[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-151979-en":3,"doc-seo-151979-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},151979,687207017582,"Ethan Miller","https://ap-avatar.wpscdn.com/davatar_994ba38a5ba835b3df7d355c54d3ed8d",8,"Research & Report","TROUBLING DOUBLING - EXCEPTIONAL OECONOMIA, AND COMPENSATION IN GL’INGANNATI","Recent scholarship on Gl’Ingannati emphasizes its ground-breaking treatment of gender confusion and erotic attraction, particularly through the cross-dressing heroine Lelia. This article argues that the play’s significance also depends on the broader performance context, especially in relation to Il Sacrificio presented by the Accademici degli Intronati and the way key moments were staged. It proposes that the Intronati’s performance negotiates anxieties generated by the troubling combination of oeconomia and eros, and identifies specific compensatory mechanisms within the drama.","TROUBLING DOUBLING, EXCEPTIONAL OECONOMIA, AND COMPENSATION IN GL’INGANNATI  \nCATHERINE SCOTT BURRISS  \nSummary: Recent studies of Gl’Ingannati have offered keen insights into its ground-breaking take on the intersection of gender confusion and erotic attraction, often locating the play’s importance in its cross-dressing heroine, Lelia. Yet this research leaves room for considerations of the whole context of the performance event, especially in relation to Il Sacrificio, a performance presented earlier by the Accademici degli Intronati, and how specific moments were performed on stage. This article suggests that, as salient and significant an innovation as Lelia is, the Intronati’s performance of Gl’Ingannati is even more conspicuous as a negotiation of anxieties arising from a troublesome combination ofoeconomia and eros in performance. Reading the many aspects of the play in which non-normative gender and eros intersect with neoclassical comic theory and practice reveals anxiety about the implications of these intersections, in turn uncovering moments clearly created to compensate for those implications. Three means of compensation are legible in the play: the complicated depiction of the pedant, Messer Piero, as a sodomite; the repeated articulation of a fear that any male, young or old, could express sodomitical desire; and numerous graphic descriptions of virile heteroeroticism.  \nPerhaps the most widely circulated Italian comedy in its own time, Gl’Ingannati as a performance and publication event has the aura of legend about it. As the story goes, on the night of the Epiphany, 1532, the Accademici degli Intronati got into some deep trouble.1 They were noble young men of Siena who had formed an academic society, dedicating themselves solely to study, an idea echoed later in one of Shakespeare’s comedies, Love’s Labours Lost. But unlike Shakespeare’s King of Navarre, the Intronati, though their name ironically means dazed or slow-witted, were astute  \n1 This is the account given in the prologue of Gl’Ingannati. Sienese governmental records note the preparations and performances as happening from Epiphany to the end of Carnival of 1531, which in modern dating equates to 1532, because in local practice the new year began on March 25; see Newbigin’s preface ( Gl’Ingannati v-xix) for a thorough publication and performance history.  \nQuaderni d’italianistica, Volume XXXIV, No. 1, 2013, 65-92  \nenough not to shun the society of women.2 Quite the opposite in fact, theirs was a literary society whose worldly atmosphere as a sort of “imitation court”seemed to require a female presence.3 Unfettered by domestic demands, intelligent and cultured women played prominent roles, both intellectual and romantic, in the Intronati’s gatherings.4 But this dynamic seems to have changed when the knights of the Intronati put on a masque-like performance called Il Sacrificio (“The Sacrifice”), in which they rejected love by burning the gifts of their ladies in order to dedicate themselves to study. The women were reportedly so offended by this rejection of love tokens that the whole culture surrounding the Intronati’s academy was threatened. The mementos sacrificed held considerable emotional, erotic, and material value: a “handkerchief wet with tears,” a ring, a pillowcase, a gold chain, a lock of hair, a crown of pearls set in gold, a set of four sonnets, a mirror, a glove, a portrait, a pair of spectacles, a writing pen, a clock, a knife (Newbigin, Gl’ingannati con Il sacrificio) . The worth of these love objects made them more fineries and markers of elite status than trifles or tokens. In destroying such precious symbols, the Intronati rattled the very underpinnings of their“imitation court.” As legend would have it remembered, few months later, for Carnival, the Intronati collectively composed a play, Gl’Ingannati (“The Deceived”), to make amends. Histories of the events of the Carnival season in Sienna that produced Gl’Ingannati have become","cbCaibTI3vaaleOP","https://ap.wps.com/l/cbCaibTI3vaaleOP","pdf",273617,1,28,"English","en",105,"# Summary\n## Compensation mechanisms in Gl’Ingannati\n## Il Sacrificio and the Accademici degli Intronati context\n## The legend of the Epiphany 1532 performance","[{\"question\":\"How does this article reinterpret the importance of Lelia in Gl’Ingannati?