Eugenio Battisti e o léxico conceitual e historiográfico do antirrenascimento

Eugenio Battisti's Antirinascimento was first published in 1962 during a period in which Italian culture, while still coping with some restraints due to remnants of fascism, battled through political and cultural expansion.The book goes through studies in popular culture, scientific illustrations, iconography of witches, archeology of fables, composing a diverse mosaic of fifteen century's cultural fabric.This doctoral thesis analyzes its three main perspectives: the author's biography; the conceptual lexicon of the term which entitles his work; and the historical context of the encompassed period.Battisti was born in Turin in 1924 (and died in Rome in 1989) thus witnessing the Second World War and, as a young man during the postwar period, militating in his hometown's resistance movements.During this period he got involved mainly with theatrical productions, showing early signs of interest in cultural matters.His thoughts' progress is structured in a critical path whose leitmotiv can be identified as a very unique concern, inciting a constant review of the status quo, an ongoing skepticism that organized his critical thinking in dialectical structures exemplified by the opposition between comedy and tragedy, renaissance and baroque, classic and anti-classic, but, especially, inciting a constant renewal and questioning of these classifications.In this thesis, the term "antirinascimento" is encompassed beyond analogies with the term "mannerism", with renaissance's or classic aulic's crisis.It is understood, above all, as a vanguardist rethoric category.Battisti was part of the Italian cultural scene related to Lionello Venturi's school, which had a difficult conflict with Roberto Longhi's school.He took part in fundamental shifts in historiography in a time tremendously influenced by German schools, narrowing the boundaries separating roles of historians and art critics.Therefore, Antirinascimento is discussed here as a reviewing proposal of the romantic and still prevailing notion of Renaissance as a period that, once surpassed "medieval darkness", reached reason's ultimate triumph.In opposition to the traditional interpretation of Renaissance as a turning point in history, Battisti investigates medieval features in Renaissance culture, artistic creativity as free assimilation and emulation of subsequent cultures.It is a historiographical proposal whose modus operandi is a utopian methodological skepticism free from conclusive results.Battisti was suspicious towards xiv every theoretical premise.For him, there are no scientific assumptions, and knowledge should be balanced in mobile foundations, it should be updated and dread motionless.The prior intention of this thesis is to introduce this art historian and Antirinascimento into Brazilian academics

Opposition (politics · Italian Literature and Culture