A study of the use of dialogue form as a vehicle for polemic in Renaissance Italy.

A group of leading scholars here investigate the varied ways in which the Renaissance incorporated conversation and dialogue into its literary, political, juridical, religious, and social practices. Across a range of texts and genres, the essays focus on the importance of conversation to early modern understandings of ethics; on literary history itself as an ongoing authorial conversation; and on the material and textual technologies that enabled early modern conversations.

Re-evaluating the dialogue’s place in the literary landscape of the Italian and French Renaissance, Speaking of Love presents the love dialogue at the intersection of a revival of the form and the period’s philosophies of love and desire. Between 1540 and 1580, authors such as Speroni, Tullia d’Aragona, the Venetian poligrafi, Tyard, Le Caron, Pasquier, Taillemont, Marguerite de Navarre, and Louise Labé, feature interlocutors not only deliberating on love but imitating the experience of love in their dynamics of speaking. These love dialogues allow early modern ideologies and discourses of love to be imitated by the reader and rival lyric poetry in conveying amorous experience, validating dialogue as an authentic literary form rather than a tool of philosophical thinking.

Prevalent but long-neglected genres such as dialogue have recently been attracting attention in Renaissance studies. In view of the pervasive and varied nature of this genre's use in the European Renaissance, it has become crucial to widen the perspective so as to take into account more diverse approaches to this hybrid form. For this reason, Dorothea Heitsch and Jean-François Vallée have assembled a broad collection of essays by international scholars that presents comparative, interdisciplinary, and theoretical inquiry into this neglected area. The contributors ? who bring with them different linguistic, cultural, and disciplinary backgrounds ? examine dialogue from a variety of perspectives, taking into account various factors linked to the upsurge of the genre in the Renaissance. These factors include the emergence of a complex and multifarious subjectivity, the advent of modern utopias, the social and political importance of courtliness, the rise of print culture, religious and scientific controversy, the prevalence of pedagogy and rhetorical culture, the ethos of humanism, the gendering of dialogue, and Renaissance 'logocentrism.' Discussed are some of the most important works in Italian, French, German, Neo-Latin, and English, as well as some lesser known texts, making Printed Voices a truly essential volume for the Renaissance scholar.

This book reconstructs the tradition of dialectic from Aristotle's "Topics," its founding text, up to its "renaissance" in 16th century Italy, and focuses on the role of dialectic in the production of knowledge. Aristotle defines dialectic as a structured exchange of questions and answers and thus links it to dialogue and disputation, while Cicero develops a mildly skeptical version of dialectic, identifies it with reasoning "in utramque partem" and connects it closely to rhetoric. These two interpretations constitute the backbone of the living tradition of dialectic and are variously developed in the Renaissance against the Medieval background. The book scrutinizes three separate contexts in which these developments occur: Rudolph Agricola's attempt to develop a new dialectic in close connection with rhetoric, Agostino Nifo's thoroughly Aristotelian approach and its use of the newly translated commentaries of Alexander of Aphrodisias and Averroes, and Carlo Sigonio's literary theory of the dialogue form, which is centered around Aristotle's "Topics." Today, Aristotelian dialectic enjoys a new life within argumentation theory: the final chapter of the book briefly revisits these contemporary developments and draws some general epistemological conclusions linking the tradition of dialectic to a fallibilist view of knowledge.

A study of European utopias in context from the early years of Henry VIII’s reign to the Restoration, this book is the first comprehensive attempt since J. C. Davis’ Utopia and the Ideal Society (1981) to understand the societies projected by utopian literature from Thomas More’s Utopia (1516) to the political idealism and millenarianism of the mid-seventeenth century. Where Davis concentrated on understanding utopias historically, Renaissance Utopia also seeks to make sense of utopia as a literary form, offering both a new typology of utopia and a new history of European humanist utopianism. This book examines how the utopia was transformed from an intellectual exercise in philosophical interrogation to a serious means of imagining practical social reform. In doing so it argues that the relationship between Renaissance utopia and Renaissance dialogue is crucial; the utopian mode of discourse continued to make use of aspects of dialogue even when the dialogue form itself was in decline. Exploring the ways in which utopian texts assimilated dialogue, Renaissance Utopia complements recent work by historians and literary scholars on early modern communities by providing a thorough investigation of the issues informing a way of modelling a very particular community and literary mode - the utopia.

Renowned in her day for her scholarship and eloquence, Isotta Nogarola (1418-66) remained one of the most famous women of the Italian Renaissance for centuries after her death. And because she was one of the first women to carve out a place for herself in the male-dominated republic of letters, Nogarola served as a crucial role model for generations of aspiring female artists and writers. This volume presents English translations of all of Nogarola's extant works and highlights just how daring and original her convictions were. In her letters and orations, Nogarola elegantly synthesized Greco-Roman thought with biblical teachings. And striding across the stage in public, she lectured the Veronese citizenry on everything from history and religion to politics and morality. But the most influential of Nogarola's works was a performance piece, Dialogue on Adam and Eve, in which she discussed the relative sinfulness of Adam and Eve—thereby opening up a centuries-long debate in Europe on gender and the nature of woman and establishing herself as an important figure in Western intellectual history. This book will be a must read for teachers and students of Women's Studies as well as of Renaissance literature and history.