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- W2899970445 abstract "Free to Sing My Liberty:Weaving and the Construction of the Literary Self in Gaspara Stampa and Louise Labé Olimpia Pelosi Under Arachne's Sign: Weaving the Texture of Feminine Writing High Renaissance Venice: a lavish, cosmopolitan city at the peak of its economic, cultural, and artistic opulence, stretching in an intricate architectural maze of palaces, alleys, and canals where—as remarked by Feldman (XVII, 3)—the most heterogeneous social classes coexisted in a prosperous, harmonious contiguity.1 From this splendid urban space in the fall of 1554, Cassandra Stampa, in her dedicatory epistle to Giovanni Della Casa that opens the posthumous book of her sister Gaspara Stampas's Rime, wrote the following: Poi che à Dio nostro Signore è piaciuto di chiamar à se, su 'l fiore si può dire de gli anni suoi, la mia da me molto cara, et molto amata sorella…io ho cercato di levarmi davanti gli occhi tutte le sue cose, acciò che il vederle, et il trattarle non rinovasse l'accerbissima memoria di lei nell'animo mio…volendo, & devendo far' il medesmo di queste sue Rime, tessute da lei. [Ever since it pleased Our Lord God to call to himself my most dear, beloved sister in the flower of her youth…I've sought to banish from my eyes anything that might renew the most bitter of memories in my heart…And I wanted—indeed, I was driven—to do the same with the rhymes that she wove.]2 In the emotional lines of the mourning Cassandra, whose first impulse is to decline to look at her sister's woven rhymes, the rime…tessute da lei, surface the pivotal images of the istós (loom) and the hyphaínein (weaving), which stand as a crux of classical [End Page 115] antiquity's imagery. I am referring in particular to the mythical world of Greece, populated by multiple figures of weavers that range from the primeval Klothes (Spinners)—the three Fates—who unfold the thread of human life and eventually sever it, to the many Homeric feminine archetypal figures.3 In recalling these heroines, my thoughts go to Penelope and her confined Ithacan stanza della tessitura, the textile room where the threads of her embroidery, cyclically done and undone, symbolize the will to resist the unpredictability and caducity of the human condition and represent the attempt to build, as Faranda remarks, uno spazio femminile [a feminine space].4 I also think of Helen of Troy and of her purple tapestry described by Homer, which truly embodies—as has been remarked—the archetype of the Homeric perception of the world in which weaving and making verses are an intertwined metaphor.5 Furthermore, the analogy that Cassandra Stampa establishes between hyphaínein and poiéin (making verses) also reminds us, by association, of two additional weavers of the Greek mythopoetic universe, bound with the threads of the same tragic destiny: Philomela and Arachne. Their vicissitudes were introduced in Renaissance literary imagery through Ovid's Metamorphoses, whose Italian volgarizzamento (vernacular version) appeared in Venice at the end of the fifteenth century and enjoyed a widespread popularity.6 In the Ovidian rewriting of the fabulae, the two weavers still bear a dichotomous Penelopean identity:7 Philomela, the wretched Athenian princess, though objectified, degraded, and finally mutilated by male violence, chooses nevertheless to be victorious and escape the terrible silence in which she has been confined by weaving textilia picta (woven pictures) through which she communicates the signs of her desperation.8 Moreover, Arachne also manifests a twofold attitude. She is a Lydian girl lost in the anonymity of her doubly subdued condition: she is a woman and a plebeian, but she harbors in her heart profound feelings of rebellion and reflects—as noted by Segal—Ovid's veiled insubordination to Augustan power.9 Arachne, as the poet describes her in Metamorphoses 6.7–8, was non…loco nec origine gentis / clara, sed arte [renowned neither for her birthplace nor for her forebears, but for her art].10 Being proud of her qualities, she dares to challenge to a weaving contest the goddess Athena, who—having sprung fully grown from her father Zeus's head—is the messenger and custodian of male..." @default.
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- W2899970445 title "Free to Sing My Liberty: Weaving and the Construction of the Literary Self in Gaspara Stampa and Louise Labé" @default.
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- W2899970445 doi "https://doi.org/10.1353/mdi.2018.0004" @default.
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