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Literary Imitation in the Italian RenaissanceThe Theory and Practice of Literary Imitation in Italy from Dante to Bembo$
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Martin L. McLaughlin

Print publication date: 1996

Print ISBN-13: 9780198158998

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780198158998.001.0001

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Conclusion

Conclusion

Chapter:
(p.275) Conclusion
Source:
Literary Imitation in the Italian Renaissance
Author(s):

Martin L. McLaughlin

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198158998.003.0013

This book clearly shows that imitatio is the dominant critical concept in Italian writers from Petrarch to Bembo, and the outcrop of polemics on the subject at the end of the fifteenth century confirms the pre-eminent status of literary imitation on the critical agenda of the time. Once Petrarch discovers that imitatio is an integral part of the creative process, his emphasis on both the suitability and the pitfalls of literary imitation ensures that the topic remains in the forefront of literary debates in the next century and a half. The question of imitation thus embraces the major figures in the development of Italian literary history in this period, from Petrarch via Alberti and Poliziano to Bembo. The imitation debate has a theoretical and practical coherence in the period under review, moving from Dante's embryonic notions of imitatio to the complexity and consistency of Bembo's position two centuries later.

Keywords:   literary imitation, imitatio, Italian literature, Bembo, Petrarch, Dante

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