Sonetti lussuriosi
Sonetti lussuriosi (“Voluptuous sonnets”) or Sonetti sopra i sedici modi (sonnets over the 16 positions ), “ I modi ” for short , is the name of a collection of obscene burlesque tail sonnets by the unconventional Tuscan Cinquecento poet Pietro Aretino based on pornographic engravings by the copperplate engraver Marcantonio Ra .
“ Aretino owes much of his fame to this text - such a 'gloria' may be a little disreputable. Because we are dealing with a scandalous work that outraged moralizing thinkers as early as the Renaissance and that research to this day mostly only touches with pointed fingers . "
Printed Hardly (1524), all copies of this "were small Kamasutra Renaissance" , this " original text of modern pornography " at the behest of the Medici -Papstes Clement VII. By the censor banned and burned. For 400 years , the work “ Sonetti sopra i XVI modi ” was considered lost forever, until 1929 a bibliophile collector, Max Sander, reported on the sensational rediscovery of the Aretino Fund in the magazine for book lovers .
Since then, this unique piece has been sold several times and auctioned twice. In 2006 it achieved EUR 325,600 at Christie's .
history
Emergence
Three famous figures of the Italian Renaissance were involved in the creation of the " Modi " : the painter Giulio Romano , the copperplate engraver Marcantonio Raimondi and the poet Pietro Aretino :
" The scandal of the 'modes' took the legend of its beginning, when Giulio Romano , the famous pupil of Raphael , the design of the 'Sala di Constantino' had been transferred to the Vatican, was angry about the very poor pay of the Pope .. . One day he is said to have drawn sixteen positions of love on the walls for himself for pleasure and as an expression of his protest . "
The graphic artist Marcantonio Raimondi made sixteen pornographic copperplate engravings based on Giulio Romano's drawings, which were soon in circulation in Rome and also in church circles. Pietro Aretino, who was friends with Raimondi, wrote a poem for each of the engravings. In the sonnets, the poet lets heterosexual couples communicate with each other in an act of love in obscene vocabulary, in hearty vulgar vernacular. He is not afraid to provoke by crossing all shame boundaries and breaking with the spiritualized Petrarkist tradition.
" Il divino ", as his admirers apostrophized it, had a book printed with the engravings and sonnets around 1524, the title probably being " Sonetti sopra i XVI modi ":
“ The originals were copperplate engravings; to print text underneath would have required a double print run, and the wide format of the coppers would not have matched the narrow sonnets. ... It would be very possible that a wood cutter would have been commissioned to reduce the size of the coppers and bring them to a size that matched the typographical arrangement of the sonnets. "
As soon as they were printed, all copies of this “ original text of modern pornography ” were banned by the censors and burned at the behest of the Medici Pope Clemens VII . The Pope had the engraver Marcantonio Raimondi thrown into prison. On July 28, 1525 - with a dagger - an assassination attempt on Pietro Aretino was carried out, which the "sinful poet" survived seriously injured. Aretino no longer felt safe in Rome and fled to Venice via Mantua .
The book with the engravings and sonnets seemed lost forever.
Aretinofund ("Toscanini Band")
In 1928 the antiquarian Walter Toscanini, son of the famous Italian conductor Arturo Toscanini , discovered and acquired a copy of this " Sonetti sopra i XVI modi " print that was believed to be lost forever. Max Sander, a bibliophile collector, reported this sensational rediscovery in the magazine for book lovers in 1929 in his essay " An Aretino Find " , in which he did not reveal the name of the finder or the precise circumstances of the find. Max Sander was convinced that the chance find was the lost, illustrated copy of the " Modi " that Il divino Aretino had mentioned in a letter of thanks to the diplomat Cesare Fregoso of November 9, 1527:
« Come forse desidera Vostra Signoria illustrissima (a la cui grazia mi raccomando) il libro dei Sonetti e de le figure lussuriose, ch'io per contracambio le mando . Di Venezia il IX. di Novembre MDXXVII. »
“Since your High Born (whose grace I recommend myself) may wish to have the book of sonnets and voluptuous engravings, I will send it to you in return. Venice, November 9, 1527. "
The rediscovered opusculum was bound together with four other erotic texts not written by Aretino:
- La Puttana errante (author: Lorenzo Veniero; poem in four songs, a parody of chivalric novels , written around 1530).
- La Zaffetta (Author: Lorenzo Veniero; story of a courtesan in verse).
- Il Manganello (Author: anonymous; The truncheon , filthy humiliating poem on women).
- Processus contra ser Catium Vinculum (Author: anonymous; reconstruction of a fictitious criminal process, a “prose in filthy macaronic Latin ”).
“ The format of the tape is 160 x 100 millimeters, thickness about 12 mm; Soft parchment cover with two silk green straps, green cut with red dots . "
The very famous and notorious “ Sonetti sopra i XVI modi ” form the end of the anthology . Sonnets 5 and 6 and the two associated woodcuts are missing. There are also two epilogue sonnets: Epilogo I, Vedute avete le reliquie tute , Epilogo 2, Questi vostri sonetti fatti a cazzi .
"In terms of their printing arrangement, letters and paper, the Sonetti are a print that is independent of the four other works, also about a millimeter smaller and probably only got into the anthology because of their congenial content ."
