Cinzio

Cinzio:

see Giraldi, Giovanni BattistaGiraldi, Giovanni Battista
, 1504–73, Italian author, known also as Cinthio, Cintio, Cinzio, or Cyntius. He wrote tragedies, lyric verse, and tales. Some of the stories in his Ecatommiti
..... Click the link for more information.
.
References in periodicals archive ?
23) Anche la settima novella della sesta deca de Gli Ecatommiti di Giraldi Cinzio presenta la strumentalizzazione del corpo della cortigiana come oggetto di scambio tra due amici.
Segue l'analisi di una celebre riscrittura, quella ad opera di Giraldi Cinzio che, in Ecatommiti X, 4, propone attraverso il personaggio di Sofronia una rinnovata Alatiel la quale offre una lezione morale opposta a quella di Decameron II, 7.
Ciceronian Controversies contains the literary exchanges between Angelo Poliziano and Paolo Cortesi (mid-1480s), Gianfrancesco Pico and Pietro Bembo (1512-13), Giambattista Giraldi Cinzio and Celio Calcagnini (1532-37), and selections from the treatises of Antonio Possevino (1593-1603).
As Mann points out, the few poems by authors other than Guarini reserve some surprises because of their somewhat retrospective character: a sonnet by Giusto de' Conti (a poet active in the first half of the fifteenth century), two sonnets by Giovanni Battista Giraldi Cinzio (1504-1573), a sonnet by Girolamo Muzio (1496-1576), and a sonnet by Bernardo Tasso (1493-1569).
Giambattista Giraldi (1504-1573), an Italian university teacher, scholar, poet, short-story writer and dramatist, was also called Cinzio or Cinthio.
Italian historians from Raffaello Morghen on have underscored popular religiosity and heresy as important motors of reform, even if these movements were ultimately stifled or coopted by Rome: Morghen, Gregorio VII, especially 27-40, 49-59; Giovanni Miccoli, Chiesa Gregoriana: Ricerche sulla Riforma del secolo XI (Florence: La Nuova Italia, 1966); Cinzio Violante, "La reforme ecclesiastique du XIe siecle: une synthese progressive d'idees et de structures opposes," Le Moyen Age: Revue d'histoire et de philologie 97 (1991): 355-65; and the discussion of John Howe, Church Reform and Social Change in Eleventh-Century Italy: Dominic of Sora and His Patrons (Philadelphia: University of Pennsylvania Press, 1997), xiv-xviii.
Because it is the first tragedy published by an Italian woman and as such has historical value, even if more suited to be read rather than to be performed, a characteristic shared with the author's contemporaries and recognized already by Giraldi Cinzio who "has even argued that most tragedies were better suited for printing than for performance" (32).
He is good at conveying an understanding of the motives of the churchmen from whom Marenzio received patronage: Cardinals Christoforo Madruzzo, Luigi d'Este, Ferdinando de Medici (later to be Duke Ferdinando I of Tuscany), Alessandro Montalto, and Cinzio Aldobrandini.
16) In another passage, Cinzio also refers to Sannazaro (who was represented in Giolito's second volume, first published in 1547), as well as to "il giudicioso Navaieri e il buon Molza" ("the judicious Navagero and good Molza" (Dei romanzi 197; On Romances 145).
The body of his host at the Hermitage of San Vito, Cola di Cinzio, has been hideously deformed by work: "Le sue membra erano deformate dalle rudi fatiche: dall'opera dell'arare che fa sorgere la spalla sinistra e torcere il busto, dall'opera del falciare che fa tenere le ginocchia discoste, dall'opera del potare che curva in due la persona, da tutte le opere lente e pazienti delia coltivazione" (180).
Includes: Luciana Miotto, "Grottes et nymphees dans les premieres villas du Cinquecento"; Chiara Lastraioli, "'Un monde en forme d'ile': Espace geographique et espace maginaire dans l'Isolario de Tommaso Porcacchi"; Alessandra Villa, "Deux ou trois paradigmes pour une lecture de l'espace dans les Satires de L'Arioste"; Silvia D'Amico, "Realite et imaginaire dans Roma de Germain Audebert"; Alain Godard, "L'Egle de Girarldi Cinzio et l'utilisation de l'espace de la scene"; Nella Bensimon, "'Non sai dove tu sse?
Ulteriori, espliciti segni di tale spinta narrativa si colgono appunto nella novella XXXIII ("I due amanti senesi"), una delle piu fortunate del Novellino, fonte di Luigi Da Porto e di Bandello e poi, tramite questi e il Giraldi Cinzio, di Shakespeare per il dramma veronese di Romeo e Giulietta.