#Jacopo Sannazaro

[italian-lit-tournament]

Italian literature tournament - First round.

Propaganda in support of the authors is accepted, you can write it both in the tag if reblog the poll (explaining maybe that is propaganda and you want to see posted) or in the comments. Every few days it will be recollected and posted here under the cut.

[iamfitzwilliamdarcy]

writing this fanfic has me thinking about names in Scholomance- (general disclaimer that this isn't thoroughly researched) --

Orion is obvious - the mythical hunter

Ophelia is an interesting one. The obvious association is Hamlet's Ophelia, her tragic death in the face of cruelty of men. You could see Scholomance Ophelia as facing down the cruelty of the world, of carefully cutting away her own innocence and goodness, to become the Maleficer we know. That feels like a stretch to me. I've been doing some googling and Ophelia was used in Jacopo Sannazaro's poem "Arcadia" in the 15th century; I cannot find much info about this (without extensive research that I am simply not willing to do for this post) -- other than that apparently Ophelia comes from a Greek word meaning "help/benefit," which Scholomance Ophelia certainly justifies herself as doing. it feels like an ironic name to me?

Balthazar is the name the king who brought myrrh to the Baby Jesus -- foreseeing His death. I think this is cool in that Orion has been dead since he was a baby. ; Balthazar is also apparently a variant spelling of the king in Daniel and the name means "bel protects the king" - referring to the pagan gods of Babylon - you could argue Orion's birth as both mythical and god-like, that his birth was meant to protect the Enclave, including his parents -

They are also all some type of noble (Orion's birth varies in myth but usually has a god or noble origin; Ophelia in Hamlet is a noble, Balthazar is a king) .

anyway i don't have a point, I'm procrastinating actually writing, but I think it's neat

[gennarocapodanno]

Vomero: il liceo Sannazaro perde, per il secondo anno consecutivo, il primato di migliore liceo classico di Napoli 

Secondo nella classifica stilata in questi giorni sul portale eduscopio.it Liceo Jacopo Sannazaro  Liceo classico Jacopo Sannazzaro, per il secondo anno consecutivo, perde il primato  quale migliore liceo classico di Napoli. Il dato è emerso in base alla classifica pubblicata in questi giorni sul portale eduscopio.it della fondazione Agnelli “.  A commentare la brutta notizia è Gennaro…

[unabashedqueenfury]

Reign 2013-2017

Mary and Francis

Madonna, i bei vostr’ occhi, arme d’ Amore,

mi fèr sì dolce assalto,

ch’ io benedico ognor la piaga al core

impressa il dì ch’ io rimirai tant’ alto.

La dolce libertà, c’ ad altri piace,

non fia che mai mi piacci,

ché l’ è più dolce assai ne’ vostri lacci;

non mai tranquilla pace

trovo né trovarrò, madonna, in terra,

se non se i bei vostr’ occhi mi fan guerra.

("Madonna, i bei vostr'occhi, arme d'Amore", Jacopo Sannazaro, Rime Disperse, XXXIV , XVI Century)

[captainflirt]

From the Library of Captain Flint (Part 3 of 4)

La Arcadia, Jacopo Sannazaro (1547)

Compendio de la Arte de Navegar, Rodrigo Zamorano (1588)

El Héroe, Baltasar Gracián (1637)

La Celestina, Fernando de Rojas (1499)

[artist-titian]

Portrait of Jacopo Sannazaro, 1518, Titian

[iquotation]

"Man is only miserable so far as he thinks himself so."