In 1978 the collector and bookseller Hans Peter Kraus bought this edition unica at Christie's in New York. The Geneva collector Gérard Nordmann then bought it from HPKraus. He left facsimiles of the valuable book to the editors of the Edizione nazionale delle Opere di Pietro Aretino . In 2006 the unique item was auctioned again at Christie's in Paris for 325,600 euros. The new owner retains anonymity.
Aretino researchers classify this rediscovered Toscanini specimen with the symbol "T" (T1-T16, the fourteen sonnets and engravings). Thanks to the facsimiles, various editions based on “T” have since appeared: 1982 Giovanni Aquilecchia (text only, without engravings), 1984 Lynne Lawner, 1992 Poesie varie , 1992 Giovanni Aquilecchia, 1999 Bette Talvacchia, 2003 Thomas Hettche.
Analysis of the sonnets
In his critical edition of this collection of Aretian poems, the Italianist Danilo Romei presents eighteen “authentic” (Arabic numerals 1–18) and thirteen apocryphal (Roman numerals I – XIII) Sonetti lussuriosi . The way in which the poems are counted and arranged varies according to the various sources and editions of the work. In a synopsis (“ tavola ”, op.cit. Pp. 134/135) Danilo Romei juxtaposes these different numbering of the most important testimonies. Since Danilo Romei counts Proöm and Epilog , he has 18 instead of 16 sonnets, as is customary in traditional counting. This Wikipedia article follows the textual design of Edition Romei, because it is available in full on the Internet.
Tail sonnet (»sonetto caudato«)
"Aretino corresponds to the practice common in Renaissance Italy of composing poems with burlesque or satirical content as tail sonnets."
The classical sonnet is a type of poem with a fixed form and predominantly embracing rhymes . The typical Italian sonetto or " Petrarca sonnet " consists of fourteen eleven silvers (it. Endecasillabi ), which are arranged in two separate parts: in two four-line quartets and two three-line trios . This form of poetry became world famous through the Canzoniere Petrarch , through the sonnets to Madonna Laura.
Pietro Aretino sets himself apart from spiritualized Petrarkism not only through his obscene language and a directness that transcends shame . In the lyrical form, too, he breaks with the medieval tradition of imitating Petrarch and becomes an anti-Petrarchist, because il divino draws on a special form of the sonnet, the tail sonnet . His torn sonnets are a hybrid of the classic 14-line sonnet and the “ pasquinade ”, the mock sonnet with “coda” . Thus the sonetti lussuriosi represent a “counter-literature” directed against tradition, a “contrelittérature”.
The tail sonnet, it. sonetto caudato , also known as " truant sonnet ", is a seventeen-line special form of the sonnet poem type. An ( Italian ) sonetto caudato is adorned with an additional, third trio, the “Coda” (from Provencal cauda > It. Coda ; Eng. Tail, tail), the tail . The opening verse of this additional trio is shorter. It is a seven-syllable (it. Settenario ) and rhymes with the final verse of the preceding second trio.
Here as an example the second and third trios of the poem Miri ciascuno, a cui chiavando duole , sonetto 16 according to Danilo Romei's numbering,
Second trio:
V12 ne già si turbin, benché siano stanchi, (d)
V13 anzi tal giuoco par ch'ad ambi piaccia (c)
V14 sì che bramin fottendo venir manchi; (d)
Third, additional trio: ("Coda", "tail")
V15 e pur stan third e franchi, (d) (verse 15, this seven-syllable rhymes with verse 14)
V16 ansando stretti a tal piacere intenti, (e)
V17 e fin ch'ei durerà saran contenti. (e)
The Romance scholar Dagmar Reichardt asks what distinguishes this highly unusual collection of poetry from a literary perspective:
"The most revealing property of the regular eleven-syllable tail sonnets , each with three thirds and a constant rhyme scheme (abba abba cdc dcd dee), is the form of dialogue that the text realizes."
Antipetrarkism
The Sonetti lussuriosi are diametrically opposed to Petrarch's Canzoniere , they represent a burlesque counterpart to Petrarchist poetry:
“From a pragmatic point of view, a serialized reversal of the speech situation of Petrarkist women's praise takes place in the texts of the› 16 Modes ‹. If Laura and her successors are inaccessible, physical sensual pleasure averse and mute, then the women working in the sixteen positions are in the most accessible position, in the midst of sensual pleasure, and demand it in a clearly audible manner. "
In his burlesque tail sonnets, il divino inverts a certain norm, that of courtly love , which was conveyed in literary terms via trobador poetry through the style and behavior code of Petrarkism . He opposes the norm of Petrarkism with reality "that it turns out to be the reverse side of the norm in everything: the beloved is not too far and too high, but too close and too low."
The obscene opening verses
“ Un uomo beneducato non pronunzierebbe il suo nome innanzi a una donna. "
" A well-bred man would not pronounce his name in front of a woman ."
