... verse. The book is handsomely produced in a form appropriate to its excellent content. HALLEITSMITH California Institute of Technology The Poetry of Michelangelo. By ROBERTJ. CEMENTS. New York: New York University Press, 1965. xiii...

... major figures-Dante, Petrarch, Michelangelo, Tam, and Marinwand appends to each of these chapters an extensive selection of texts accompanied by stringent analyses. In other chapters he discusses the Sicilians and the Stilnovisti, deals with certain Zeitstile, such as the baroque, surveys...

...- tiva, del tutto notevole e nuovo t invece il capitol0 su “Michelangelo as a Baroque Poet,” soprattutto per l’analisi dello spirit0 e delle forme barocche in Michelangiolo, anche se t chiao che barocco qui non vale come defini- zione storica, ma come appmimazione tematico-stilistica, dimostrandosi...

...Eloise Knapp Hay Edward W. Said. Cambridge: Harvard University Press, 1966. xiv + 219 pp. $4.95. Copyright © 1967 by Duke University Press 1967 252 REVIEWS conclusion that, for Michelangelo, “das Hochwertige ist das Verschlossene...

... of the decaying literature of the seicento. Yet Umberto Limentani has done exactly this in dedicating his philological skills to the biography, bibliography, and detailed analysis of the works of eight satirists of the seicento: Jacopo Soldani, Michelangelo Buonarroti il Giovane, Antonio Abbondanti...

... of the seicento: Jacopo Soldani, Michelangelo Buonarroti il Giovane, Antonio Abbondanti, Niccola Villani, Salvator Rosa, Antonio Abati, Benedetto Menzini, and Lodovico Adimari. The waning influence of Benedetto Croce in Italy is evident in Limen- tani’s sharp definition and limitation of satire...

... major figures-Dante, Petrarch, Michelangelo, Tam, and Marinwand appends to each of these chapters an extensive selection of texts accompanied by stringent analyses. In other chapters he discusses the Sicilians and the Stilnovisti, deals with certain Zeitstile, such as the baroque, surveys...

.... Poets at the Court of Ferrara : Ariosto, Tasso and Guarini. With a chapter on Michelangelo. [Introduction by Elmer V. Grillo.] Boston: The Excelsior Press, 1943. Pp. xxi + 143. $2.00. SPANISH-AMERICAN* Marinello, Juan. Espaiiolidad Literaria de Josb Marti. Havana...

... verse. The book is handsomely produced in a form appropriate to its excellent content. HALLEITSMITH California Institute of Technology The Poetry of Michelangelo. By ROBERTJ. CEMENTS. New York: New York University Press, 1965. xiii...

... centuries, notably in Giorgio Vasari’s Vite (which fretted that art could only fall from the height of Michelangelo’s works) and in Italian and French comparisons of the ancients and moderns, the latter—notwithstanding their general advocacy of the modern cause—reflecting a cultural pessimism in the face...

... erschutternde Durer-Erlebnis, das aus den Kompositionen Leverkuhns geradezu hervorleuchtet, bestatigt, daB von Tonio Krogers Michelangelo-Begeisterung uber Hans Castorps Pieti eine aufsteigende Link zu Durers Melancholia fuhrt. Auch das Verhaltnis Thomas Manns zu Schiller glauben wir anders...

... connection. (5) Art and erudition are not synonymous, and the author does not convince us that the PlCiade thought them to be so. (6) Mr. Clements is probably on the wrong track when he attempts to link the intelletto in Michelangelo with the trobur clus; at least he fails to clinch his point...

... instance of this contra- dictory and somewhat tortuous process. By juxtaposing Caravaggio’s Amor win& omnia with Michelangelo’s painting of Saint Bartholomew in the Sis- tine Chapel (the pose of Caravaggio’s robust and fleshy angel is modeled on that of the saint, who carries his own flayed skin...

... poets in Italy (Michelangelo, Colonna, Gambara, Stampa), France (Du Bellay, Ronsard, Du Guillet, Labé), and England (Spenser, Sidney, Shakespeare, Wroth), with glances at Germany (von Greiffenberg) and New Spain (Juana Inés de la Cruz). Kennedy’s enterprise has become a history of European Petrarchism...

.... It determines what counts as an object of attention and what forms such attention should take. For Auerbach ( 1949 : 110), aesthetic historicism is what allows us “to consider and admire, with the same preparedness for understanding, Giotto and Michelangelo, Michelangelo and Rembrandt, Rembrandt and Picasso...

... opens with a wonderfully emblematic instance of this contra- dictory and somewhat tortuous process. By juxtaposing Caravaggio’s Amor win& omnia with Michelangelo’s painting of Saint Bartholomew in the Sis- tine Chapel (the pose of Caravaggio’s robust and fleshy angel is modeled...

... the transformation of neorealist nationalist discourse in the auteur directors Federico Fellini and Michelangelo Antonioni, with a focus on how Fellini negotiated a cinematic inheritance exemplified by the figure whose absorption of nationalist allegory within a religious vision recalls Manzoni: Roberto...

... or outside the frame and reflect a pre- occupation with designation and the creative process.8 The touch of the hand, as in Michelangelo’s “The Creation of Adam,” suggests life-giving powers. Poets have often used similar images-the hand that plucks the string or holds the pen-to signal...

... or outside the frame and reflect a pre- occupation with designation and the creative process.8 The touch of the hand, as in Michelangelo’s “The Creation of Adam,” suggests life-giving powers. Poets have often used similar images-the hand that plucks the string or holds the pen-to signal...

... the “bow’d head,” forward lean, and leaden dejection of Keats’s Saturn. Indeed, could it be ascertained that Keats had seen a print of Michelangelo’s “Seated Moses” or “Evening,”ls or Veronese’s “Saturn,” l4 each of which shows a seated figure leaning forward, a figure in which power...