EVENT SERIES by Francesca Bortoletti
This exhibit commemorates the 500th anniversary of the death of Leonardo da Vinci (1452-1519) and... more This exhibit commemorates the 500th anniversary of the death of Leonardo da Vinci (1452-1519) and draws upon the Wangensteen Historical Library’s strong holdings in the history of anatomy by examining the interplay between anatomy, art, theater, poetry, and sciences. The exhibit explores the rediscovery of the human body – its nature as well as its symbolic and cultural value – at the time of Leonardo. The artist’s legacy is also showcased through benchmarks of anatomical and artistic illustrations, poems, treatises, and anatomical theater.
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https://www.theitalianculturalcenter.org/event-3527209
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Conference Presentations by Francesca Bortoletti
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Books by Francesca Bortoletti
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MIMESIS EDIZIONI, 2020
The mysterious and therapeutic power of Orpheus' song is reenacted in new gestures, sounds and fi... more The mysterious and therapeutic power of Orpheus' song is reenacted in new gestures, sounds and figures of premodern performers defining new civic values between memory, politics and theater.
Agli esordi del Rinascimento italiano una schiera indefinita e varia di attori, poeti e musici rinnova l’antica pratica del cantare ad lyram del mitico poeta Orfeo. Il potere misterioso e terapeutico del suo canto, la sua performance e le tensioni tramandate dal mito si ricompongono in nuovi gesti, suoni e figure attraverso le apparizioni dei “nuovi Orfei” e il definirsi di nuovi valori e mestieri negli spazi civici e privati della performance: tra memoria, politica e teatro. Un teatro che, fondato su un gesto rituale, si afferma come teatro della e per la civitas, nonché veicolo privilegiato di comunicazione etica e politica e di costruzione di identità, carisma e consenso nella memoria collettiva.
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Mimesis, 2012, 2012
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Articles by Francesca Bortoletti
International Journal Arti dello Spettacolo / Performing Arts, 2020
This article is part of the sixth issue of the journal “Arti dello Spettacolo / Performing Arts”,... more This article is part of the sixth issue of the journal “Arti dello Spettacolo / Performing Arts”, entitled Performance and Spectacle in Early Modern Europe and curated by Margaret Shewring and Leila Zammar. This special issue collects a series of articles focused on the various forms of festivals organized in courts, large residences, and cities in early Modern Europe.
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BICS Supplement, 2017
Virgil has always been copied, studied, imitated, and revered as perhaps the greatest poet of the... more Virgil has always been copied, studied, imitated, and revered as perhaps the greatest poet of the Latin language. He has been centrally important to the transmission of the classical tradition, and has played a unique role in European education. In recognition of the richness of his reception, the fourth conference in the joint Warburg Institute and Institute of Classical Studies series on the afterlife of the Classics was devoted to the afterlife of Virgil.
This volume focuses on the reception of the Eclogues and the Aeneid in three main areas: Italian Renaissance poetry, scholarship, and visual art; English responses to Virgil’s poetry; and emerging literatures in Eastern Europe in the seventeenth and eighteenth centuries. Contributors are Giulia Perucchi, M. Elisabeth Schwab, Clementina Marsico, David Quint, Marilena Caciorgna, Maté Vince, Hanna Paulouskaya, Tim Markey, Charles Martindale, and Francesca Bortoletti.
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In the fifteenth-century Italian courts, the imagery of song accompanied by the ‘lira’ expressed ... more In the fifteenth-century Italian courts, the imagery of song accompanied by the ‘lira’ expressed the modern symbol of ancient oral poetry. The ‘new’ humanist poet-singer, exemplified by the mythological figures of Apollo, Amphion, and Orpheus, became part of Aragonese court festivals and elite entertainments. Jacopo Sannazzaro's Arcadia was an extraordinary catalyst of this lyrical and performative tradition of poetry and a literary projection of theatrical vision. This article proposes a reading of Sannazaro's Arcadia as a ‘re-presentation’ in a literary poem of oral and performance poetry developed by humanists within the forms of court theatrical drama and festival culture.
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Nella Napoli dei Re d’Aragona (1442–1504) le presenze
della poesia orale nei luoghi dell’intratte... more Nella Napoli dei Re d’Aragona (1442–1504) le presenze
della poesia orale nei luoghi dell’intrattenimento umanistico e del
teatro aragonese giocano un ruolo determinante nel cerimoniale
cortigiano e nelle strategie di politica culturale del Regno Aragonese. Il
presente studio mira a rintracciare esempi di scritture, storie e materiali
legati a una recitazione estemporanea replicabile in diverse occasioni
di cerimoniali di corte o degli episodi politici. Una recitazione che
non può essere compresa se non messa in relazione con una visione
unitaria della festa di corte che qui si propone di investigare attraverso
le presenze della voce del ‘nuovo’ poeta umanista — diplomatico
e oratore, storico e cerimoniere, poeta e performer — e delle sue
pratiche dicitorie e recitative nella società di corte.
