The first woman to achieve wide recognition as a poet in Renaissance Italy, Vittoria Colonna was known for her ardent, but also deeply spiritual, verses. This volume reproduces ten of her sonnets in the original Italian alongside new English versions of compelling simplicity, and complements both with a sequence of moving black and white photographs. Governor General’s Award winner Jan Zwicky gives Colonna’s spiritual insights a contemporary voice, while photographer and noted mathematician Robert Moody paces her words against a visual meditation on the Passion story, as conveyed by Subirachs’ sculptures for the basilica of the Sagrada Familia in Barcelona. The volume’s juxtaposition of poetry and photography illuminates the passion, reverence, and timelessness of both Subirachs’ and Colonna’s work.
For women of the Italian Renaissance, the Virgin Mary was one of the most important role models. Who Is Mary? presents devotional works written by three women better known for their secular writings: Vittoria Colonna, famed for her Petrarchan lyric verse; Chiara Matraini, one of the most original poets of her generation; and the wide-ranging, intellectually ambitious polemicist Lucrezia Marinella. At a time when the cult of the Virgin was undergoing a substantial process of redefinition, these texts cast fascinating light on the beliefs of Catholic women in the Renaissance, and also, in the cases of Matraini and Marinella, on contemporaneous women’s social behavior, prescribed for them by male writers in books on female decorum. Who Is Mary? testifies to the emotional and spiritual relationships that women had with the figure of Mary, whom they were required to emulate as the epitome of femininity. Now available for the first time in English-language translation, these writings suggest new possibilities for women in both religious and civil culture and provide a window to women’s spirituality, concerning the most important icon set before them, as wives, mothers, and Christians.
The most published and lauded woman writer of early sixteenth-century Italy, Vittoria Colonna (1490–1547) in effect defined what was the "acceptable" face of female authorship for her time. Hailed by the generation's leading male literati as an equal, she was praised both for her impeccable command of Petrarchan style and for the unimpeachable chastity and piety of the persona she promoted through her literary works. This book presents for the very first time a body of Colonna's verse that reveals much about her poetic aims and outlook, while also casting new light on one of the most famous friendships of the age. Sonnets for Michelangelo, originally presented in manuscript form to her close friend Michelangelo Buonarroti as a personal gift, illustrates the striking beauty and originality of Colonna's mature lyric voice and distinguishes her as a poetic innovator who would be widely imitated by female writers in Italy and Europe in the sixteenth century. After three centuries of relative neglect, this new edition promises to restore Colonna to her rightful place at the forefront of female cultural production in the Renaissance.
SLG Press Contemplative Poetry 6 Like private prayers, the sacred sonnets of Gabrielle de Coignard (c. 1550–1586) and Vittoria Colonna (1492–1547) have long been soft utterances in a quiet corner of devotional literature. Bright expressions of faith amongst the problems and businesses of writing as women in sixteenth-century France and Italy, of illnesses, long widowhoods, personal grief and politics, these sonnets speak both passionately and practically about the trials and triumphs of living, and of living with faith.
The most published and lauded woman writer of early sixteenth-century Italy, Vittoria Colonna (1490–1547) in effect defined what was the "acceptable" face of female authorship for her time. Hailed by the generation's leading male literati as an equal, she was praised both for her impeccable command of Petrarchan style and for the unimpeachable chastity and piety of the persona she promoted through her literary works. This book presents for the very first time a body of Colonna's verse that reveals much about her poetic aims and outlook, while also casting new light on one of the most famous friendships of the age. Sonnets for Michelangelo, originally presented in manuscript form to her close friend Michelangelo Buonarroti as a personal gift, illustrates the striking beauty and originality of Colonna's mature lyric voice and distinguishes her as a poetic innovator who would be widely imitated by female writers in Italy and Europe in the sixteenth century. After three centuries of relative neglect, this new edition promises to restore Colonna to her rightful place at the forefront of female cultural production in the Renaissance.
This volume contains four essays on inscriptions and/or pseudo inscriptions made with letters of the Arabic alphabet or with characters deriving from the latter, used in artifacts produced in the West (and especially Italy) during the medieval and Renaissance period. Maria Vittoria Fontana is Full Professor of Islamic Archaeology and History of Art at the Department of Science of Antiquities of Sapienza University in Rome; previously, she held the same role at “L’Orientale” University of Naples. She has carried out excavations in Iran, Jordan and Yemen. The last excavation was at Istakhr and the final report was published in the volume Istakhr (Iran) 2011-2016: Historical and Archaeological Essays (Quaderni di Vicino Oriente XIII), Rome: Sapienza 2018. She is also the author of numerous scientific articles and monographs on both archaeological and iconographic subjects, the latter concerning Islamic productions as well as Western ones that have come into contact with Islam.
For women of the Italian Renaissance, the Virgin Mary was one of the most important role models. Who Is Mary? presents devotional works written by three women better known for their secular writings: Vittoria Colonna, famed for her Petrarchan lyric verse; Chiara Matraini, one of the most original poets of her generation; and the wide-ranging, intellectually ambitious polemicist Lucrezia Marinella. At a time when the cult of the Virgin was undergoing a substantial process of redefinition, these texts cast fascinating light on the beliefs of Catholic women in the Renaissance, and also, in the cases of Matraini and Marinella, on contemporaneous women’s social behavior, prescribed for them by male writers in books on female decorum. Who Is Mary? testifies to the emotional and spiritual relationships that women had with the figure of Mary, whom they were required to emulate as the epitome of femininity. Now available for the first time in English-language translation, these writings suggest new possibilities for women in both religious and civil culture and provide a window to women’s spirituality, concerning the most important icon set before them, as wives, mothers, and Christians.
SLG Press Contemplative Poetry 6 Like private prayers, the sacred sonnets of Gabrielle de Coignard (c. 1550–1586) and Vittoria Colonna (1492–1547) have long been soft utterances in a quiet corner of devotional literature. Bright expressions of faith amongst the problems and businesses of writing as women in sixteenth-century France and Italy, of illnesses, long widowhoods, personal grief and politics, these sonnets speak both passionately and practically about the trials and triumphs of living, and of living with faith.
Simonetta, a living legend as beautiful as any of her models, is an aristocrat by birth and has spent her youth amidst the international celebrities for whom she designed her sophisticated clothes; among them: Lauren Bacall, Dorothy McGuire, and Silvana Mangano. From the forties to the seventies, from the Rome atelier in her family's Palazzo to her Paris boutique on Rue Francois, the innovative lines of her daring creative fashion had a deep effect on the taste of the tight circle of aristocrats she was part of as well as on the lifestyles of consumers in the great international market.
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