peculiar attention is addressed to two frescos, nowadays interpreted by Ann Kuttner like ‘the death of Sophonisbe’
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
La "Cleopatra" di Šawqi simbolo di emancipazione e coraggio
No full textla tragedia di Cleopatra vista dal maggiore poeta araba del Novecento e comparata con l'opera di Shakespeare e i maggiori autori europei. Lettura nazionalista di un personaggio classico per sostenere i diritti delle donne e degli egiziani nella fase coloniale
The History of Remarkable Personalities: Cleopatra and Ludmila Vnorovschi
Get PDFThis article is dedicated to the remarkable figures in the education system of the Republic of Moldova, Cleopatra and Ludmila Vnorovschi, graduates of the Eparchial School for Girls. The author aims to present the significant contributions of the Vnorovschi sisters to Bessarabian education, highlighting their academic and literary activities. The article examines how these two remarkable personalities managed to adapt and thrive in a tumultuous political and social context, from the interwar period, through the Soviet regime, to the independence of the Republic of Moldova. It emphasizes the essential role of the Vnorovschi sisters in opening new educational institutions and training new teaching staff, as well as in promoting and maintaining Romanian language culture and education in Bessarabia. The article underscores that through their prolific and dedicated activity, Cleopatra and Ludmila Vnorovschi left a valuable legacy in the history of Bessarabian education, demonstrating exceptional courage and dedication to education and culture, despite the political and social challenges of their time
‘Now I come to you, ladies, after so much time’: Cleopatra, Maria d'Aragona and an<i>intermedio</i>for the Duchess of Alba
No full textAbstractDuring March 1588, Maria d'Aragona, the Marchesa of Vasto, sponsored a set of fourintermediat her palazzo in Chiaia, Naples. The centrepiece of the entertainment was theintermedioentitled ‘Queen Cleopatra on her Ship’. This article explores d'Aragona's role as sponsor of the entertainment, particularly in relation to her interest in the historical figure of Cleopatra. Drawing on sources that informed perceptions of the Egyptian queen during the early- to mid-Cinquecento, it will be shown that within a performance context governed by a strong-willed female patron, the often negatively depicted Cleopatra could be cast as a positive role model, particularly for d'Aragona-related noblewomen who themselves had experienced strong female mentorship and enjoyed the relative autonomy of widowhood. D'Aragona's decision to cast the NeapolitanvirtuosaEufemia Jozola as Cleopatra reinforced the female-orientated nature of theintermedio, and sheds new light on mid-Cinquecento Neapolitan performance practice.</jats:p
Lohensteins Cleopatra: Die Metrik eines Traumes
No full textIl verso della tragedia barocca è l’alessandrino eroico. La tragedia Cleopatra segue la tradizione. Questo verso monotono di origine francese riceve dal Lohenstein varianti ritmiche inattese. L’autore adopera nei cinque cori diverse forme metriche seguendo la tradizione della metrica greca. Le scene di sogni e di apparizioni di spiriti non erano nulla di eccezionale nella tragedia barocca. Ciò che contraddisngue il Lohenstein è la scelta di mettere in risalto la scena del sogno e dell’apparizione degli spiriti tramite un inconfondibile mezzo stilistico. Le particolarità metriche conferiscono a questa scena, nella sua collocazione centrale, il carattere di evocazione, che travalica l’ordine umano delle cose. La moltepicità delle forme metriche non esprime soltanto la rarità formale della scena in questione, bensì anche la sua eccezionalità nel mondo dello spirito.Der Vers der barocken Tragödie ist der heroische Alexandriner. Das Werk Cleopatra folgt der Tradition. Dieser monotone Vers französischer Herkunft erlebt bei Lohenstein unerwartete rhythmische Varianten. Lohenstein benutzt in den fünf Reyen verschiedene Versmaße und Versformen. Somit folgt er der Tradition der griechischen Metrik, die in den Chören eine bunte Blüte der verschiedensten Metra anbietet. Geister-Szenen und Traum-Szenen waren in der barocken Tragödie nichts Außergewöhnliches. Was aber Lohenstein kennzeichnet, ist die Entscheidung, die Geister-Traum-Szene im Vergleich zu allen anderen durch ein unverkennbares stilistisches Mittel hervorzuheben. Die metrischen Besonderheiten verleihen dieser Szene, in ihrer zentralen Lage, den Beschwörungscharakter, der über die menschliche Ordnung der Dinge hinausgeht. Die Mannigfaltigkeit an metrischen Formen drückt nicht nur die formale Seltenheit der Geister-Traum-Szene, sondern auch ihre Außergewöhlichkeit in der Welt der Geistigkeit aus
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