Here are the incipits , that is, the obscene opening verses of the eighteen authentic sonnets including the prose and the epilogue , in the order and spelling of the critical edition by Danilo Romei:
- ( Proöm ) Questo è un libro d'altro che sonetti
- - Fottiamci, anima mia, fottiamci presto, (let's fuck my soul, quick)
- - Mettimi un dito in culo, caro vecchione, (dear old man, stick a finger up my ass)
- - Questo cazzo voglio io, non un tesoro: (I prefer this cock to a treasure)
- - Quest'è pur un bel cazzo e lungo e grosso (This is really a beautiful, long and thick tail)
- - Perch'io prov'or un sì solenne cazzo (Because I try such a thick cock)
- - Sta 'cheto, bambin mio, ninna ninnà. (Hold still, my little one, make Hey, Hey)
- - O '' l metterete voi? Ditel, di grazia: (Where do you want to go, please tell me)
- - E 'saria pur una coglioneria, (even if it were stupid)
- - Tu m'hai il cazzo in la potta, e 'l cul mi vedi (you have the cock in my cunt and you look at my ass)
- - Io 'l voglio in cul, tu mi perdonerai. - (I want him in the ass, you will forgive me)
- - Apri le cosce, acciò ch'io vegga bene (open the thighs so I can see well)
- - Marte, maledettissimo poltrone, (Mars, you bad patron)
- - Dammi la lingua e appunta i piedi al muro, (Give me your tongue and support yourself with your feet on the wall)
- - Non tirar, futtutello di Cupid, (darned Cupid don't pull [the wagon] away)
- Miri ciascuno, a cui chiavando duole (Everyone who is annoyed looks at the bird)
- - Tu pur a gambe in collo in cul me l'hai (you put your legs around my neck and you're in the ass)
- ( Epilogue ) Vedute avete le reliquie tutte
Function of linguistic profanity
Aretino joins the parodistic, burlesque tradition of the Italian Renaissance:
“ Aretino portrays the proverbial licentiousness of the Renaissance in all its crudity. He deliberately violates the shame threshold and uses the method of burlesque poetry to provide a counterpart to the transfiguration of love . "
On the one hand, the linguistic obscenity of the modes has been seen as a liberation against socially fixed norms in matters of sexuality. On the other hand, it has been interpreted as a satirical criticism of deviations from sexual norms, such as homosexual tendencies or the practices of clerics.
Example: " Miri ciascuno "
The cut sonnet Miri ciascuno, a cui chiavando duole , No. 16 after Danilo Romei, serve as an example , in other exercises sonetto n ° 15.
This sonnet describes a woodcut after Marcantonio Raimondi . During a standing sex act, a completely naked man carries his partner away.
V01 Miri ciascuno, a cui chiavando duole (a)
V02 l'esser sturbato da sí dolce impresa, (b)
V03 costui ch'a simil termine non pesa (b)
V04 portarla via fottendo ovunque vuole; (a)
V05 e senza gir cercando ne le scole (a)
V06 per saper verbi grazia a la distesa (b)
V07 far ben quel fatto, impari senza spesa (b)
V08 qua che fotter potrà chiunque ama e cole. (a)
V09 Vedete come ei l'ha su con le braccia (c)
V10 sospesa con le cambe alte ai suoi fianchi (d)
V11 e par che per dolcezza si disfaccia; (c)
V12 né già si turbin, benché siano stanchi, (d)
V13 anzi tal giuoco par ch'ad ambi piaccia (c)
V14 sì che bramin fottendo venir manchi; (d)
V15 e pur stan thirdi e franchi, (d)
V16 ansando stretti a tal piacere intenti, (e)
V17 e fin ch'ei durerà saran contenti. (e)
Everyone who is annoyed
to be disturbed
while fucking , with such a sweet undertaking, looks like someone for
whom it is not too difficult
carries them away and fucks wherever they want.
And without looking for it or going
to school to study it in great detail,
here you can learn for free how to do it right
, anyone who loves and adores can fuck.
see how he holds her with his arms up
with her legs up to his hips
and how she melts away
with joy it doesn't bother her, even if they are exhausted on
the contrary, the two like the game so
loudly they bang until they finish
and they stand
panting erect and free at the pleasure you indulge in,
and as long as it will last you will be satisfied
The Italianist Caroline Fischer interprets " Miri ciascuno a cui chiavando duole " and the accompanying woodcut as follows:
“ No bed or divan supports the lovers in their activities. Not even the protective walls of a room surround them. In the great outdoors, the standing galan holds his companion, who wraps his arms and legs around him. Her flowing hair is supposed to testify to the vehemence of this encounter. Just as this engraving is fundamentally different from the others, the poem also has different characteristics. It's not a dialogue, it's a commentary from the scene. The author probably thought the two combatants were too involved and too breathless for them to have many words to say in the heat of the moment. "MIRI ciascuno" (Everyone is watching) begins the sonnet. In the following, too, the viewer is addressed directly and the advantages of upright love play are presented to them, so that there is a particularly close connection between image and text . "
The pornographic stitches
With I modi , you don't really know which is more famous: the illustrations or the accompanying Sonetti lussuriosi :
“ ... it is not even certain whether the pictures illustrate the poems or whether the sonnets were written as 'accompanying music' to already existing illustrations. The 16 drawings by Giulio Romano , which Marc Antonio Raimondi then engraved in copper, were probably first available. "
The few surviving illustrations
« Dai disegni di Giulio Romano l'incisore Marcantonio Raimondi ricavò sedici calcografie. Spesso si indica come unico esemplare integro sopravvissuto la planche n ° 1 della serie servata nell'Enfer del Cabinet des Dessins et des Estampes della Bibliothèque Nationale de France, segnata Reserve AG 2, che è stato più volte pubblicate . »
“The engraver Marcantonio Raimondi made sixteen engravings from the drawings by Giulio Romano. Planche No. 1, which is listed in the “ Enfer ” of the Drawings and Engravings Department of the Bibliothèque Nationale de France [BnF] under the shelf mark Réserve AG 2, is often referred to as the only surviving copy that has been published many times. "
The English scholar and art historian James Grantham Turner questions the authenticity of the copy shown above, "planche n ° 1":
The most compelling sheet (the 'Paris position I' or P1) is probably a pen-ink replica from the nienteth century.
