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Indice

Tema n.11:
La porta di casa

Secondo la storica dell’arte Dianne Wolfthal, «the openings of a house – the windows and doorways – were associated with the orifices of a woman’s body» (D. Wolfthal, The Woman in the Window: Licit and Illicit Sexual Desire in Renaissance Italy, in Sex Acts in Early Modern Italy. Practice, Performance, Perversion, Punishment, ed. Allison Levy, Farmham, Surrey, Ashgate, 2010, p. 60); la studiosa nota inoltre che:

The home was also viewed in economic terms... Women who went public by standing at windows and doorways or venturing beyond them were considered less valuable than ‘proper’ women who accepted the enclosure of the home or convent. But the window had another economic association. In early capitalist Europe, consumers were encouraged to gaze into shop windows that were filled with commodities that were for sale. Ruth Iskin dates this ‘culture of display,’ designed to solicit the eyes of passers-by, to the modern era, but it began much earlier. A glance at the merchants’ stalls depicted in so many Italian Renaissance works makes clear that shopkeepers shaped consumers’ habits of looking so that they became accustomed to associating the window with objects that were for sale. (Ibidem, p.60)

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