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الرئيسية > Gli Intermezzi Nella Festa Rin...>الوصف

Gli Intermezzi Nella Festa Rinascimentale: L’autorappresentazione Della Grandezza Della Corte E Della Personalità del Principe

العنوان بلغة أخرى: The Interludes in the Renaissance festival: The Self-Representation of the Greatness of the Court and the Personality of the Prince
المصدر: آداب وإنسانيات
الناشر: الجمعية التونسية للدراسات الأدبية والإنسانية
المؤلف الرئيسي: Ben Othmen, Nabila (Author)
المجلد/العدد: ع9,10
محكمة: نعم
الدولة: تونس
التاريخ الميلادي: 2020
الشهر: أكتوبر
الصفحات: 9 - 41
DOI: 10.47517/1916-000-009.010-007
ISSN: 2286-5705
رقم MD: 1043512
نوع المحتوى: بحوث ومقالات
اللغة: الإيطالية
قواعد المعلومات: HumanIndex, AraBase
مواضيع:
الأدب الإيطالي | الأدباء الإيطاليين | المسرح | الفنون المسرحية | مهرجان النهضة | التمثيل الذاتي | رواية عظمة المحكمة | رواية شخصية الأمير | مستخلصات الأبحاث | اللغة الإيطالية
كلمات المؤلف المفتاحية:
Renaissance | Party | Show | Court | Interludes | Comedy | Theater | Medici | Pellegrina | Calandra | Cortegiano
رابط المحتوى:
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المستخلص: At the beginning of the modern era, Italy is at war with itself. The succession to the Duchy of Milan is the pretext for a conflict involving the major states of the peninsula. The struggle remains uncertain until the peace of Lodi and the establishment of the Italic League (1454), with which a 'balance system' is established which guarantees forty years of peace. However, more than solidarity, balance is based on mutual suspicion. None of the Italian states are able to overwhelm the others. Weapons therefore give way to diplomacy. Above all, Lorenzo il Magnifico's policy of internal and international alliances allows Italy to enjoy the 'long peace' (1454-1492). Every Italian prince works to strengthen his power, but, not having the military and economic might of the great European monarchs, he focuses instead on diplomatic cunning, on the pomp of worldly life and on cultural prestige. Humanists become courtesans, salaried by the state, to whose pomp they must contribute. Courts are the major artistic and cultural patrons: poets, philosophers, painters and sculptors, musicians live in the Prince's palace and enhance its figure and function. The courtesan’s lifestyle is highly refined and artificial, marked by complicated labels. The people must be dazzled by them, they must see their rulers as the protagonists of a polite fable. The process of canceling political freedoms comes to its completion. The court then reaches the peak of its artistic, scenic and musical maturity thanks to the wide creative possibility offered to artists, writers and inventors of that era. It also illustrates the self-representation of the court and of the prince.

Gli inizi dell’era moderna furono contrassegnati da scontri che coinvolsero i maggiori stati dell’Italia in guerra per poter decidere sulla successione al Ducato di Milano. La lotta resteà incerta fino alla pace di Lodi e la costituzione della Lega Italica (1454), con cui si delibera un “sistema dell’equilibrio” che assicura un quarantennio di pace. Ma più che sull’accordo, l’equilibrio si basa sulla diffidenza reciproca. Nessuno degli stati italiani è in grado di sopraffare gli altri. Le armi cedono il posto quindi alla diplomazia. Soprattutto la politica di alleanze interne e internazionali di Lorenzo il Magnifico permette all’Italia di godere la “lunga pace” (1454-1492). Ogni principe italiano opera per rafforzare il proprio potere, ma, non disponendo della forza militare ed economica dei grandi monarchi europei, punta sull’ astuzia diplomatica, sullo sfarzo della vita mondana e sul prestigio culturale. Gli umanisti diventano intellettuali di corte, stipendiati dallo stato, al cui fasto devono concorrere. Le corti sono i maggiori committenti artistici e culturali: poeti, filosofi, pittori, scultori e musicisti vivono nel palazzo del principe e ne esaltano la figura e la funzione. Lo stile di vita cortigiano è raffinatissimo e artificioso, segnato da complicate etichette. Il popolo deve esserne abbacinato, deve vedere i propri governanti come i protagonisti di una favola cortese. Il processo di annullamento delle libertà politiche giunge al suo perfezionamento. La festa raggiunge l’apice della sua maturità artistica, scenografica e musicale grazie all’ampia possibilità creativa offerta agli artisti, ai letterati e agli inventori di quell’epoca. In essa si manifesta l’autorappresentazione della corte e del principe.
ISSN: 2286-5705

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