Emozioni in versi (Gli emersi poesia) (Italian Edition)

Pensi serva qualcosa la mia opinione se questa che stendo come panni al sole sia Poesia? Non esiste modo per sfuggire al pegno. Si vis me flere, flendum est. Saranno stati i conquistatori forse per segnare una via. Il sole e la pioggia penetrano deboli nella vegetazione sento oscuri fruscii venire da ogni direzione qui vi sono migliaia di animali che volano camminano strisciano. No problems sir…sure no problems mi guardo intorno. Look sir , many bats! Oh cristo anche i pipistrelli ci sono e grandi pure. Su forza On y va!

I pipistrelli dormono beati riscendiamo le scale molto lentamente. Quaderni liguri di cultura 3. Riportiamo una sua versione come ricordo di una presenza creativa e critica da cui abbiamo tutti tratto nutrimento. The full program is printed below. We were fortunate that Russ McDonald of the University of London spoke of his work in progress on the Sonnets and architecture. A poet and translator, Roberto Piumini, discussed and read from his brilliant verse translation, Sonetti Milan: Some contributions have been published elsewhere and are reprinted here by permission.

Sanguineti was a major poet and critic to whom we are all indebted. We reprint here one of his striking adaptations of Shakespeare, whose linguistic genius he shared. Then being asked where all thy beauty lies, Where all the treasure of thy lusty days, To say within thine own deep-sunken eyes Were an all-eating shame and thriftless praise.

Nel Shakespeare aveva 45 anni e aveva la sua carriera di drammaturgo e poeta quasi tutta alle spalle. Paul, ma che non sembra essersi occupato gran che delle proprie fortune editoriali. Shakespeare appare distratto anche nei confronti dei Sonnets, per quanto nella Londra di meno di Una macchina, un procedimento per far musica e poesia. Esiste solo la metafora, esiste solo la poesia. Per altri infatti si tratta di una malattia che la regina ha superato.

Ma anche questo si rivela quanto mai sfuggente. For, when we view the places your H. But since your L. Di lui si sa anche che nel , a quindici anni, si era cercato di farlo sposare a una giovane della sua condizione, ma che egli non ne aveva voluto sapere, e la cosa si era ripetuta nel A qualche decennio dalla morte, lo storico e statista Edward Hyde, conte di Clarendon, lo ricordava come segue: Si dedicava a tutti i piaceri, quasi a tutti gli eccessi.

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Sono annotazioni che possono concordare con quel che del giovane, la sua foga e le sue macchie, ci dicono i Sonnets. Amore platonico e amore fisico. Un concetto ponderoso espresso con leggerezza maliziosa, quasi uno scherzo galante. Ovvero quel supremo avvio: E le parole di Shake- speare furono non per nulla definite zuccherate da Francis Meres. Permane tuttavia in qualche misura la distinzione petrarchesca fra ottava e sestina, e non di rado anche i sonetti shakespeariani subiscono una svolta al verso 9.

Una verifica sui sonetti rivela che undici di essi presentano almeno una rima piana, alla quale non di rado se ne affiancano delle altre; 1, 3 2 , 8 2 , 9 rima franta ai vv. Ho indicato fra parentesi il numero delle rime piane quando superiore a uno. Solo un altro sonetto si avvicina a questo, con sei rime femminili su sette: Il lettore impara presto a leggere una quartina alla volta e rilevare, come ad esempio abbiamo fatto sopra nel sonetto 18, la tensione fra chiasmo a-b-b-a e rima abab.

Relazioni di simmetria e opposizione si stabiliscono inoltre fra le singole quartine e il distico che cerca di risolvere le tensioni complessive in una sola battuta. Sono in effetti questi alcuni dei motivi e sentimenti centrali che il lettore trova nella raccolta. Remembrance of Things Past. Ma le strutture che essi mettono in opera sono appunto macroscopiche, lapalissiane, e ogni lettore apprende a servirsene con un minimo di accortezza. A questo punto sembra che il canzoniere di tutto parli salvo che del suo argomento deputato. Di solito il lettore privilegia quelli che sono entrati nelle antologie e che staccano dal complesso.