Jacopo Sannazaro

[scottishsquirrel]

TITIAN  c. 1488-1576

Portrait of Jacopo Sannazaro (1458-1530) c. 1514-18

Portrait Gallery, Buckingham Palace

The Royal Collection, UK

This imposing portrait shows a nobleman gazing fixedly forward, lost in thought, his finger tucked into a book to keep his place. It has been has been suggested that he is the Neapolitan poet and humanist Jacopo Sannazaro (1458-1530) and has been dated variously from c.1511 to the early 1520s. The style of the subject’s square-necked saione and gown (both with large, bulbous upper sleeves), the wide-necked chemise, the length of his hair with centre parting and the fashion for an indication of a moustache must date the work before 1520 and probably closer to 1513. The sitter wears the sober colours that were typically worn by Venetian male citizens over the age of 25.  The fact that the sitter has his finger in a book links him with portraits of humanists and writers. Various literary candidates have been suggested over the years: a seventeenth-century print after this portrait, by Cornelius van Dalen the Younger, is labelled as Giovanni Boccaccio; in the nineteenth century the portrait was variously identified as Alessandro de’ Medici, Duke of Florence and Pietro Aretino. The name Jacopo Sannazaro was first proposed in 1895. The suggestion accords with an early copy of the painting (Walker Art Gallery, Liverpool) inscribed 'Sincerus Sannzarius': ‘Actius Sincerus’ was a pseudonym much used by Sannazaro. Jacopo Sannazaro was a humanist and poet from a noble Neapolitan family. Except for a brief exile in France in 1501-4 he lived and worked in Naples, serving as court poet to King Ferdinand I and belonging to Giovanni Pontano’s humanist academy. His principal work, 'Arcadia' (1502-4), is an Italian-language version of the classical pastoral, encompassing love, poetry and nostalgia, which was very influential throughout the sixteenth century, whether on the landscapes of Giorgione and Titian or the poetry of Spencer, Sidney and Shakespeare. It is not surprising that Venetians might have wanted to paint or to own a portrait of this famous Neapolitan: Sannazaro’s work was published in Venice; he corresponded with the Venetian humanist Pietro Bembo, and composed an epigram dedicated to the city. One problem with this identification is that the this portrait would seem to depict a thirty-year-old and yet, as we have seen, the clothes, cut of hair and style of painting date it to c.1512-15, when Sannazaro was in his mid-fifties. This is not impossible: In his portrait of Isabella d’Este (Royal Collection), Titian rendered the 60-year-old as a 30-year-old. As in that case, Titian could here have based the poet’s features on an earlier portrait (of c.1490), while depicting him in clothes that would have been fashionable in c.1513. The question therefore remains of whether this face records Sannazaro’s appearance in c.1490. His likeness is known to us through a variety of images, including three medals, from which many later printed versions derived. These images of Sannazaro (most of them recording the appearance of a much older man) seem to match the Royal Collection portrait in the thick eyebrows, set of the eyes, long, slightly beaky nose and the heavy jaw. But there are features which do not appear in the present work. Titian might also have been expected to inscribe a portrait of such a famous man as he did with his 1523 portrait of Baldassare Castiglione (National Gallery of Ireland, Dublin). In the end, the idea that this portrait depicts the inventor of the Renaissance pastoral is an attractive one, but is hard to prove. Titian’s unsurpassed skill at characterisation conveys an imposing, erudite and intelligent man; whether it is Sannazaro or another humanist has yet to be decided. Catalogue entry adapted from The Art of Italy in the Royal Collection: Renaissance and Baroque, London, 2007

[italian-lit-tournament]

The participating authors for the Italian Lit(erature) Tournament: the general list + a google form to add other proposals

Podesti Francesco - Torquato Tasso reading Jerusalem Delivered to the Estensi court

The start of the Italian Lit(erature) Tournament (first edition) is getting closer, but first I want to post the general list of the authors partecipants.

The principal issue is that every literary canon is constantly changing, with more critical studies over the years. I've thought about it, read and searched, and the solution I found has two parts:

I will take the principal authors from this list, which in turn is based from the studies of Gianfranco Contini and Asor Rosa. The list is too long and many names are only chronicles and essayists, so I'll chose the principal ones, trying to balance between north/south Italy and male/female authors (taking into account that many authors that we study are men). As you will see below under the cut, the list is already pretty long, doing some math the challenge will be 2/3 months long.

