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Record Nr. |
UNINA9910811575103321 |
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Autore |
Gaylard Susan |
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Titolo |
Hollow men : writing, objects, and public image in Renaissance Italy / / Susan Gaylard |
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Pubbl/distr/stampa |
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New York, : Fordham University Press, 2013 |
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ISBN |
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0-8232-5217-5 |
0-8232-5218-3 |
0-8232-5285-X |
0-8232-5175-6 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (384 p.) |
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Classificazione |
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LIT000000HIS020000SOC032000 |
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Disciplina |
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Soggetti |
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Italian literature - To 1400 - History and criticism |
Italian literature - 15th century - History and criticism |
Italian language - Early modern, 1500-1700 |
Art, Renaissance - Italy - History |
Masculinity in literature |
Masculinity in art |
Renaissance - Italy |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- Contents -- Acknowledgments -- Introduction: Reinventing Nobility? Artifacts and the Monumental Pose from Petrarch to Platina -- 1. How to Perform Like a Statue: Ghirlandaio, Pontano, and Exemplarity -- 2. From Castrated Statues to Empty Colossi: Emasculation vs. Monumentality in Bembo, Castiglione, and the Sala Paolina -- 3. Banishing the Hollow Man: Print, Clothing, and Aretino’s Emblems of Truth -- 4. Heroes with Damp Brains? Image vs. Text in Printed Portrait-Books -- 5. Silenus Strategies: The Failure of Personal Emblems -- Afterword -- Notes -- Works Cited -- Index |
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Sommario/riassunto |
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This book relates developments in the visual arts and printing to humanist theories of literary and bodily imitation, bringing together fifteenth- and sixteenth-century frescoes, statues, coins, letters, dialogues, epic poems, personal emblems, and printed collections of |
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portraits. Its interdisciplinary analyses show that Renaissance theories of emulating classical heroes generated a deep skepticism about self-presentation, ultimately contributing to a new awareness of representation as representation. Hollow Men shows that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation. In fact, the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well underway in the mid–fifteenth century, and these changes were hastened by the rapid development of the printed image. |
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