Fanno parte di questi favoriti i sonetti 18, 29, 30, 31, 33, 53, 54, 57, 73, 87, 90, 94, 97, 98, , , , , , , che sono quelli che Mario Praz elenca nella sua Storia letteraria. Ma ve ne sono molti altri i cui versi si odono citare comunemente, o su cui altri poeti hanno riflettuto. O Eugenio Montale che, a epigrafe di una sezione delle Occasioni, riportava senza dover cercare molto lontane alcuni versi autunnali del 5. Questi autori, come molti lettori, hanno a volte usato i Sonnets come talismano, da cui estrapolare delle parole, una citazione tutta loro. Diverse composizioni formano dei gruppi e non di rado un sonetto continua o si allaccia alla riflessione di quello contiguo.

Dopo tutto nel sonetto 54 Shakespeare si era rifatto alla storia della poesia ripetendo un motivo classico e rivendicando la potenza duratura della propria opera: Dei Sonnets sono possibili infinite letture. Se non proprio vecchio, capace di sentire cosa significa invecchiare. No more — no more — Oh! A proposito di questo sonetto, ricordando quel che si diceva sopra della fortuna della raccolta presso i poeti, vale la pena di segnalare che T.

Forse in segno di sfida al maestro supremo. Shakespeare, si narra, recitava proprio la parte del fantasma. Speare, che uno dei soldati americani del campo aveva abbandonato nella latrina. E alluda con una certa esasperazione al problema dei Sonnets: Poet as Sculptor, Ai tempi del successo, Wilde aveva commissionato a Charles Ricketts un ritratto in stile elisabettiano del fantomatico Willie Hughes per una futura edizione della novella.

O facendo emergere una riserva moralistica nei confronti del tema omosessuale. I Sonnets hanno anche avuto elaborazioni teatrali, fra cui nel quella stimolante della Volcano Theatre Company di Swansea. Era uno Shakespeare minimalista, beckettiano secondo la pratica e le fre- quentazioni registiche di Peter Brook, senza accentuazioni e forzature, e minime interazioni degli interpreti. La parola nuda si rivelava capace di manifestare la sua essenza umana sotto gli infiniti giochi della forma.

Forse come nel creaturale Happy Days del grande Beckett. In ultimo vorrei ricordare la fortuna musicale dei Sonnets, che ha avuto almeno due importanti momenti novecenteschi. I testi del Nocturne riguardano tutti il sonno e la notte. Terminata la lettura uno la riprende e ricomincia a riscoprire una lingua che germina dalla vita, la riflette, abbandona, ritrova.

Si rimane abbagliati da tanta perfezione formale, a volte anche sazi, come si diceva. Poi ha luogo la riscoperta, magari anche grazie alla guida alla lettura fornita da interpreti, traduttori e musicisti. Il mio suggerimento fu accolto, ma non per il commento, che sarebbe stato faticoso costruire e avrebbe rubato tempo. Press, ha il merito di ristampare in facsimile il testo del a fronte della versione in ortografia moderna, cui accompagna un commento ipertrofico e troppo perentorio. Press, , nella cui introduzione pp. Giustina deals as well with practical matters such as construction at the convent, an issue arising rather frequently given the growing population of nuns and, at times, of lay women in need of assistance.

Moreover, it provides an example of an enclosed community that was not detached from the secular life of the surrounding city, and, further, that was able to give the women it enclosed the power of decision-making, a benefit that lay women seldom had in those times. Marina Cocuzza and Lorna Watson. The first major issue is consistency, which the text lacks entirely. To begin with, the editors anglicize names in certain tales but retain Italo-Sicilian names in others.

The illustrations by Roberto Moscato, which lack captions and vary greatly in scan quality, sometimes appear only on the Sicilian side of the text 32 , but at other times are needlessly duplicated on both sides ; Beyond its inconsistencies, the translation suffers from many other substantive issues. Technically, it is full of errors, including abundant botched punctuation. Enraged characters mellow when exclamation points disappear in translation.