Still, I recognise that this isn't 100% unbiased and fair, so I opened a free and quick google form when you can add a maximum of two authors that you don't see in the list. This considerable limit is to avoid having too many names - if in some answers I see more than 2 names, I'll take into account only the first 2 listed.

IMPORTANT! 👇

After much thoughts, I also chose to don't include living authors or authors death only recently (before January 2023). The reason is simply to avoid potential issues in the community, like bashing between fandom or admirers of some specific author, or going too far like offending some people near the author still alive or recently deceased. Maybe if this tournament will end well, a second edition could be made next year and maybe with the addition of living authors! (I'm already thinking to do an italian or european cinema tournament in the future but this is still in the draft).

Under the cut, you will find the list of the authors already part of the challenge, name-surname with the surname in alphabetical order. If you don't see a name that you want to see, use the form to add it!

edit: I added the ones from the surbey so far, all in italics. There are names that have been sent but already on the list.

Dante Alighieri

Sibilla Aleramo

Vittorio Alfieri

Cecco Angiolieri

Pietro Aretino

Ludovico Ariosto

Matteo Bandello

Anna Banti

Giambattista Basile

Giorgio Bassani

Cesare Beccaria

Maria Bellonci

Pietro Bembo

Matteo Maria Boiardo

Giovanni Boccaccio

Giordano Bruno

Dino Buzzati

Italo Calvino

Andrea Camilleri

Giosuè Carducci

Guido Cavalcanti

Carlo Collodi

Vittoria Colonna

Gabriele D'Annunzio

Giacomo da Lentini

Caterina da Siena

Alba de Céspedes

Cielo (Ciullo) d'Alcamo

Edoardo De Filippo

Federico de Roberto

Grazia Deledda

Umberto Eco

Beppe Fenoglio

Marsilio Ficino

Dario Fo

Ugo Foscolo

Veronica Franco

Carlo Emilio Gadda

Natalia Ginzburg

Carlo Goldoni

Antonio Gramsci

Francesco Guicciardini

Tommaso Landolfi

Giacomo Leopardi

Carlo Levi

Primo Levi

Carla Lonzi

Niccolò Machiavelli

Alessandro Manzoni

Giovanbattista Marino

Giovanni Meli

Pietro Metastasio

Eugenio Montale

Elsa Morante

Alberto Moravia

Anna Maria Ortese

Giuseppe Parini

Goffredo Parise

Giovanni Pascoli

Pier Paolo Pasolini

Cesare Pavese

Francesco Petrarca

Luigi Pirandello

Angelo Poliziano

Luigi Pulci

Salvator Quasimodo

Gianni Rodari

Lalla Romano

Amelia Rosselli

Umberto Saba

Emilio Salgari

Jacopo Sannazaro

Goliarda Sapienza

Leonardo Sciascia

Matilde Serao

Gaspara Stampa

Mario Rigoni Stern

Italo Svevo

Antonio Tabucchi

Torquato Tasso

Giuseppe Tomasi di Lampedusa

Pier Vittorio Tondelli

Giovanni Verga

Giambattista Vico

Renata Viganò

Elio Vittorini

Giuseppe Ungaretti

[shakespearenews]

Shakespeare’s “Hamlet,” written around 1600, has origins in the medieval Scandinavian legend of Amleth. The tale likely reached England via French writer François de Belleforest’s adaptation published in 1570 in his collection “Histoires tragiques.” But Ophelia doesn’t make an appearance in that story.

The influence of Isabella Andreini may have found its way to Shakespeare as he was creating the character Ophelia. Andreini was a commedia dell’arte actress in 16th century Italy (where women performed on the public stage while they didn’t in England). Her stock character called Isabella “was a character that sang, who quoted different songs and who also was mad with romantic love,” Williams said.