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Serafino Ciminelli, known as l'Aquilano, was one of the most highly appreciated improvvisatori of... more Serafino Ciminelli, known as l'Aquilano, was one of the most highly appreciated improvvisatori of the Renaissance, possessing undoubted poetical and musical talent and capable of practising all styles of vernacular poetry. his repertoire was built around singing accompanied by the lira da braccio and included strambotti, barzellette, sonnets, capitoli, eclogues, and short acti scenici. his art won over ladies and knights, court and street singers, educated and uneducated people. In light of the numerous studies and valuable critical editions of Serafino's verses, this essay focuses on Serafino's efforts in composing bucolic poetry – coinciding with his Roman period in the service of Cardinal Ascanio Sforza and with the theatrical debut of the eclogue Tirinto e Menandro for the carnival of 1490 – as well as on his use of pastoral fiction to define his stage character and, through this, to set to music his harsh attack on the corruption of the papal curia in the private spaces of official Roman carnival festivities. We can start with the myth, that is, with the memory that contemporary poets and writers left of Serafino, projecting the values of humanis-tic culture onto his performances and transferring his image of sublime singer with the lira into the dimension of myth. As we shall see, this was a process of ennobling Serafino's artistic identity that began with the stage and, in my view, reached in the eclogue a particular moment of elaboration for the construction of his character, for his mask as poeta, and for a political use of his poetic song. In the eclogue and the pastoral tradition , Serafino found a tried and tested lyrical structure through which he could project his image as poet-singer with the lira, with obvious autobiographical references, interpreting himself, one could say, within the pastoral fiction. But the eclogue and his Arcadian shepherd-singer mask were also the poetic instruments of a denunciation of a political crisis in which Serafino castigated the corruption of the Roman curia, moving from autobiographical subject-matter to an attack on Roman society and at the same time on the value and function of poetry and its oral practice at court.
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EVENT SERIES by Francesca Bortoletti
Conference Presentations by Francesca Bortoletti
Books by Francesca Bortoletti
Agli esordi del Rinascimento italiano una schiera indefinita e varia di attori, poeti e musici rinnova l’antica pratica del cantare ad lyram del mitico poeta Orfeo. Il potere misterioso e terapeutico del suo canto, la sua performance e le tensioni tramandate dal mito si ricompongono in nuovi gesti, suoni e figure attraverso le apparizioni dei “nuovi Orfei” e il definirsi di nuovi valori e mestieri negli spazi civici e privati della performance: tra memoria, politica e teatro. Un teatro che, fondato su un gesto rituale, si afferma come teatro della e per la civitas, nonché veicolo privilegiato di comunicazione etica e politica e di costruzione di identità, carisma e consenso nella memoria collettiva.
Articles by Francesca Bortoletti
This volume focuses on the reception of the Eclogues and the Aeneid in three main areas: Italian Renaissance poetry, scholarship, and visual art; English responses to Virgil’s poetry; and emerging literatures in Eastern Europe in the seventeenth and eighteenth centuries. Contributors are Giulia Perucchi, M. Elisabeth Schwab, Clementina Marsico, David Quint, Marilena Caciorgna, Maté Vince, Hanna Paulouskaya, Tim Markey, Charles Martindale, and Francesca Bortoletti.
della poesia orale nei luoghi dell’intrattenimento umanistico e del
teatro aragonese giocano un ruolo determinante nel cerimoniale
cortigiano e nelle strategie di politica culturale del Regno Aragonese. Il
presente studio mira a rintracciare esempi di scritture, storie e materiali
legati a una recitazione estemporanea replicabile in diverse occasioni
di cerimoniali di corte o degli episodi politici. Una recitazione che
non può essere compresa se non messa in relazione con una visione
unitaria della festa di corte che qui si propone di investigare attraverso
le presenze della voce del ‘nuovo’ poeta umanista — diplomatico
e oratore, storico e cerimoniere, poeta e performer — e delle sue
pratiche dicitorie e recitative nella società di corte.
Agli esordi del Rinascimento italiano una schiera indefinita e varia di attori, poeti e musici rinnova l’antica pratica del cantare ad lyram del mitico poeta Orfeo. Il potere misterioso e terapeutico del suo canto, la sua performance e le tensioni tramandate dal mito si ricompongono in nuovi gesti, suoni e figure attraverso le apparizioni dei “nuovi Orfei” e il definirsi di nuovi valori e mestieri negli spazi civici e privati della performance: tra memoria, politica e teatro. Un teatro che, fondato su un gesto rituale, si afferma come teatro della e per la civitas, nonché veicolo privilegiato di comunicazione etica e politica e di costruzione di identità, carisma e consenso nella memoria collettiva.
This volume focuses on the reception of the Eclogues and the Aeneid in three main areas: Italian Renaissance poetry, scholarship, and visual art; English responses to Virgil’s poetry; and emerging literatures in Eastern Europe in the seventeenth and eighteenth centuries. Contributors are Giulia Perucchi, M. Elisabeth Schwab, Clementina Marsico, David Quint, Marilena Caciorgna, Maté Vince, Hanna Paulouskaya, Tim Markey, Charles Martindale, and Francesca Bortoletti.
della poesia orale nei luoghi dell’intrattenimento umanistico e del
teatro aragonese giocano un ruolo determinante nel cerimoniale
cortigiano e nelle strategie di politica culturale del Regno Aragonese. Il
presente studio mira a rintracciare esempi di scritture, storie e materiali
legati a una recitazione estemporanea replicabile in diverse occasioni
di cerimoniali di corte o degli episodi politici. Una recitazione che
non può essere compresa se non messa in relazione con una visione
unitaria della festa di corte che qui si propone di investigare attraverso
le presenze della voce del ‘nuovo’ poeta umanista — diplomatico
e oratore, storico e cerimoniere, poeta e performer — e delle sue
pratiche dicitorie e recitative nella società di corte.
An overview of the project is now available in the website of The Italian Academy for Advanced Studies, Columbia University.
http://italianacademy.columbia.edu/frida
Research Team
PI: Francesca Bortoletti (University of Minnesota); Co-PIs: Giuseppe Gerbino (Columbia University), Paolo Ciuccarelli (College of Arts, Media and Design, Northeastern University); Collaborators: Michele Mauri, Beatrice Gobbo, and Tommaso Elli (Density Design Research Lab, Politecnico di Milano); Colin McFadden (LATIS, University of Minnesota); Marco Sartori (Italian Department, Columbia university).