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About The Reception of Aristotle's Poetics in the Italian Renaissance and Beyond Using new and cutting-edge perspectives, this book explores literary criticism and the reception of Aristotle's Poetics in early modern Italy. Written by leading international scholars, the chapters examine the current state of the field and set out new directions for future study.The reception of classical texts of literary criticism, such as Horace's Ars Poetica, Longinus's On the Sublime, and most importantly, Aristotle's Poetics was a crucial part of the intellectual culture of Renaissance Italy. Revisiting the translations, commentaries, lectures, and polemic treatises produced, the contributors apply new interdisciplinary methods from book history, translation studies, history of the emotions and classical reception to them. Placing several early modern Italian poetic texts in dialogue with twentieth-century literary theory for the first time, The Reception of Aristotle's Poetics in the Italian Renaissance and Beyond models contemporary practice and maps out avenues for future study.

This study seeks to investigate the circulation of Aristotle's Poetics in the social and political contexts of sixteenth century Florence. It starts by analyzing why the methods traditionally used by historians of ideas, which have been dominant in the study of Aristotle's Poetics since the work of Bernard Weinberg, are insufficient. These lines of inquiry fall short because 1) they fail to take into account the links between the scholars who produced these commentaries and the secular powers these scholars served, 2) they neglect to situate the production of these discourses within the various understandings of "art" that were dominant in the early modern period. The second part of the article develops a case study centered on three books published between 1548 and 1550 under the patronage of Cosimo I de Medici: Francesco Robortello's Latin commentary of Aristotle's Poetics, Bernardo Segni's translation of the text into the Tuscan dialect and Giorgio Vasari's Lives of the most famous artists […]. The study underlines that these books all aimed at defining the "arts" of representation as founding elements of the form of pacification the Medici claimed to bring to the civil strives of republican Florence. It also investigates the role attributed to Aristotle's rhetorical, moral and political works within this specific configuration, and highlights how these necessities weighed on the interpretations of Aristotle's Poetics, stressing in particular that the understanding of Aristotle's concept of catharsis as referring to a "purgation of the passions" appears to have been formalized for the first time in Florence around 1550. But, while this reading circulated swiftly around Europe, becoming extremely common during the early modern period, it may not be have been the dominant reading in Florence itself, as a complex manuscript, circulated among members of the academy of the Alterati between 1573 and 1617, and commenting on Pier Vettori's reading of the Poetics, tends to suggest. ; Este estudo busca investigar a circulação da Poética de Aritóteles nos contextos social e político da Florença do século XVI. Começa analisando por que os métodos tradicionais usados pelos historiadores das idéias, que têm dominado o estudo da Poética de Aristóteles desde a obra de B. Weinberg, são insuficientes. Essas linhas investigativas estão aquém porque 1) deixam de levar em conta as relações entre os estudiosos que produziram esses comentários e os poderes seculares dos quais esses estudiosos se serviram, 2) negam-se a situar a produção desses discursos frente às várias compreensões de "arte" que eram dominantes no início período moderno. A segunda parte do artigo desenvolve um estudo de caso centrado em três livros publicados entre1548 e 1550 sob a patronagem de Cosimo I de Médici: o comentário latino de Francesco Robortello à Poética de Aristóteles, a tradução do texto para o dialeto toscano de Bernardo Segni e Vidas dos mais famosos artistas de Giorgio Vasari [.]. O estudo sublinha que todos esses livros buscaram a definição de "artes" de representação como elementos de fundo da forma de pacificação que os Médici queriam trazer às lutas civis da Florença republicana. Também investiga o papel atribuído às obras retóricas, morais e políticas com essa configuração específica, e destaca como essas necessidades pesaram nas interpretações da Poética de Aristóteles, com ênfase particular no fato de que a compreensão do conceito aristotélico de catarse como referida a uma "purgação das paixões" parece ter sido formalizada pela primeira vez em Florença, por volta de 1550. Porém, enquanto essa leitura circulou rapidamente pela Europa, tornando-se extremamente comum durante o início do periodo moderno, pode não ter sido a leitura dominante na própria Florença, como tende a sugerir um manuscrito complexo, que circulou pelos membros da Academia dos Alterati entre 1573 e 1617, comentando a leitura de Pier Vettori da Poética.