Refigurationen
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Edited by:
Sebastian Schütze
Schon in der Antike werden Malerei und Dichtung als Schwesterkünste beschrieben. Die produktiven Wechselwirkungen und der kritische Dialog zwischen beiden Künsten sind im Bereich der italienischen Literatur besonders intensiv und epochenübergreifend wirksam. Die Auseinandersetzung mit der jeweils anderen Kunst hat entscheidend dazu beigetragen, Grenzen und Möglichkeiten der eigenen Kunst auszuloten und theoretisch zu reflektieren, aber auch im Wettstreit mit dem Anderen mediale Grenzen zu erweitern und neu zu definieren. Der Dialog von Literatur und bildender Kunst ist vielfach Katalysator innovativer Konzepte und medialer Grenzerfahrungen und berührt Grundfragen dichterischer wie bildkünstlerischer Produktion ebenso wie die von Bildern und Texten gleichermassen strukturierten Erfahrungs- und Erwartungshorizonte eines sich immer stärker differenzierenden Publikums.
Die Reihe Refigurationen möchte die vielfältigen Facetten des Themas systematisch in transdisziplinärer Perspektive ausloten. Sie versteht sich als aktuelles Forum eines Literatur- und Kunstwissenschaft verbindenden Dialoges, der methodische Fragen an zentralen Themen der europäischen Geistesgeschichte entwickelt und erprobt.
Topics
The reception of Boccaccio’s works began early on, throughout Europe. This is reflected impressively in the splendidly illuminated manuscripts of Filocolo, Filostrato and Teseida, De casibus virorum illustrium, De mulieribus claris, and The Decameron. The stories of The Decameron, an entertaining and profound universe illustrating the all-too-human, were depicted on wedding chests, and in panel paintings and wall frescoes. They were brought into the modern age primarily by Pier Paolo Pasolini’s film re-enactment dating from 1971. This volume focuses on Boccaccio’s drawings and the development of his portrait iconography, the illuminated manuscripts and their courtly patrons, and on the impact of The Decameron and its stories, which are so significant in art history and theory.
Petrarch intensively examined the visual arts of his time. He possessed a Madonna painting by Giotto and commissioned Simone Martini to create the unique frontispiece of his codex on Vergil. His works are key texts with respect to the discovery of the landscape and humanistic villa culture as well as the female portrait and the triumphant iconography of the Renaissance and the Baroque. The myth of the poet-prince associated with Petrarch has continued to offer a productive projection screen for both literati and artists up to modern times. The texts in the book open up new perspectives on central aspects of Petrarch’s life and work and his importance as a charismatic phenomenon in the history of European art in a dialogue between literary studies and art history.
With "La Gerusalemme liberata", Torquato Tasso revived the ancient genre of epic poetry. Already during his lifetime, his work became subject to an intensive discourse on the images used – both the military events of the crusades, and the tragic love stories moved artists and the public. At the same time, "Discorsi dell’arte poetica" became the blueprint for the theory and practice of historic visual art. Around 1800, the focus finally moved to the personality of the poet as a model of the modern artist who suffers in and from the world.
In a dialog between literary science and art history, new research is presented on the subject of Tasso and the pictures. The focus is on the ekphrastic tradition and important artistic interpretations of Tasso in pictures – like that of Nicolas Poussin.
This book is an inquiry into Dante and the visual arts, beginning from early portraits of Dante and the famous ekphrasis at the beginning of the Purgatorio, and extending to the sources for Dante’s "visibile parlare," his relationship to Giotto, Dante illustrations in manuscript and printed editions, and the great interpretations of Dante by Donatello, Michelangelo, Blake, Delacroix, and Rodin.