As for Ophelia’s name, credit may go to another of Shakespeare’s influences, “Arcadia,” a pastoral poem by the Italian writer Jacopo Sannazaro that features a nymph named Ofelia. About a century after the poem appeared in bookshops in Naples, onstage in London Richard Burbage’s Hamlet said to Ophelia, “Nymph, in thy orisons / Be all my sins remembered.”

[abatelunare]

Che certo egli è migliore il poco terreno ben coltivare, che 'l molto lasciare per mal governo miseramente imboschire.

Jacopo Sannazaro

[maximumphilosopheranchor]

Sixteenth-century authors drew on and deliberately imitated a very wide range of literary material; originality was not then prized as it has been since the Romantic era, and writers were open about the models they used. Spenser proclaimed that he was emulating Homer, Virgil, Ariosto, and Tasso; and Philip Sidney based his Arcadia heavily on an earlier work of the same name by the Italian author, Jacopo Sannazaro, on the Spanish romance, Amadis de Gaule, and on many other sources. Writers expected their readers or listeners to catch the references and understand their implications – which makes their work difficult for present-day readers, who are usually less well versed that was the sixteenth-century public in medieval romance, classical literature, and the Scriptures.

Penry Williams, The Later Tudors: England 1547-1603

[somanyhumanbeings]

Tiziano Vecellio, Portrait of Jacopo Sannazaro (c. 1514-1518)

[hiraethidity-m]

s.b: What’re you going to ramble on now about, Nyx?  Well, I’m glad you asked there dear person, because this time, we are going to babble on about OPHELIA : Kyoko’s witch’s state !. or aka, her final form. Primarily, just observations about it that I’m reading about. Because once I’ve read a lot more into it, every detail really makes sense, and I just want to share that knowledge. 

                          OPEHILA :

[in magia record]The Doppel of abandonment. Its form is a Wǔdàn. The master of this emotion doesn’t trust her Doppel’s enigmatic power, borrowing its weapon in order to bear arms by herself. Judging by this Doppel’s abilities– manipulating mist, producing illusions, using suspicious hypnosis magic– one may imagine that its master only sees it as a loathsome reminder of her past. Nevertheless, her Doppel holds the past regrets that she stowed away in the depths of her emotions, and despite being suspicious of it, she allows it to assist her somewhat in attacking once it’s been summoned. Also, the candle holder that runs around while carrying the master appears to be a separate individual from the fluttering robe; the latter is the Doppel’s main body.

OBSERVATIONS ! ( the main thing I want to focus on ):

Ophelia can be thought of as a headless horseman.

Technically, the witch seems to have an eye below the flame, making Ophelia more of a candle-headed horseman. The impression of being headless is likely intentional, as the witch's "head" is flat enough to resemble a neck.

In Kyouko's puppet show in episode 7, candles are strongly associated with her father. They appear next to him several times, most notably during a sermon. When she describes how he killed the rest of her family and hung himself, his puppet falls with its head consumed by flame and ignites the rest of the puppets.

Ophelia's familiars are colorfully attired warriors, most of whom march around aimlessly. One has a dragon's head emerge from its neck for a powerful melee attack. Another has the ability to summon melee familiars by ringing a bell, and a long-range fire attack. The two reflect the hybrid abilities of Kyoko who possesses both strong melee abilities and range abilities with her weapon.

The ringing of bells have their place in religious ceremonies, rituals and traditions. In the Eastern world, the traditional forms of bells are temple and palace bells, small ones being rung by a sharp rap with a stick, and very large ones rung by a blow from the outside by a large swinging beam. The bell used by the familiar is a Suzu bell, that is traditionally used to summon kami.

There are various colored fish swimming in her barrier. They are part of the scenery and not actually familiars. Fish have various symbolic meanings:

Early Christians used a fish symbol to represent the Christian faith.