"The most convincing sheet, ('Pariserstellung I' or P 1), is probably an ink and pen drawing, a replica from the 19th century."
«Arétin» as a generic name
" In art history, the name Aretino is used to refer to" lewd "images ."
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In France, comparable erotic representations are referred to by the generic name "L'Arétin".
In his memoirs , the French writer Brantôme reports on the eroticization of the senses by looking at the engravings and reading the voluptuous sonnets . In 1585, in the famous sub-volume La Vie des dames galantes , he describes piquant details of the sexual life of the nobles of his time and mentions the textbook function of this Arétin :
" Husbands teach their wives the most slippery practices and practice the monstrous figures of Aretino with them, with which they only stir up the glow in their bodies a hundred times ... I knew another nobleman who was in love with a beautiful and respectable lady and knew that she was a had an Aretino with pictures in her bedroom ... he found that she had learned her lessons well. He knew of her that she had learned those good doctrines and tricks either from her husband or from others; nevertheless she denied and said that neither one nor the other were her first teachers, but Mother Nature, who is the greatest teacher. ... later she confessed that the book of Aretino had helped her very significantly. "
1787 appeared L'Arétin François , an erotic book of poetry by the French writer François-Félix Nogaret with clear illustrations by the graphic artist Antoine Borel.
In 1892, the French painter and painter and printmaker Paul Avril created aretins for sale by bluntly illustrating the sonetti lussuriosi .
censorship
“ The story of exciting readings is as much one of oppression as it is of post-fame, one of the secret libraries and pyres, but also a story of legendary prints and dazzling authors. One of the most famous is that of a slim book that was printed in 1525, immediately banned and burned, seemed lost forever and yet established the author's fame for centuries. The collection of just sixteen poems was called I modi - positions in its day, Sonetti lussuriosi they were later called, and their author Pietro Aretino was still considered the 'greatest blasphemer of modern times' for Jacob Burckhardt . "
The publication of the "Sonetti sopra i XVI modi" happened exactly at the moment when the still young invention of the printing press gave broader sections of the population access to writing and images. In order to prevent the mass dissemination of writings considered “lewd” or “heretical”, censorship institutions were set up.
- Church censorship
Shortly after Pietro Aretino's death, Pope Paul IV added all of his works to the list of forbidden books first compiled in 1559 , that is, they were placed on the index of forbidden books.
- State censorship
In public libraries, erotic and pornographic writings were withheld from the reading public for long periods of time. As Remota , these stocks came under lock and key and were kept in “literary poison cabinets”. In the francophone world such reserve collections, which are inaccessible to the general public, are called enfer (German hell ).
- Apologie Aretinos
In a letter to " Messer Battista Zatti da Brescia e cittadin romano " from Venice on December 11, 1537, written as an apology for his Sonetti lussuriosi , the Aretine presented his view of things:
“ Disperandomi del giudizio ladro e de la consuetudine porca che proibisce agli occhi quel che più gli diletta. Che male è il veder montare un uomo adosso a una donna? Adunque le bestie debbon essere più libere di noi? "
“ I despair of the unbearable public opinion and accursed customs that forbid the eyes from seeing what they like most. What's the worst of it when we see a man mount a woman? So should animals be freer than us? "
literature
Primary literature (editions)
In his list of symbols , “Tavola delle Sigle” (p. 31), the Italianist Danilo Romei describes nine different text sources that he consulted in 2013/2019 when he edited his critical edition of Sonetti lussuriosi , for example:
- (Sigel "T") "The Toscanino Book"
" Per il testo mi servo della riproduzione fotografica inserita nel primo tomo delle 'Poesie varie' dell'Edizione Nazionale delle Opere di Pietro Aretino ."
"For the text I use the photographic reproduction of the first volume 'Poesie varie' of the Edizione Nazionale delle Opere di Pietro Aretino"
- (Sigel "Dv"): Dubbi (i) amorosi, altri dubi (i) E Sonetti lussuriosi di Pietro Artino . (Love doubts, other doubts and lustful sonnets). Nella stamperia del Forno alla corona de cazzi. Printed around 1757, owned by the Bayerische Staatsbibliothek - limited preview in Google book search
- (Sigel "D"): Pietro Aretino: Sonetti lussuriosi . Place of publication: Germany around 1763, digitized manuscript, SLUB Dresden Signature: Mscr.Dresd.Ob.29 - Online , p. 55.
In 1968, the Regensburg Romanist Johannes Hösle lamented the lack of a critical edition of Pietro Aretino's works in his habilitation thesis :
" The greatest obstacle that still stands in the way of a factual examination of the personality and work of the controversial writer from Arezzo is the lack of a proper and reliable historical-critical edition of his satires, poems, letters, plays, religious writings ."
And in 1982 the philologist Fiorenzo Bernasconi criticized that there had not yet been an edition of the Sonetti lussuriosi that met philological standards: " Attualmente, non esiste nessuna edizione di sicura affidabilità ".
