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G. Pontano's Lepidina: The Triumph of the Aragonese Naples

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Abstract:

The first of the Latin eclogues of Giovanni Pontano, the Lepidina, is an epithalamium for the marriage of Parthenope and Sebetho, personifications of Naples and its river, and is composed by seven magnificent processions of nymphs and heroes, personifications of Neapolitan places. I intend to demonstrate that, across is literary aspect, it was also a valuable part of the public ceremonial of the dynasty: through it Pontano, who was at the same time one of the main politician and poet of the Aragonese court and probably its best apologist, exploit in the best way the impressive and moving capacity of public celebrations for his encomiastic program and assign them the transmission of his ideological and political program of glorification of Naples, namely of the Aragonese kingdom. The Lepidina represents indeed an evidence of a particular form of triumphal celebrations and self-representations of the Neapolitan Renaissance court.
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Association:
Name: RSA Annual Meeting
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http://www.rsa.org


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URL: http://citation.allacademic.com/meta/p481052_index.html
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MLA Citation:

Tufano, Carmela Vera. "G. Pontano's Lepidina: The Triumph of the Aragonese Naples" Paper presented at the annual meeting of the RSA Annual Meeting, Hilton Montreal Bonaventure Hotel, Montreal, Quebec Canada, <Not Available>. 2014-11-26 <http://citation.allacademic.com/meta/p481052_index.html>

APA Citation:

Tufano, C. "G. Pontano's Lepidina: The Triumph of the Aragonese Naples" Paper presented at the annual meeting of the RSA Annual Meeting, Hilton Montreal Bonaventure Hotel, Montreal, Quebec Canada <Not Available>. 2014-11-26 from http://citation.allacademic.com/meta/p481052_index.html

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: The first of the Latin eclogues of Giovanni Pontano, the Lepidina, is an epithalamium for the marriage of Parthenope and Sebetho, personifications of Naples and its river, and is composed by seven magnificent processions of nymphs and heroes, personifications of Neapolitan places. I intend to demonstrate that, across is literary aspect, it was also a valuable part of the public ceremonial of the dynasty: through it Pontano, who was at the same time one of the main politician and poet of the Aragonese court and probably its best apologist, exploit in the best way the impressive and moving capacity of public celebrations for his encomiastic program and assign them the transmission of his ideological and political program of glorification of Naples, namely of the Aragonese kingdom. The Lepidina represents indeed an evidence of a particular form of triumphal celebrations and self-representations of the Neapolitan Renaissance court.


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