LEADER 04052nam 2200721 450 001 9910456329603321 005 20200520144314.0 010 $a1-281-99468-5 010 $a9786611994686 010 $a1-4426-7097-5 024 7 $a10.3138/9781442670976 035 $a(CKB)2430000000001901 035 $a(EBL)4671196 035 $a(SSID)ssj0000289113 035 $a(PQKBManifestationID)11222553 035 $a(PQKBTitleCode)TC0000289113 035 $a(PQKBWorkID)10383619 035 $a(PQKB)10104302 035 $a(CaBNvSL)thg00600994 035 $a(MiAaPQ)EBC3258016 035 $a(MiAaPQ)EBC4671196 035 $a(DE-B1597)464186 035 $a(OCoLC)1002243422 035 $a(OCoLC)1004878421 035 $a(OCoLC)1011446805 035 $a(OCoLC)944178525 035 $a(OCoLC)999354708 035 $a(DE-B1597)9781442670976 035 $a(Au-PeEL)EBL4671196 035 $a(CaPaEBR)ebr11256916 035 $a(OCoLC)958571402 035 $a(EXLCZ)992430000000001901 100 $a20160915h20042004 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAretino's satyr $esexuality, satire and self-projection in sixteenth-century literature and art /$fRaymond B. Waddington 205 $a2nd ed. 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2004. 210 4$dİ2004 215 $a1 online resource (358 p.) 225 0 $aToronto Italian Studies 300 $aDescription based upon print version of record. 311 $a0-8020-8122-3 311 $a0-8020-8814-7 320 $aIncludes bibliographical references and indexes. 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tAcknowledgments -- $tIntroduction -- $tNote on Texts, Translations, and Citations -- $tAbbreviations -- $t1. Ostentatio genitalium: Revaluing Sexuality -- $t2. Aretino and Print Culture -- $t3. The Better Image: Portraits in Words, Wood, and Bronze -- $t4. Satyr and Satirist -- $t5. Serious Play: From Satyr to Silenus -- $tEpilogue: Titian's The Flaying of Marsyas -- $tNotes -- $tBibliography -- $tName Index -- $tSubject Index 330 $aPietro Aretino's literary influence was felt throughout most of Europe during the sixteenth-century, yet English-language criticism of this writer's work and persona has hitherto been sparse. Raymond B. Waddington's study redresses this oversight, drawing together literary and visual arts criticism in its examination of Aretino's carefully cultivated scandalous persona ? a persona created through his writings, his behaviour and through a wide variety of visual arts and crafts.In the Renaissance, it was believed that satire originated from satyrs. The satirist Aretino promoted himself as a satyr, the natural being whose sexuality guarantees its truthfulness. Waddington shows how Aretino's own construction of his public identity came to eclipse the value of his writings, causing him to be denigrated as a pornographer and blackmailer. Arguing that Aretino's deployment of an artistic network for self-promotional ends was so successful that for a period his face was possibly the most famous in Western Europe, Waddington also defends Aretino, describing his involvement in the larger sphere of the production and promotion of the visual arts of the period.Aretino's Satyr is richly illustrated with examples of the visual media used by the writer to create his persona. These include portraits by major artists, and arti minori: engravings, portrait medals and woodcuts. 410 0$aToronto Italian studies 606 $aLITERARY CRITICISM / European / Italian$2bisacsh 608 $aElectronic books. 615 7$aLITERARY CRITICISM / European / Italian. 676 $a858/.309 700 $aWaddington$b Raymond B.$0297758 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456329603321 996 $aAretino's satyr$921159 997 $aUNINA