000			04060nam a2200397Ki 4500
001			ocn865019624
003			OCoLC
005			20240726105437.0
008			131211s2013 onc ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT
020			_a9781442667334 _q((electronic)l(electronic)ctronic)l((electronic)l(electronic)ctronic)ctronic bk.
043			_ae-it---
050	0	4	_aPQ4139 _b.P648 2013
049			_aNTA
100	1		_aDi Maria, Salvatore, _e1
245	1	0	_aThe poetics of imitation in the Italian theatre of the Renaissance /Salvatore Di Maria.
260			_aToronto : _bUniversity of Toronto Press, _c(c)2013.
300			_a1 online resource (x, 222 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aToronto Italian studies
504			_a2
505	0	0	_aChapter I. Imitation: The link between past and present -- _t1. The Humanists turn to the Ancients -- _t2. From the Classical stage to the theater of Renaissance -- _t3. The poetics of the new theater -- _tChapter II. Machiavelli's Mandragola -- _t1. The characters: imitation vs. source -- _t2. New characters -- _t3. Machiavellian morality -- _tChapter III. Clizia. Form stage to stage -- _t1. The sons -- _t2. The fathers -- _t3. The wives -- _t4. A Machiavellian perspective -- _tChapter IV. Cecchi's Assiuolo: An apian imitation -- _t1. A contaminatio of sources -- _t2. Ambrogio: An original amator senex -- _t3. Oretta's immorality as a reflection of the times -- _tChapter V. Groto's Emilia: Fiction meets reality -- _t1. From the sources to the adaptation -- _t2. The stage pretense of realism undermined -- _t3. Erifila: a Venetian courtesan. -- _tChapter VI. Gli duoi fratelli rivali. Della Porta adapts Bandello's prose narrative to the stage -- _t1. The source's King vs. the play's Viceroy -- _t2. Eufranone vs. Lionato -- _t3. The women -- _t4. New characters and the comic element -- _tChapter VII. Orbecche: Giraldi's imitation of his own prose narrative -- _t1. The plot -- _t2. Orbecche and the question of womanhood -- _t3. Sulmone vs. Malecche: The debate on kingly prerogatives -- _t4. Machiavellian princeship anchored to religious morality -- _tChapter VIII. Dolce's Marianna: From history to the stage -- _t1. The historical source -- _t2. Josephus' Herod vs. Dolce's Erode -- _t3. Mariamme vs Marianna -- _t4. Erode and the theater audience.
520	0		_a"The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely.
520	0		_aDiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period."--pub. desc.
530			_a2 _ub
650		0	_aImitation in literature.
650		0	_aClassical drama _xInfluence.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=660253&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPQ _m2013 _QOL _R _x _8NFIC _2LOC
994			_a02 _bNT
999			_c100504 _d100504
902			_a1 _bCynthia Snell _c1 _dCynthia Snell