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A Companion to Pietro Aretino offers exhaustive yet accessible essays aimed at understanding this complex and fascinating author. Its scope extends beyond the field of Italian studies, and includes references to other European literatures, visual arts, music, performance studies, gender studies, and social and religious history. It explores multiple areas of Aretino’s literary and biographical identity: in particular, his religious writings and their fortune, his relationships to visual arts and music, and his fashioning of a public persona. The essays here included support the current scholarly trend that no longer considers Aretino merely as a pornographer, but interpret his work in the light of the contemporary religious debate and cultural crisis. Contributors include Élise Boillet, Maria Cristina Cabani, Eleonora Carinci, Philip Cottrell, Giuseppe Crimi, Cathy Ann Elias, Marco Faini, Augusto Gentili, Harald Hendrix, Paul Larivaille, Chiara Lastraioli, Paolo Marini, Ian F. Moulton, Paolo Procaccioli, Brian Richardson, Angelo Romano, Deanna Shemek, Jane Tylus, Paola Ugolini, and Raymond B. Waddington.
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Pietro Aretino (1492-1556) was an influential Italian author, playwright, poet and satirist. He is credited with inventing modern literate pornography.
The essays gathered together in this volume follow the career of the sixteenth-century courtier-poet Pietro Aretino. The essays consider his first comedy, La Cortigiana; his difficult transition to poligrafo, vernacular writer for the popular press, and his emergence as a satirist in the mid-thirties with the Ragionamenti, the dialogues that brande
Excerpt from Pietro Aretino: The Scourge of Princes Qui giace l' Aretin poeta tosco, Che disse mal d' ognun, fuor che di Dio, Scusandosi col dir, non lo conosco. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.