In Buddhism, fish can represent abundance and fertility, or living beings who practice the dharma need have no fear to drown in the ocean of suffering, and can freely migrate (chose their rebirth) like fish in the water.

Adaptability, change, and transformation in Greco-Roman, East Indian, and Norse mythology.

Goldfish are associated with fortune and wealth. One of the eight auspicious signs of Buddhism is a pair of goldfish, representing the state of fearless suspension in a harmless ocean of samsara.

Ophelia is fought on a narrow, confined area blocked off on either side by her barriers, somewhat reminiscent of the alley where Kyoko fought Sayaka in Episode 5. It allows her to maximize her use of Rosso Fantasma (previously a lost ability to Kyoko) to create duplicates of herself. These duplicates are not purely illusionary. They are capable of powerful melee attacks. Ophelia can transform into a spear for a long-range attack.

The walls and floors of her barrier are largely unadorned and lined with dark red bricks.

It is suggested that the symbolism of the unicorn represents innocence. The fact that Ophelia is riding a horse, instead of a unicorn, has been speculated that the horse represents the loss of innocence and nobility. The image ingrains the idea that the unicorn has lost its horn along with its splendor and that it has become a regular equestrian animal.

If a unicorn is a symbol of purity and grace, then this may imply Kyoko lost both before she turned into the witch.

Ophelia's witch kiss looks like a heraldic banner.

The official website for Puella Magi Madoka Magica Portable refers to Ophelia as the witch of wǔdàn (武旦). A wǔdàn is a fierce female warrior in traditional Chinese opera.

The spear was the symbol of the god Wodan and the most common weapon in Germanic armies; it was cheap to produce because it didn't need much iron and most types could be used for both stabbing or throwing. Most Germanic horsemen carried a shield and a spear though the footmen sometimes carried multiple spears; at the start of a battle these were thrown at the enemy and the last one was saved for close combat. According to Tacitus, the Germans were able to throw these spears immense distances.

The name Ophelia is derived from the Greek οφελος (ophelos), meaning "help". This name was probably created by the 15th-century poet Jacopo Sannazaro for a character in his poem 'Arcadia'.

Ophelia of Shakespeare's Hamlet was a young woman who had a famous and highly romanticized suicide. While she lived, Ophelia's main conflict was between obeying her father or her love interest. She had a fear of intimacy and eventually went mad under the pressure of her father's death and her lover's rejection of her. Kyoko lost her family (her father being the driving force behind that) and was spurned by Sayaka.

Ophelia's famous death scene is represented in various paintings, including one painting by Millais.

Shakespeare readers have interpreted the Ophelia character to be linked to the idea of regret, corrupted innocence, and unrequited love.

Horse meat is known as "sakura" in japan, which is also Kyoko's last name.

Ophelia's familiars are based off the rokurokubi, a type of Japanese supernatural creature that look like normal humans by day but gain the ability to elongate their necks at night.

The rokurokubi are related to the nukekubi, a similar monster that detaches it's head completely. This may tie into Ophelia resembling a headless horseman.

Ophelia might be based off the Little Matchstick Girl, since it is written by the same writer of the Little Mermaid, Sayaka's witch form, Hans Kristian Andersen.

Ophelia also appears in Mami's Heart Pounding Tiro Finale game.

[artist-titian]

Portrait of Jacopo Sannazaro, 1518, Titian

[ilreamedinverno]

Il Fiume Segreto - Sigfrido E. F. Höbel

Il Fiume Segreto – Sigfrido E. F. Höbel

Venti secoli di pensiero filosofico, dagli alessandrini alla Magna Grecia attraverso il filtro del platonismo e neoplatonismo greci, trasportato fino a noi dalle correnti sotterranee del mitico fiume Alfeo. Tra le testimonianze della tradizione ermetica napoletana, da Marsilio Ficino in poi, l’Arcadia di Jacopo Sannazaro, il pensiero del nolano Giordano Bruno e le esperienze…