Alessandro Tassoni


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Tassoni, Alessandro

 

Born Sept. 28, 1565, in Modena; died there Apr. 25,1635. Italian poet.

Tassoni set forth his literary and aesthetic views in Remarks on Petrarch’s Poetry (1609) and in the last two books of his encyclopedic Diverse Thoughts (1608–20); in these works he rejected the classicistic Petrarchism of the 16th century. In his Philippics (1614–15) and Reply to Socinus (1617), Tassoni advocated national independence for Italy.

Tassoni’s most outstanding work was The Rape of the Bucket (written 1614–15, published 1622), which founded the genre of the heroicomic epic poem. The work satirized the feudal structure of a fragmented Italy.

WORKS

La secchia rapita: Rime e prose scelte. Edited by G. Ziccardi. [Turin, 1968.]
In Russian translation:
In Khrestomatiia po zapadno-evropeiskoi literature XVII veka, 2nd ed. Compiled by B. I. Purishev. Moscow, 1949.

REFERENCES

De Sanctis, F. Istoriia ital’ianskoi literatury, vol. 2. Moscow, 1964. (Translated from Italian.)
Artamonov, S. D., and R. M. Samarin. Istoriia zarubezhnoi literatury XVII veka, 2nd ed. Moscow, 1963.
Studi tassoniani. Modena, 1966.
Puliatti, P. Bibliografía di A. Tassoni, vols. 1–2. Florence, 1969–70.

R. I. KHLODOVSKII

References in periodicals archive ?
Nel presupposto di un pubblico che abbia con tali forme retoriche tanta dimestichezza da poter cogliere richiami allusivi e riferimenti testuali, il modenese Alessandro Tassoni formula una precisa distinzione tra i generi letterari che si propongono di formulare un ritratto edificante del potere e delle sue azioni.
Como ejemplo propone a varios artistas, como Alessandro Tassoni, quien considero a Homero una especie de "viejo mentiroso y embaucador de las almas simples" (p.
Si pensi al coevo Alessandro Tassoni, salito col tempo al ruolo del primo e sommo contestatore degli antichi.
A short final chapter examines how self-commentary changed after the Renaissance, by reviewing the self-commentary of Alessandro Tassoni and later works in the Baroque and Enlightenment age by Benedetto Menzini and Antonio Conti.
Giuseppe Ongaro discusses Cremonini's support of Aristotle on innate heat against the Galenist Pompeo Caimo, and Antonio Daniele writes about the disputation among Cremonini, Alessandro Tassoni, and Giuseppe degli Aromatari over Petrarch and the authority of Aristotle's poetics.
Among his numerous prose works, the most interesting are an attack on Petrarch and his followers, Considerazioni sopra le rime del Petrarca (1609; "Observations on Petrarch's Poems"), together with a collection of philosophical, literary, scientific, and political thoughts, Dieci libri di pensieri diversi di Alessandro Tassoni (1620; "Ten Books of Diverse Thoughts of Alessandro Tassoni").
L'ultimo capitolo conclude il panorama notando come gli autocommenti di autori successivi, come quelli di Alessandro Tassoni, Benedetto Menzini o Antonio Conti, perdano la comunanza con la poesia che contraddistingueva i loro predecessori, avvicinandosi in questo modo ai commentari canonici.
The second section of the Struever Festschrift contains live essays by art historians, including Melinda Schlitt's analysis of two frescoes by Vasari and Salviati as examples of what she calls a "rhetoric of exemplarity," Elizabeth Cropper's demonstration that aspects of the querelle des anciens et des modernes were anticipated in Alessandro Tassoni's Pensieri diversi of 1608, and Mary Pardo's complex piece that starts as an attempt to identify the "Masaccio" referred to in the dedication of Alberti's Della pittura and winds up as a richly detailed, historical contextualizing of that treatise and a striking interpretation of Alberri's notion that the goal of painting is the establishment of a civil relationship between the beholder and the artist.
Il caso di Cervantes permette a Snyder di sottolineare la duplice natura del loro rapporto con il paese che visitavano: lo scrittore spagnolo, che arrivo in Italia nel 1559 e vi rimase per sette anni facendo il cortigiano, il cameriere e il militare, imito Folengo, Pulci, Berni; ma gli autori italiani del Seicento lo imitarono a loro volta; Alessandro Tassoni, rifacendosi esplicitamente al Don Chisciotte, cerco, nella Secchia rapita 'di parodiare l'epica tassiana, proprio come aveva fatto Cervantes nei riguardi dei romanzi cavallereschi spagnoli' (585).