The Italianist Giovanni Aquilecchia, later editor of the first volume of the edizione nazionale delle opere di Pietro Aretino , received an insight into the Toscanini volume through a microfilm in the British Library . He then published in 1982 at the end of his essay: Per l'edizione critica dei Sonetti sopra i XVI modi di Pietro Aretino for the first time - critically - the text of the fourteen sonnets and the two epilogues based on the Toscanini volume.
In 1992, on the occasion of Pietro Aretino's 500th birthday, Aquilecchia's critical edition of all sonetti lussuriosi including the engravings was published. It is Volume I of the monumental Edizione Nazionale delle Opere di Pietro Aretino, laid out in 24 volumes :
- Pietro Aretino: Poetry varie , a cura di Giovanni Aquilecchia e Angelo Romano. Edizione Nazionale delle Opere di Pietro Aretino , tomo 1, Salerno Editrice, Roma 1992, ISBN 978-88-8402-095-6 , Sonetti sopra i XVI modi , pp. 103-114. (Foreword by Giovanni Aquilecchia)
In the same year Giovanni Aquilecchia, co-editor of the Edizione Nazionale delle Opere di Pietro Aretino , publishes a small volume, a critical edition of the Toscanini book (seal " T ") with sonnets and facsimiles of the engravings:
- Pietro Aretino: Sonetti sopra i 'XVI modi' . A cura di Giovanni Aquilecchia. Salerno Editrice, Roma, 1st edizione 1992, 2nd edizione 2006, ISBN 88-8402-516-8 . (It is an edition with engravings and sonnets based on the " Toscanini Book " (Sigel " T ").)
Another critical edition of the Sonetti luusuriosi was published in 2013 :
- Pietro Aretino: Sonetti lussuriosi. Edizione critica e commento di Danilo Romei. Nueva edizione riveduta correta. Lulu 2019, ISBN 978-0-244-74627-8 . (First edition Lulu 2013) - full text on archiv.org and –– PDF on academia.eu.
This critical edition by the Italianist Danilo Romei (2013/2019) can be found in full text on the Internet and therefore serves as a text basis for this Wikipedia article.
- Editions in English
- Lynne Lawner: I Modi: The Sixteen Pleasures: An Erotic Album of the Italian Renaissance: Giulio Romano, Marcantonio Raimondi, Pietro Aretino, and Count Jean-Frederic-Maximilien De Waldeck . Edited, translated from the Italian and with a commentary by Lynne Lawner. Peter Owen Publishers, London 1988, ISBN 0720607248 . - Review by Elizabeth S. Cohen. In: Journal of the History of Sexuality, Vol. 1, No. 1 (Jul., 1990), pp. 152-154. Published by: University of Texas Press. - JSTOR
- (en) Bette Talvacchia: Taking Positions: On the Erotic in Renaissance Culture . Princeton University Press, Princeton 1999, ISBN 978-0691026329 - limited preview in Google Book Search
- Editions in French
- Les sonnets luxurieux du divin Pietro Aretino / texte Italien le seul authentique et traduction littérale par le traducteur des Ragionamenti [Alcide Bonneau]. avec une notice sur les sonnets luxurieux . Publisher Isidore Liseux, Paris 1882 - Gallica
- Editions in German
- Heinrich Conrad (ed. And translator): Seals and conversations of the Divine Aretino . In it: The Voluptuous Sonnets of the Divine Pietro Aretino , pp. 31-64. Private print of the editor, 1904.
- Pietro Aretino: The sensual sonnets. Sonetti lussuriosi. Edited and translated by RR, Verlag Klaus G. Renner, Munich 1982, ISBN 3-921499-55-0 .
- Pietro Aretino / Thomas Hettche (ed.): Positions. From the beginning and the end of pornography . (Italian German), DuMont Cologne 2003 (with a foreword and three essays) ISBN 978-3-8321-7836-9 . (Review by Marcus Stiglegger : In: Ikonen. Magazine for Art, Culture and Lifestyle - Review )
Secondary literature
- Friedrich Adolf Ebert : General bibliographical lexicon. First volume. A - LFA Brockhaus Leipzig 1831, p. 87, limited preview in the Google book search
- (it) Fiorenzo Bernasconi: Bibliografia delle edizioni dei 'Sonetti lussuriosi' dell'Aretino . In: Esopo, 4 (1983), n.19, p. 21-32.
- (it) Giovanni Aquilecchia: Per l'edizione critica dei Sonetti sopra i XVI modi di Pietro Aretino. In: Filologia e critica, VII, 2, (maggio-agosto 1982), pp. 267-282.
- (it) Fiorenzo Bernasconi: Appunti per l'edizione critica dei "Sonetti lussuriosi" dell'Aretino . In: Italica, Vol. 59, No. 4, Renaissance (1982), pp. 271-283. JSTOR .
- Literary reference works
- Giorgio Bertone: Breve dizionario di metrica italiana . Einaudi , Turin 1999, ISBN 978-8806151096 - full text
- Wilhelm Theodor Elwert : Italian Metrics , reviewed and expanded edition, Franz Steiner Verlag Stuttgart 1984, ISBN 978-3-515-04204-8 .
- Analyzes
- (fr) Guillaume Apollinaire : Le Divin Arétin . In: Les Diables amoureux , idées / gallimard, 1964, (About the sonnets luxurieux pp. 68 - 80.)
