Anti-classicisms in the cinquecento

16世纪的意大利文学是多元主义的主体和反思，但不能说它拥抱了现代意义上的多元主义或相对主义。它倾向于授权作家、文本和诗学系统——主要是，但不是完全——来自古典古代，这产生了一种规范的动态，通常被简化为文艺复兴古典主义。然而，这种趋势是多方面的，应该被称为多元文艺复兴古典主义，这取决于哪一种古典或方言模式被认可，以及哪种文学类型。相应地，各种动摇、颠覆或反驳这些多元的历史动态古典主义的倾向需要被区分为许多反古典主义，以避免以非历史和非批判的方式统一它们的范围和意图。由德国和奥地利的五十年代专家提出的项目旨在区分和分析这些反古典主义的范围（在激进的诗学争议到特定文学类型中仅仅是部门反对之间的规模）和他们的替代模式，无论是作者还是文本，以及相对于他们的古典主义对手的差异或侵蚀程度，从隐含的系统干扰到公开的，有意的对抗。以期第一次对这一领域的现象有一个全面的了解。

Italian literature in the sixteenth century is subject to and reflects on pluralization, but it cannot be said to embrace pluralism or relativism in the modern sense. Its tendency to authorize writers, texts and systems of poetics taken from - predominantly, but not exclusively - classical antiquity engenders a normative dynamics often referred to by the simplifying term renaissance classicism. This tendency is, however, manifold and should really be referred to by the plural renaissance classicisms, depending on which classical or vernacular models are being authorized and in which literary genre. Correspondingly, the various tendencies to destabilize or to subvert or contradict these manifold and historically dynamic classicisms need to be distinguished as so many anticlassicisms, in order to avoid unifying their scope and intentions in an unhistorical and uncritical manner. The project proposed by German and Austrian cinquecento specialists seeks to differentiate and analyse these anticlassicisms as to their scope (on a scale between radical poetological dissension to merely sectorial opposition in a given literary genre) and to their alternative models, be they authors or texts, as well as the degree of difference or erosion with respect to their classicist counterparts, ranging from implicit system disturbances to open, intended antagonism, with a view to establishing an overall picture of this field of phenomena for the first time.