Théologie et poétique : le De partu Virginis de Jacques Sannazar dans l'histoire de l'humanisme napolitain
TL;DRAbstract
Jacopo Sannazaro's De partu virginis (Naples, 1526) gives the opportunity to study the concord of sacred and profane letters in Naples at the end of the 15th century and at the beginning of the 16th. Giles of Viterbo exercised a very deep influence on Sannazaro and the aging Giovanni Pontano, adding a chapter to the tradition of Petrarch and Boccaccio. Thus Sannazaro was induced to define a christianized Parnassus that could unify the literary leisure and the monastic retreat. The cooperation of theology and poetry in the De partu virginis is above all perceptible in the relationship between the sensitive light and the bodily eye, inducing another one between the intelligible light and the eye of the soul. Sannazaro's project also consists in putting the profane beauty and images at the service of theological expression. The De partu virginis is thus a mirror to pre-tridentine christian humanism.
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Jacopo Sannazaro's De partu virginis (Naples, 1526) gives the opportunity to study the concord of sacred and profane letters in Naples at the end of the 15th century and at the beginning of the 16th. Giles of Viterbo exercised a very deep influence on Sannazaro and the aging Giovanni Pontano, adding a chapter to the tradition of Petrarch and Boccaccio. Thus Sannazaro was induced to define a christianized Parnassus that could unify the literary leisure and the monastic retreat. The cooperation of theology and poetry in the De partu virginis is above all perceptible in the relationship between the sensitive light and the bodily eye, inducing another one between the intelligible light and the eye of the soul. Sannazaro's project also consists in putting the profane beauty and images at the service of theological expression. The De partu virginis is thus a mirror to pre-tridentine christian humanism.
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