- Katharina Ebrecht: Heiner Müller's poetry: sources and models . Königshausen & Naumann. Würzburg 2001, I SBN 3-8260-2055-3 - limited preview in the Google book search
- Caroline Fischer: Obscene tones. Pietro Aretino's cut sonnets . In: Horst Albert Glaser (Ed.): Approach attempts. On the history and aesthetics of the erotic in literature . Verlag Paul Haupt, Bern 1993, ISBN 3-258-04731-6 - Reading sample and limited preview in the Google book search
- Carolin (sic!) Fischer: Éducation érotique: Pietro Aretino's "Ragionamenti" in the libertine novel of France . Metzler Stuttgart 1994, ISBN 978-3476450548 (dissertation).
- (fr) Caroline Fischer: L'Arétin en France . In: Dix-huitième Siècle, n ° 28, 1996. L'Orient. pp. 367-384 - on Persée .
- Caroline Fischer: Gardens of Lust: A story of exciting reading. dtv Verlagsgesellschaft München 2000, ISBN 978-3423307680 limited preview in the Google book search
- Bernhard Huss : Pseudo-pornographic cycle. Pietro Aretinos 'Sonetti lussuriosi' as a calculated ostentation of lyrical deviations from the norm. In: Poiesis. Practices of Creativity in the Arts of the Early Modern Period. Diaphanes 2013, ISBN 978-3-03734-430-9 , pp. 215-234 - reading sample .
- Jean-Marie Goulemot: Dangerous Books. Erotic Literature, Pornography, Readers, and Censorship in the 18th Century . Rowohlt Reinbek near Hamburg 1993, ISBN 978-3499555282 .
- (French original) Jean-Marie Goulemot: Ces livres qu'on ne lit que d'une main: Lecture et lecteurs de livres pronographiques au XVIIIe siècle. Alinéa Aix-en-Provence 1991, ISBN 2-7401-0010-8 .
- Johannes Hösle : Pietro Aretino's work. Walter de Gryter & Co. Berlin 1969 - limited preview in the Google book search
- (en) Lynn Hunt (Ed.): The Invention of Pornography. Obscenity and the Origins of Modernity, 1500-1800 . Zone Books, new edition 1996, ISBN 978-0-942299-69-4 limited preview in the Google book search
- (German): The Invention of Pornography: Obscenity and the Origins of Modernity . Fischer paperback 1994, ISBN 978-3-596-12479-4
- (en) Paul Larivaille: Pietro Aretino , Editrice Salerno, Roma 1997, ISBN 978-88-8402-212-7 . Review in English by Giovanni Aquilecchia, in: Renaissance Studies, Vol. 14, No. 2 (June 2000), pp. 263-264 JSTOR
- (it) Paolo Procaccioli: Dai "Modi" ai "Sonetti lussuriosi". lL 'capriccio' dell'imagine e lo scandalo della parola . In: Italianistica, vol. 38, 2 (2009), pp. 219-237, - JSTOR
- Dagmar Reichardt : The body as the basis of a high culture. Body concept and autonomy of art in Pietro Aretino's 'Sonetti lussuriosi' . In: Claudia Gronemann: Body and Writing: Contributions to the 16th Colloquium for Young People in Romance Studies, Romanistischer Verlag, Bonn 2001, ISBN 978-3-86143-122-0 .
- Kristin Maria Steenbock: Obscenity in Pietro Aretino's 'Sonetti lussuriosi' , GRIN Verlag 2012 - eBook .
- (en) Bette Talvacchia: Taking Positions: On the Erotic in Renaissance Culture . Princeton University Press, Princeton 1999, ISBN 978-0691026329 - limited preview in Google Book Search
- (en) James Grantham Turner: Marcantonio's Lost Modi and their Copies . In: Print Quarterly, Vol. 21, No. 4, December 2004, pp. 363-384 JSTOR .
- (en) James Grantham Turner: Woodcut Copies of the 'Modi' . In: Print Quarterly, Vol. 26, No. 2, June 2009, pp. 115-12 - JSTOR .
- (en) James Grantham Turner: I Modi and Aretino: I - The 'Toscanini Volume' in Context . In: The Book Collector, LX (2011), pp. 559-70.
- (en) James Grantham Turner: I Modi and Aretino: II– The 'Toscanini Volume' Re-examined . In: The Book Collecto, LXI (2012), pp. 38-54
Web links
- Sonetti lussuriosi - on Wikisource. Italian full text of the editions of 1792 and 1986
- Pietro Aretino: A pen like a sword . Radio broadcast on SWR2 by Joachim Meißner - SWR2 Wissen , December 1, 2006. Audio file and manuscript of the broadcast are available for download.
- Article Aretino, Pietro. In: Metzler Lexikon Weltliteratur: 1000 authors from antiquity to the present . Volume 1: A - F. (Ed.) Axel Ruckaberle. Metzlersche Verlagsbuchhandlung Stuttgart 2006, ISBN 978-3476020932 - limited preview in the Google book search
- Interview Shirin Sojitrawalla interviews Thomas Hettche : Positions or the Beginning and End of Pornography , Deutschlandfunk April 23, 2003.
- (English) I modi - on: The Art and Popular Culture Encyclopedia .
