Aretino's Satyr : : Sexuality, Satire, and Self-Projection in Sixteenth-Century Literature and Art / / Raymond Waddington.

• Superior document: Title is part of eBook package: De Gruyter UTP eBook-Package Backlist 2000-2015
• VerfasserIn: Waddington, Raymond,
• Place / Publishing House: Toronto : : University of Toronto Press, , [2016]; ©2003
• Year of Publication: 2016
• Language: English
• Series: Toronto Italian Studies
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Illustrations --; Acknowledgments --; Introduction --; Note on Texts, Translations, and Citations --; Abbreviations --; 1. Ostentatio genitalium: Revaluing Sexuality --; 2. Aretino and Print Culture --; 3. The Better Image: Portraits in Words, Wood, and Bronze --; 4. Satyr and Satirist --; 5. Serious Play: From Satyr to Silenus --; Epilogue: Titian's The Flaying of Marsyas --; Notes --; Bibliography --; Name Index --; Subject Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781442670976; 9783110667691; 9783110490954
• DOI: 10.3138/9781442670976
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Raymond Waddington.

Pietro Aretino's literary influence was felt throughout most of Europe during the sixteenth-century, yet English-language criticism of this writer's work and persona has hitherto been sparse. Raymond B. Waddington's study redresses this oversight, drawing together literary and visual arts criticism in its examination of Aretino's carefully cultivated scandalous persona ? a persona created through his writings, his behaviour and through a wide variety of visual arts and crafts.In the Renaissance, it was believed that satire originated from satyrs. The satirist Aretino promoted himself as a satyr, the natural being whose sexuality guarantees its truthfulness. Waddington shows how Aretino's own construction of his public identity came to eclipse the value of his writings, causing him to be denigrated as a pornographer and blackmailer. Arguing that Aretino's deployment of an artistic network for self-promotional ends was so successful that for a period his face was possibly the most famous in Western Europe, Waddington also defends Aretino, describing his involvement in the larger sphere of the production and promotion of the visual arts of the period.Aretino's Satyr is richly illustrated with examples of the visual media used by the writer to create his persona. These include portraits by major artists, and arti minori: engravings, portrait medals and woodcuts.