CON TINTA Y PLUMA EN EL BURDEL: CORTESANAS EN LE SEI GIORNATE DE PIETRO ARETINO

The work Le sei giornate by Pietro of Arezzo (1492-1556) is notable for its intricate, ambiguous, and challenging nature, particularly in relation to its exploration of sexuality. , which involves the explicit depiction of bodies as carnal and forbidden, representing a deviation from conventional norms. Le sei giornate (also known as Ragionamenti; or, Dialogue of Nanna and Antonia under a Fig Tree in Rome) exalts licentiousness from the unique perspective of a woman who embodies the roles of nun, wife, and courtesan. This article examines the portrayal of the courtesan in Aretino’s text, tracing the influences—from Pasquin to Rabelais—that propelled this relatively underappreciated author into the realm of the notoriety. Through an exploration of its connection with the public square and its association with the carnivalesque, this study delves into the historical backdrop of 16th-century Italy.