vittoria colonna sonnets for michelangelo

In Ferrero and Müller, Carteggio, 487–518, 511–13.Īretino, Giovanni Pollio.

“Strong Mothers, Strong Daughters: The Representation of Female Identity in Vittoria Colonna’s ‘Rime’ and ‘Carteggio.’ ” Italica 77:311–30.Īlicarnasseo, Filonico. To conclude, I discuss the ways in which we can integrate the Trecento tradition into Colonna’s conception of grace and prophetic message of renovatio.

In part 3, I analyze Colonna’s exegesis of the penitent Magdalene in the light of Catherine’s political reading of the same character. In part 2, Colonna’s sacred charisma(s) is related to Catherine’s penitential and political model, thus identifying her Vita and epistles as a very possible literary source that Colonna could have used in her religious output and self-identification. Those descriptions are then incorporated into a comparison of the schisms that shaped Christianity in Catherine’s times, namely the Avignon Papacy, and those of the Lutheran Reformation. In part 1, I begin by tracing the mystic profile that the participants of Colonna’s reformed circles ascribed to the saint. This article proposes a way of reading Vittoria Colonna’s lyric persona in the light of Catherine of Siena’s religious writings and philosophy of the self. (Feb.Vittoria Colonna Catherine of Siena Avignon Sack of Rome Schism Spirituals Mary Magdalen Early Modern Women Writers Women Reformers Legacy Abstract Targoff’s well-researched, thoughtful biography reveals Colonna as a complex woman who turned grief and a spiritual quest into a renowned literary reputation.

Colonna also became part of the failed Catholic reformation movement as a result, the Vatican compiled Inquisition documents listing her “heretical beliefs.” The unpublished documents and other contemporary sources Targoff presents, along with lines from the sonnets, illuminate Colonna’s reformist tendencies. Like her poetry, Colonna’s life centered on both the secular and the sacred her friendship with Michelangelo and occasional political involvement contrasted with her frequent convent stays. Targoff provides several helpful translations of Colonna’s poems, accompanied by clear explications of her struggles with mourning and spirituality, which her letters also documented. But her romantic paeans to her late husband and religious sonnets encouraged other women to publish and inspired established male poets to ask for her elegant literary critiques of their work. Humble despite her family’s high stature, Colonna was shocked when her literary work was published. Targoff ( Common Prayer), professor of English and cochair of Italian studies at Brandeis University, paints Vittoria Colonna (1492–1547) as an embodiment of the Italian Renaissance in this enjoyable narrative, noting Colonna’s intense religiosity and role as the first published female Italian poet.

Vittoria colonna sonnets for michelangelo