- (Italian) Marte, malatestissimo poltrone (Mars, you unscrupulous patron), reading of Sonetto 12 (based on Thomas Hettche)
- (Italian) Elisa Marianini explains the genesis of the Sonetti lussuriosi
Individual evidence
- ^ A b c Ludovico Ariosto , in: Der rasende Roland , 46, 14, 3–4 - Wikisource
- ↑ Other titles in the collection are: (Latin) De omnibus Veneris Schematibus ("On all love positions"), " Corona di Cazzi " (Edition "P", Paris 1757), " The Sixteen PLeasures " (Lynne Lawner), " Positions " (Thomas Hettche). In a narrower sense, “I modi” only means the stitches. In a broader sense, the term “I modi” includes both the engravings and the associated Aretian sonetti lussuriosi.
- ↑ a b c d e f Danilo Romei: Pietro Aretino Sonetti lussuriosi. Edizione critica e commento, Lulu 2019 - archive.org
- ↑ 'I modi' - pornographic engravings - on hixtoire.net
- ↑ a b c Bernhard Huss : Pseudopornographische Zyklik. Pietro Aretinos 'Sonetti lussuriosi' as a calculated ostentation of lyrical deviations from the norm. "In: Poiesis. Practices of creativity in the arts of the early modern age. Diaphanes 2013, ISBN 978-3-03734-430-9 , pp. 215-234 - reading sample .
- ↑ Paul Larivaille: "petit Kama-sutra de la Renaissance". In: (Ed.) L'Arétin. Sonnets luxurieux. Sur les XVI postures. ( Quatrième de couverture ).
- ↑ Pietro Aretino / Thomas Hettche (ed.): Positions. From the beginning and the end of pornography . DuMont Cologne 2003, ISBN 978-3-8321-7836-9 , p. 14
- ^ Carolin (sic!) Fischer: Éducation érotique: Pietro Aretinos "Ragionamenti" in the libertine novel of France. Metzler Stuttgart 1994, ISBN 978-3476450548 (dissertation)
- ↑ a b c d e f Max Sander: An Aretino find . In Journal for Book Lovers, New Series, XXI. Volume, 3–4 (1929), pp. 50-60.
- ↑ Christie's WebSite: Bibliothèque Erotique Gérard Nordmann-Première Partie Paris April 27, 2006, SALE 5445, LOT 33 L'ARÉTIN (Pietro Aretino, 1492–1556: Sonnetti (sic!) Lussuriosi). Price realized EUR 325,600, Paris April 27, 2006 LOt 33: Sonnetti (sic!) Lussuriosi
- ↑ Erotic library auctioned for 5.66 million euros. The original edition by Pietro Aretino achieved EUR 325,600 at the Christie's auction house in Paris. In: Der Standard December 22, 2006 and Peter Dittmar: The story of the erotic 'Sonnetti (sic!) Lussuriosi' . In: Die Welt - Published on April 27, 2006
- ↑ portrait
- ↑ Pietro Aretino / Thomas Hettche (ed.): Positions. From the beginning and the end of pornography . DuMont Cologne 2003, ISBN 978-3-8321-7836-9 , p. 14
- ↑ Walter Toscanini: Le operette erotichi aretinesche , in: Il Vasari, rivista d'arte e di studi vasariani, 1961, XIX, 1, pp. 30-33.
- ^ Pietro Aretino: Sonetti sopra i 'XVI modi' . A cura di Giovanni Aquilecchia. Salerno Editrice, Roma, 1e edizione 1992, 2e edizione 2006, ISBN 88-8402-516-8 , pp. 48/49.
- ^ Pietro Aretino: Sonetti sopra i 'XVI modi' . A cura di Giovanni Aquilecchia. Salerno Editrice, Roma, 1e edizione 1992, 2e edizione 2006, ISBN 88-8402-516-8 , p. 70
- ↑ Christie's WebSite: Bibliothèque Erotique Gérard Nordmann-Première Partie Paris 27 April 2006, SALE 5445, LOT 33: L'ARÉTIN, Sonnetti (sic!) Lussuriosi. Price realized EUR 325,600, Paris 27 April 2006 - Lot 33
- ↑ Angelika Heinick: Library Nordmann. A short story of lust: erotic, collected by Gérard Nordmann, at Christie's in Paris - FAZ , April 19, 2006.
- ^ A b (it) Giovanni Aquilecchia: Per l'edizione critica dei Sonetti sopra i XVI modi di Pietro Aretino. In: Filologia e critica, VII, 2, (maggio-agosto 1982), pp. 267-282.
- ^ Lynne Lawner: I Modi: The Sixteen Pleasures: An Erotic Album of the Italian Renaissance: Giulio Romano, Marcantonio Raimondi, Pietro Aretino, and Count Jean-Frederic-Maximilien De Waldeck . Edited, translated from the Italian and with a commentary by Lynne Lawner. Peter Owen Publishers, London 1988, ISBN 0720607248 . - Review by Elizabeth S. Cohen. In: Journal of the History of Sexuality, Vol. 1, No. 1 (Jul., 1990), pp. 152-154. Published by: University of Texas Press. - JSTOR - first published in Italian: I modi nell'opera di Giulio Romano, Marcantonio Raimondi, Pietro Aretino e Jean-Frédéric-Maximilien de Waldeck a cura di L. Lawner. Longanesi , Milano 1984.
