04633nam 2200793 450 991078052990332120230912172652.01-281-99468-597866119946861-4426-7097-510.3138/9781442670976(CKB)2430000000001901(EBL)4671196(SSID)ssj0000289113(PQKBManifestationID)11222553(PQKBTitleCode)TC0000289113(PQKBWorkID)10383619(PQKB)10104302(CaBNvSL)thg00600994 (DE-B1597)464186(OCoLC)1002243422(OCoLC)1004878421(OCoLC)1011446805(OCoLC)944178525(OCoLC)999354708(DE-B1597)9781442670976(Au-PeEL)EBL4671196(CaPaEBR)ebr11256916(OCoLC)958571402(OCoLC)244768148(MdBmJHUP)musev2_104427(VaAlCD)20.500.12592/rc9vhg(schport)gibson_crkn/2009-12-01/6/418480(MiAaPQ)EBC4671196(MiAaPQ)EBC3258016(PPN)272886572(EXLCZ)99243000000000190120160915h20042004 uy 0engur|n|---|||||txtccrAretino's satyr sexuality, satire and self-projection in sixteenth-century literature and art /Raymond B. Waddington2nd ed.Toronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,2004.©20041 online resource (358 p.)Toronto Italian StudiesDescription based upon print version of record.0-8020-8122-3 0-8020-8814-7 Includes bibliographical references and indexes.1.Ostentatio genitalium: Revaluing Sexuality3 --Priapus and the Satyr11 --Aretino as Counter-Petrarch20 --2.Aretino and Print Culture33 --Printing and Prostitution34 --The New Man of Letters45 --3.The Better Image: Portraits in Words, Wood, and Bronze57 --Portraits of the Artist as a Middle-Aged Man61 --Aretino and Medals69 --Leone Leoni75 --Alessandro Vittoria78 --Adria's Medal83 --4.Satyr and Satirist91 --Truth and the Satyr93 --Veritas Odium Parit96 --Images of Truth103 --Phallic Satyrs109 --5.Serious Play: From Satyr to Silenus117 --Arcimboldo's Composite Portraits122 --The Silenus of Alcibiades124 --Satyr Art and Satyric Portraits132 --Marsyas144 --Epilogue: Titian's The Flaying of Marsyas153.Pietro Aretino's literary influence was felt throughout most of Europe during the sixteenth-century, yet English-language criticism of this writer's work and persona has hitherto been sparse. Raymond B. Waddington's study redresses this oversight, drawing together literary and visual arts criticism in its examination of Aretino's carefully cultivated scandalous persona a persona created through his writings, his behaviour and through a wide variety of visual arts and crafts. In the Renaissance, it was believed that satire originated from satyrs. The satirist Aretino promoted himself as a satyr, the natural being whose sexuality guarantees its truthfulness. Waddington shows how Aretino's own construction of his public identity came to eclipse the value of his writings, causing him to be denigrated as a pornographer and blackmailer. Arguing that Aretino's deployment of an artistic network for self-promotional ends was so successful that for a period his face was possibly the most famous in Western Europe, Waddington also defends Aretino, describing his involvement in the larger sphere of the production and promotion of the visual arts of the period. Aretino's Satyr is richly illustrated with examples of the visual media used by the writer to create his persona. These include portraits by major artists, and arti minori: engravings, portrait medals and woodcuts.Toronto Italian studiesLITERARY CRITICISM / European / ItalianbisacshCriticism, interpretation, etc.Electronic books. LITERARY CRITICISM / European / Italian.858/.309Waddington Raymond B.297758MiAaPQMiAaPQMiAaPQBOOK9910780529903321Aretino's satyr21159UNINA