\",\"answer\":\"It agrees that Lelia’s role is salient, but argues that the Intronati’s performance of Gl’Ingannati is even more conspicuous as a negotiation of stage-driven anxieties tied to oeconomia and eros.\"},{\"question\":\"What performance context is emphasized alongside Gl’Ingannati?\",\"answer\":\"The article focuses on Il Sacrificio, performed earlier by the Accademici degli Intronati, and considers how specific staged moments relate to the play’s themes.\"},{\"question\":\"What kinds of compensation are identified in the play?\",\"answer\":\"Three compensatory means are described: a complicated depiction of the pedant Messer Piero as a sodomite, repeated statements of fear that men may express sodomitical desire, and graphic depictions of virile heteroeroticism.\"}]","TROUBLING DOUBLING - EXCEPTIONAL OECONOMIA, AND COMPENSATION IN GL’INGANNATI | PDF",1787853742,71,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":28},"troubling-doubling-exceptional-oeconomia-and-compensation-in-glingannati","",{"@graph":36,"@context":85},[37,54,68],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,48,51],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":47},"https://docshare.wps.com/document/","Document",2,{"item":49,"name":12,"@type":43,"position":50},"https://docshare.wps.com/document/research-report/",3,{"item":52,"name":13,"@type":43,"position":53},"https://docshare.wps.com/document/troubling-doubling-exceptional-oeconomia-and-compensation-in-glingannati/151979/",4,{"url":52,"name":13,"@type":55,"author":56,"headline":13,"publisher":58,"fileFormat":61,"inLanguage":23,"description":14,"dateModified":62,"datePublished":62,"encodingFormat":61,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":57},"Person",{"url":41,"name":59,"@type":60},"DocShare","Organization","application/pdf","2026-08-27",true,{"@type":65,"interactionType":66,"userInteractionCount":4},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"How does this article reinterpret the importance of Lelia in Gl’Ingannati?","Question",{"text":75,"@type":76},"It agrees that Lelia’s role is salient, but argues that the Intronati’s performance of Gl’Ingannati is even more conspicuous as a negotiation of stage-driven anxieties tied to oeconomia and eros.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"What performance context is emphasized alongside Gl’Ingannati?",{"text":80,"@type":76},"The article focuses on Il Sacrificio, performed earlier by the Accademici degli Intronati, and considers how specific staged moments relate to the play’s themes.",{"name":82,"@type":73,"acceptedAnswer":83},"What kinds of compensation are identified in the play?",{"text":84,"@type":76},"Three compensatory means are described: a complicated depiction of the pedant Messer Piero as a sodomite, repeated statements of fear that men may express sodomitical desire, and graphic depictions of virile heteroeroticism.","https://schema.org",{"og:url":52,"og:type":87,"og:title":13,"og:site_name":59,"og:description":14},"article",{"robots":89,"canonical":52},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":92},[93,97,101,105,110,115,120,123,128,131,135],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":47,"doc_module":4,"doc_module_name":46,"category_name":98,"show_sort_weight":99,"slug":100},"Literature",80,"literature",{"id":53,"doc_module":4,"doc_module_name":46,"category_name":102,"show_sort_weight":103,"slug":104},"Exam",70,"exam",{"id":106,"doc_module":4,"doc_module_name":46,"category_name":107,"show_sort_weight":108,"slug":109},5,"Comic",60,"comic",{"id":111,"doc_module":4,"doc_module_name":46,"category_name":112,"show_sort_weight":113,"slug":114},6,"Technology",50,"technology",{"id":116,"doc_module":4,"doc_module_name":46,"category_name":117,"show_sort_weight":118,"slug":119},7,"Healthcare",40,"healthcare",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":121,"slug":122},30,"research-report",{"id":124,"doc_module":4,"doc_module_name":46,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":46,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":46,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":46,"category_name":137,"show_sort_weight":106,"slug":138},19,"General","general"]