- ^ A b Pietro Aretino: Poesie varie , a cura di Giovanni Aquilecchia e Angelo Romano. Edizione Nazionale delle Opere di Pietro Aretino , tomo 1, Salerno Editrice, Roma 1992, ISBN 978-88-8402-095-6 , Sonetti sopra i XVI modi , pp. 103-114. (Foreword by Giovanni Aquilecchia)
- ^ Pietro Aretino: Sonetti sopra i 'XVI modi' . A cura di Giovanni Aquilecchia. Salerno Editrice, Roma, 1st edizione 1992, 2nd edizione 2006, ISBN 88-8402-516-8 . (It is an edition with engravings and sonnets based on the " Toscanini Book " (Sigel " T ")).
- ↑ Bette Talvacchia: Taking Positions: On the Erotic in Renaissance Culture . Princeton University Press, Princeton 1999, ISBN 978-0691026329 - limited preview in Google Book Search
- ^ A b Pietro Aretino / Thomas Hettche (eds.): Positions. From the beginning and the end of pornography . (Italian German), DuMont Cologne 2003 (with a foreword and three essays) ISBN 978-3-8321-7836-9 . (Review by Marcus Stiglegger : In: Ikonen. Magazine for Art, Culture and Lifestyle - Review ).
- ↑ apocryphal means wrongly ascribed "
- ↑ Kristin Maria Steenbock: Obscenity in Pietro Aretino's 'Sonetti lussuriosi' , GRIN Verlag 2012 - eBook .
- ^ Wilhelm Theodor Elwert : Italian Metrics , reviewed and expanded edition, Franz Steiner Verlag Stuttgart 1984, ISBN 978-3-515-04204-8 , p. 112. (§83.4)
- ↑ Francesco Petrarca: Sonnets to Madonna Laura, Italian / German. Reclam (No. 886) Stuttgart 1975, ISBN 3-15-000886-7 .
- ↑ a b Caroline Fischer: Obscene tones. Pietro Aretino's cut sonnets . In: Horst Albert Glaser (Ed.): Approach attempts. On the history and aesthetics of the erotic in literature . Verlag Paul Haupt, Bern 1993, ISBN 3-258-04731-6 - Reading sample and limited preview in the Google book search
- ^ A b Caroline Fischer: Gardens of Pleasure: A story of exciting readings . dtv Verlagsgesellschaft München 2000, ISBN 978-3423307680 limited preview in the Google book search
- ^ Giorgio Bertone: Breve dizionario di metrica italiana . Einaudi , Turin 1999, ISBN 978-88-06-15109-6 , p. 194, Lemma: sonettessa full text
- ↑ a b Dagmar Reichardt : The body as the basis of a high culture. Body concept and autonomy of art in Pietro Aretino's 'Sonetti lussuriosi' . In: Claudia Gronemann: Body and Writing: Contributions to the 16th Colloquium for Young People in Romance Studies, Romanistischer Verlag, Bonn 2001, ISBN 978-3-86143-122-0 .
- ^ Ulrich Schulz-Buschhaus : Satire or Burlesque? Comments on Berni's sonnet: Un dirmi ch'io gli presti e ch'iogli dia. In: Romanische Forschungen, 87. Vol., H. 3 (1975), page 439.
- ^ Translations into German by the main author of this article
- ↑ The prose translation into German comes from the main author of this Wikipedia article
- ↑ There is no Wikimedia Commons license for this engraving.
- ↑ BnF : Notice bibliographique n ° FRBNF40377005 - author: Waldeck , Jean-Frédéric (1766–1875), "Recueil factice formé en 1878 et concernant les gravures de Marc-Antoine pour l'Arétin"
- ^ British Museum Online Collection and I Modi, nine fragmentary engravings - Surviving fragments of Raimondi's second edition of I Modi in the British Museum
- ^ Pietro Aretino: The sensual sonnets. Sonetti lussuriosi. Edited and translated by RR, Verlag Klaus G. Renner, Munich 1982, ISBN 3-921499-55-0 .
- ↑ L'Aretin François (Wikisource)
- ↑ Caroline Fischer: L'Aretino en France . In: Dix-huitième Siècle, n ° 28, 1996. L'Orient. pp. 367-384 - on Persée .
- ^ Engravings on Wikimedia Commons
- ↑ Hearty illustrations by Paul Avril - on Wikimedia Commons
- ↑ (en) Lynn Hunt (ed.): The Invention of Pornography: Obscenity and the Origins of Modernity . Fischer Taschenbuch 1994, ISBN 978-3-596-12479-4 , p. 10. - (English original: The Invention of Pornography. Obscenity and the Origins of Modernity, 1500-1800 . Zone Books, new edition 1996, ISBN 978- 0-942299-69-4 limited preview in Google Book search)
- ^ Jean-Marie Goulemot: Dangerous Books. Erotic Literature, Pornography, Readers, and Censorship in the 18th Century . Rowohlt Reinbek near Hamburg 1993, ISBN 978-3499555282 . (French original) Jean-Marie Goulemot: Ces livres qu'on ne lit que d'une main: Lecture et lecteurs de livres pronographiques au XVIIIe siècle. Alinéa Aix-en-Provence 1991, ISBN 2-7401-0010-8 .
- ^ (It) Fiorenzo Bernasconi: Appunti per l'edizione critica dei "Sonetti lussuriosi" dell'Aretino . In: Italica, Vol. 59, No. 4, Renaissance (Winter, 1982), pp. 271-283. JSTOR , p. 271.
- ↑ Review (it) by Giovanni Casalegno in: Lettere Italiane Vol. 45, No. 2 April / June 1993, pp. 304-309, on JSTOR