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Manzoni and the aesthetics of the Lombard Seicento : art assimilated into the narrative of I promessi sposi

Author: Glenn Palen Pierce
Publisher: Lewisburg [Pa.] : Bucknell University Press ; London : Associated University Presses, ©1998.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
This well-illustrated study proposes an interdisciplinary reading of the nineteenth-century historical novel by the Italian author Alessandro Manzoni, I promessi sposi [The betrothed]. It is based on the premise that the author successfully identified artistic and dramatic icons typical of the seventeenth century he was recreating, that those icons were used by the author as historical documents, and that they
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
Pierce, Glenn Palen.
Manzoni and the aesthetics of the Lombard Seicento.
Lewisburg [Pa.] : Bucknell University Press ; London : Associated University Presses, ©1998
(OCoLC)605448196
Named Person: Alessandro Manzoni; Alessandro Manzoni; Alessandro Manzoni; Alessandro Manzoni
Document Type: Book
All Authors / Contributors: Glenn Palen Pierce
ISBN: 0838753671 9780838753675
OCLC Number: 37688370
Description: 253 pages : illustrations ; 24 cm
Responsibility: Glenn Pierce.

Abstract:

This well-illustrated study proposes an interdisciplinary reading of the nineteenth-century historical novel by the Italian author Alessandro Manzoni, I promessi sposi [The betrothed]. It is based on the premise that the author successfully identified artistic and dramatic icons typical of the seventeenth century he was recreating, that those icons were used by the author as historical documents, and that they consequently effect an aesthetic influence on his narrative.

Recognizing the importance of the moral and religious convictions that invest the novel, Pierce approaches the text not from the traditional perspective that has dominated Manzoni studies - of interpretation of the personal religious and intellectual convictions alone having inspired it - but rather on the various ways in which period art and theater, also imbued with deep religious motivation, make their way stylistically into Manzoni's realistic narrative style.

Aligning these historical treatises with what little Manzoni said about art in his critical treatises, justifies a methodology that combines elements of ekphrasis and a comparison of the variants from the first to the final version of the novel. Such methodology allows us to identify how both dramatic and pictorial influences common in seventeenth-century Lombard art manifest themselves in Manzoni's narrative constructs.

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