Lucrezia Marinella

Lucrezia Marinella – Szlachetność i doskonałość kobiet oraz słabości i przywary mężczyzn.
Tłumaczenie tekstu renesansowej włoskiej feministki Lucrezii Marinelli (1571 – 1653), poprzedzone wstępem tłumaczki Marty Natalii Wróblewskiej.
Tekst stanowi ważny głos w europejskiej renesansowej debacie o pozycji i roli kobiety zwanej 'Querelle des femmes'.
Źródło: Gabriela Rogowska i Marcin Trepczyński (red.), "Piknik z renesansem", wyd. Campidoglio 2011

In un secolo tanto complesso quale il XVII, le poetesse e le scrittrici cominciano a rivendicare il diritto ad amare liberamente, tentano di dimostrare la propria superiorità intellettuale rispetto agli uomini e combattono, con inchiostro e calamaio, per ottenere l’indipendenza culturale. Tra queste, Lucrezia Marinelli è una delle voci più originali e
riflessive del suo tempo: autrice di prose e versi, la veneziana dominò, nella sua longeva carriera letteraria, una vasta gamma di generi pubblicando testi originali e ampiamente apprezzati dai contemporanei. Il contributo, in particolare, prende in esame la prima parte del trattato La nobiltà et l'eccellenza delle donne co’ i difetti et mancamenti degli uomini, in cui la scrittrice affronta la questione della querelle des femme da prospettive innovative.

The principal purpose of this paper is to argue that a manifest ontology of sex difference operates in Lucrezia Marinella's The Nobility and Excellence of Women (1600). In particular, in Chapter Two ('The Causes That Produce Women') and Chapter Three ('Of the Nature and Essence of the Female Sex'), she combines Aristotle's theory of Four Causes with the Platonic doctrine of Ideas, affirming that different ideas of men and women are in God's mind before creation. Marinella rejects the traditional view that the distinction between man and woman rests in their physiology, and that a woman is merely a defective male (mas occasionatus). On the contrary, she maintains that men and women are different not only in bodies, but also in souls, emphasizing that corporeal beauty is a manifestation of the superiority of women's souls. In this perspective, Marinella implicitly identifies the female ideal as another model of human nature, which is alternative to the traditional male-centered one. This seems to be one of her most original contributions to the querelle des femmes.

The aim of this article is to analyze Lucrezia Marinella’s primary sources in chapter two and three of her treatise La nobiltà et l’eccellenza delle Donne. The article provides a short introduction to the concept of Beauty and Good found in the authors quoted (or utilized) by Marinella, together with a close reading of the Neoplatonic citations used by the philosopher to corroborate her claim to women’s superiority in relationship with their beauty, and her take on Plato’s scala amoris.

The Italian romance epic of the fifteenth and sixteenth centuries, with its multitude of characters, complex plots, and roots in medieval Carolingian epic and Arthurian chivalric romance, was a form popular with courtly and urban audiences. In the hands of writers such as Boiardo, Ariosto, and Tasso, works of remarkable sophistication that combined high seriousness and low comedy were created. Their works went on to influence Cervantes, Milton, Ronsard, Shakespeare, and Spenser.

In this volume instructors will find ideas for teaching the Italian Renaissance romance epic along with its adaptations in film, theater, visual art, and music. An extensive resources section locates primary texts online and lists critical studies, anthologies, and reference works.

Essays by Marco Dorigatti, Joshua Reid, Leslie Zarker Morgan,  Maria Bendinelli Predelli, Giovanna Rizzarelli, Gael Montgomery, Chris Picicci, Evelyn Birge Vitz, Walter Stephens, Janet Levarie Smarr, Susan Gaylard, Bernd Renner, Bryan Brazeau, Stephen P. McCormick, Karina F. Attar, Allison DeWitt, Andrea Moudarres, Stefano Gulizia, Julia L. Hairston, John C. McLucas, Julia M. Kisacky, Maria Galli Stampino, Charles S. Ross, Phillip John Usher, Patricia E. Grieve, Morten Steen Hansen, Grant Herreid, Barbara Russano Hanning, Roberto Puggioni, Stefano Nicosia, and Andrea Privitera.
https://www.mla.org/Publications/Bookstore/Options-for-Teaching/Teaching-the-Italian-Renaissance-Romance-Epic.

