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Amore innamorato
Amore innamorato

Amore innamorato

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3,910 EUR

Descrizione dell'oggetto

A FEMINIST EPIC POEM 4to (205x150 mm). [12], 252 pp. Collation: a6A-P8Q6. Printer's device on title page. Contemporary flexible vellum, inked title (faded) and shelfmark "2641' on spine (back panel slightly stained, lacking the front flyleaf). Light damp stain to the lower margin of some leaves, two round wormholes in the upper inner margin of several leaves not affecting the text. A crisp and genuine copy. RARE FIRST EDITION (the 1598 edition mentioned by some scholars is presumably a ghost since not a single copy of it can be traced) of this ottava rima religious, mythological, and allegorical poem dedicated to the Duchess of Mantua, Caterina Medici Gonzaga (1593-1629), daughter of Grand Duke Ferdinando I de' Medici and wife of Duke Ferdinando Gonzaga. The poem is divided into ten cantos, each of them beginning with an "argomento" and an "allegoria" written in prose. "Ostensibly, Marinella wrote Amore innamorato, et impazzato to promote the value of the Church, through the allegory of Cupid's religious journey and his ultimate conversion to Christianity. To arrive at Cupid's conversion, Marinella follows the model of the spiritual quest of Date and Petrarch, which highlights the distinction between the carnal love the character embraces initially and the love for God he ultimately discovers. Although Marinella appears to be adopting the voice and techniques of the male writers who dominated the literary canon, she also subtly reveals their weaknesses. What enriches Marinella's approbation of the canon is a gentle but persistent agenda of her own. Unquestionably, Amore innamorato, et impazzato conforms to the moral and religious codes inspired by the religious reforms of the time; and yet Marinella manages to redefine the female model of the Italian literary tradition, presenting woman as an independent figure, fully in charge of her own spiritual destiny. Marinella's female characters often find agency through subtle loopholes in popular canonical forms and are no less important or diminished as a result of their ties to formal religion. The stronghold that Christianity exerted over Italian culture during this period made it impossible for Marinella to confront directly, let along abandon, the patriarchal constructs of seventeenth-century Christianity. Through a subtle conversation with the religious, economic, and social forces of the time, Marinella reclaims female power. For instance, in this work, Marinella holds Cupid responsible for his own lustful desires and ultimately imposes seclusion, not on the female character of her poem, but on the god of love himself, in order to protect society from him. By so doing she places responsibility for man's spiritual fulfillment back into the hands of the male figure, thus removing the necessity of the donna angelicata, and allowing her female characters to partake in their own religious quest" (P. Malpezzi Price e Ch. Ristaino, Lucrezia Marinella and the "Querelle Des Femmes" in Seventeenth-Century Italy, Madison-Teaneck, 2008, pp. 38-39; see also pp. 40-60). Lucrezia Marinelli, born in Venice, was the daughter of the famous writer and physician Giovanni Marinelli, who encouraged her to study poetry, music and philosophy. She became the most versatile, prolific, and learned woman writer of her generation. Lucrezia was a ferocious polemicist and wrote lyric, narrative and epic poems, mainly published by Ciotti, alternating secular and sacred, prose and verse in her production. She was related to the Accademia Veneziana, of which Ciotti was the official typographer, but led a reclusive life of private study. Nevertheless she married a physician and had two children. Her fame as one of the very first feminist writers ever is mostly due to the treatise La nobiltà et l'eccellenza delle donne ("The nobility and excellence of women', Venice, 1600), rightly recognized as a landmark in the history of women's contribution to the "querelle des femmes', and to a later pamphlet addressed to
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