By Guido Ruggiero
Mining the wealthy Venetian information, specifically the strangely special files of Venice's personal department of the Roman Inquisition, Guido Ruggiero presents a strikingly new and provocative interpretation of the top of the Renaissance in Italy. during this boldly dependent paintings, he develops 5 narrative money owed of person encounters with the Inquisition that illustrate the double-edged metaphor of the way passions have been either certain through overdue Renaissance society and have been noticeable in flip as binding humans. during this method new views are opened on magic, witchcraft, love, marriage, gender, and self-discipline on the point of the neighborhood and past. Witches, courtesans, prostitutes, girls healers, nobles, Cardinals, and renegade clergymen and priests converse from those pages describing their lives, ideals, hopes, fears, and lies. With an innovative aptitude for storytelling and impeccable scholarship, Ruggiero exposes the wealthy complexity of the tradition and poetics of the standard on the finish of the Renaissance and illuminates a formerly unexplored bankruptcy in Italian heritage.
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Additional info for Binding Passions: Tales of Magic, Marriage, and Power at the End of the Renaissance
As the correct place for licit sexuality, marriage had little chance of success and, as a result, many marriages were dishonest and a tissue of lies. Thus Aretino and his characters, Nanna, Antonia, and Pippa, could say to their readers that there was only one honest life for women in the Renaissance—that of the prostitute—and they could be heard. In the Sei giornate Aretino had turned the Renaissance world of marriage on its head and, consciously or merely moved by the inherent illogic of the structures of the dominant discourse, he did so by attacking the very ideological base of the central institutions that placed, disciplined, and correctly bound the dangerous passions of women in society: the honesty of marriage and the convent.
20 Laura's give-and-take with the Holy Office reveals a shared standard; notwithstanding the claims to the contrary, Andriana's clients revealed that there was little that was common in her prostitution. Any doubt that remains is put to rest by a letter in the Medici Archives in Florence written to the Duke by one of his men in Venice. "21 Andriana was not a common whore but a "famous courtesan," the type of high-class, refined prostitute for which Venice had already become well known. And as a courtesan, she was famous enough to have her binding of the passions of Marco Dandolo brought to the attention of the Duke of Florence.
Although Laura claimed to have sought permission from the correct authorities, there had not been time to post bans, as the new marriage regulations of the Council of Trent required. Before Trent the Church had required solely the consent of the couple involved to constitute a marriage. Such a straightforward requirement had created, however, a host of problems. Most significantly, an exchange of consent was virtually impossible to discipline and control by Church, family, or government. As a result, when the fathers of the sixteenthcentury Church met at Trent at midcentury to define the parameters of their faith, they were anxious to impose a tighter discipline on marriage.
Binding Passions: Tales of Magic, Marriage, and Power at the End of the Renaissance by Guido Ruggiero