Il culto della croce e la poesia per immagini: il caso della granadiglia nel diciassettesimo secolo

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Abstract

[automatically translated] The article Focuses on an unknown phenomenon developed Within the frame of the Counter-Reformation Italy, in cui interact the Catholic faith and a sort of transfer from painting to literature. At the time, the Latin-American flower maracock (passion fruit), renamed granadilla by the Spanish conquistadors, was Transformed by the Jesuits into Flos passionis / passionflower, Whose components were forced to Represent Christ crucifixion. From 1608 to the 1660s, priests and poets, like the well-known and GB G. Botero Marino, wrote poems on the passionflower on the basis of some unreal images spread by the Jesuits. Aiming at experiencing a new form of ancient ékfrasis, they had described the Passionflower without any reference to the authentic flower. These poets and intellectuals Dealt with different paradigms Employing metaphors to give the flower a distorted meaning presenting it either as the book of nature, or as the symbol of a mysterious gift given by God, in cui are contained Both the "officium occultandi" and the "ratio docendi". All These strategies had the final goal to consider the flower in nature as a means to reveal the secrets of Christ's Passion after His death. However, the comparison among poems and botanical Treatises shows a diminished interest about this kind of "Ut Pictura Poesis", especially When the descriptions and the drawings of the true Granadilla increased At without any religious implications since the 1630s. Both are contained in cui the "officium occultandi" and the "ratio docendi". All These strategies had the final goal to consider the flower in nature as a means to reveal the secrets of Christ's Passion after His death. However, the comparison among poems and botanical Treatises shows a diminished interest about this kind of "Ut Pictura Poesis", especially When the descriptions and the drawings of the true Granadilla increased At without any religious implications since the 1630s. Both are contained in cui the "officium occultandi" and the "ratio docendi". All These strategies had the final goal to consider the flower in nature as a means to reveal the secrets of Christ's Passion after His death. However, the comparison among poems and botanical Treatises shows a diminished interest about this kind of "Ut Pictura Poesis", especially When the descriptions and the drawings of the true Granadilla increased At without any religious implications since the 1630s.
Original languageItalian
Pages353-370
Number of pages18
Publication statusPublished - 2011

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