N.B. The pdf is of the cover only.

L’Arcadia felice di Lucrezia Marinelli è un romanzo pastorale pubblicato a Venezia nel 1605 presso l’editore Ciotti. Il testo, in cui è raccontato il viaggio in Arcadia dell’imperatore Diocleziano dopo la sua abdicazione nel 305, presenta alcune caratteristiche peculiari. Ne sono un esempio, l’inserimento di veri intrecci narrativi nella staticità del paesaggio bucolico, che anticipano in forma embrionale gli sviluppi del romanzo barocco italiano; o l’ambientazione della vicenda in un periodo storico lontano da quello di chi scrive, contrariamente alle convenzioni della pastorale sia in versi che in prosa. Il contributo propone di analizzare gli aspetti romanzeschi dell’Arcadia felice e inserire questo testo pastorale anticonvenzionale nel panorama letterario coevo.

Notes on the proemial sonnet in the Rime sacre by Lucrezia Marinella: between sapiential lacework and mannerist style · This paper consists of a thematic and formal analysis of the introductory sonnet in Lucrezia Marinella’s Rime sacre (Nato è ’l gran Re, nato è ’l gran Duce, oh sempre). Despite the author’s unlikely involvement in the editing for its editio princeps (Venice 1603), the Christological vibe of the collection feels in tune with the ideological conventions of Post-Tridentine spiritual poetry and the syncretistic nature of Marinella’s affective spirituality. This article offers a reading of the introductory sonnet about Christ’s birth at multiple inter-textual levels (scriptural, liturgical, literary, philosophical) and suggests that, with her grand and conceptually complex style, Marinella worked an amplificatio of the typical affective features of the formal patterns she drew on (Luke’s Gospel, Torquato Tasso, Celio Magno, Giovan Battista Marino) in the attempt to emphasize the notion of Christ as universal Logos and as the redeemer of man. In doing this, Marinella effectively managed to bring some potentially heterodox sapiential doctrines (such as harmonia mundi), which circulated in the eclectic cultural milieu of late 16th century Venice, back into a penitential and eschatological perspective.
Keywords · Post-Tridentine Spiritual Poetry, Affective Spirituality, Syncretism, Christ’s Nativity, Lucrezia Marinella.

This book breaks new ground by placing the artist in the context of women's political history, and the feminist protest that was bubbling up in early modern Europe.  Author shows that Artemisia knew or knew about contemporary feminist writers such as Lucrezia Marinella and Arcangela Tarabotti, and discusses the striking alignment of her art with their texts.  She discusses recently discovered paintings and offers fresh perspectives on known works.

Lucrezia Marinelli’s epic poem Enrico, or Byzantium Conquered was published in Venice in 1635. In her note to the reader, the author reckons to follow Aristotle’s Poetic teachings and negates writing after the fashion of modern poets, acknowledging Homer as her sole model. This statement is actually misleading because Marinelli’s sources are multiple and diversified. Among them are Homer’s Odyssey, Virgil’s Aeneid, Sophocles’ Antigone, Ovid’s Metamorphoses, Tasso’s Jerusalem Delivered, Ariosto’s Orlando furioso and Moderata Fonte’s Floridoro. I will show to what extent Enrico is inspired by the previous tradition. Since the author does not passively imitate her models, but modifies them according to her female standpoint, it is important to focus on traditional themes, motives and characters in order to illustrate how Marinelli revises the epic code — traditionally stereotyped — from inside, adopting a prowoman perspective. My contribution aims at displaying both her deep and articulated literary culture, and her creative skills in reversing the canon.