Typos perplex the reader: The most serious problem facing The King of Love and Other Tales is that its intended audience is unclear; it is impossible to say whether the translators have done their work with schoolchildren or scholars in mind. Several examples highlight this fundamental incoherency.

Conversely, other choices suggest that the book is meant for an academic readership. These footnotes, frequently superfluous, provide a visual cue that the tales are to be analyzed first, enjoyed later. This begs the question whether the intended reader knows Italian. If so, why bother with an English translation at all? The overall effect is that the work reads like two books cobbled together, with little correspondence between the Sicilian and English sections.

Dopo una breve nota bio- bibliografica su Nove nom de plume di Antonello Satta Centanin , il volume presenta la traduzione di quattro short stories: Un amore involontario di Paolo Teobaldi: New Perspectives on the European Bildungsroman.

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In New Perspectives on the European Bildungsroman, a remarkable study about an intriguing literary genre, Giovanna Summerfield and Lisa Downward explore both traditional and nontraditional European novels that fall into this category. Typically, the protagonist, whose development is narrated in the third person, is a male belonging to the bourgeoisie. Spirituality is the focus of part one of this study, in which Summerfield discusses bildungsroman by European male authors.

In part two, Downward shifts the focus to gender, which complicates the conventional concepts of this genre. Summerfield points out that Italians were the last to adopt the Masonic philosophy, which was embraced by the secret society, la Carboneria. Summerfield adds Ugo Foscolo to this circle.

As she points out: It is, however, precisely in their common female condition that Downward finds elements of bildung. For example, maternity brings salvation. Downward concludes with Jane Eyre, whose ending is somewhat similar to that of Teresa. Unlike Aleramo, Tamaro and Woolf represent the mother- daughter relationship in a non-linear way. Downward wonders if this kind of narrative structure conveys a more positive portrayal of female development: The authors conclude that the bildungsroman as a genre continues to flourish in multi-cultural settings.

Undoubtedly, many types of scholars will treasure New Perspectives on the European Bildungsroman, in which Summerfield and Downward have indeed widened the horizons of this classical genre. Fregene Roma , Edizioni Spolia Secondo Procopio, la politica giustinianea tese a scardinare sul nascere la pacifica coesistenza tra barbari e latini. Bookshelf La Cronografia di Teofane fu proseguita, nel X secolo, da vari autori di cui si conserva un corpus noto come Teofane Continuato di intento propagandistico a favore della dinastia macedone che, con Basilio I , riprese la politica aggressiva in Occidente.

Looters, Photographers, and Thieves. Farleigh Dickinson University Press, The remainder of the introduction outlines the organization of the book into seven chapters, two of which are devoted to the image of the body and a reflection on the visual discourse present in selected works of Italian literature. The chapter continues the discussion on bodies by examining self- portraiture as a genre within photography that positions the self in a public and discursive context.

He then proceeds to examine how concerns with the relationship between image and word traverse works by Italo Calvino, Leonardo Sciascia, and Gianni Celati. For Sciascia as for the French critic, photography leads to a crisis of identity as the body that is photographed ushers in a dissociation of the self. Moving on to Celati, Verdicchio contends that he is one of the most visually interesting authors, as evidenced by his understanding of writing as a visual process and his long collaboration with the photographer Luigi Ghirri and other visual artists, including several filmmakers.

While this chapter is full of interesting observations, the topic is probably too broad to be analyzed in a single section of a book. The remaining chapters are devoted to the work of photographers. Yet, adds Verdicchio, not all early photography served the nationalist agenda. Such concerns, however, were not present in the post- unification war against brigantaggio where photographs of brigands and bandits, often shown through graphic images of decapitated and mutilated bodies, functioned as warnings against the resistance and uprisings of the South. By so doing, Verga questions nationalist agendas inasmuch as he levels hierarchies between social classes while foregrounding the visual presence of a subaltern group that cannot be erased by the dominant one.

While Verdicchio acknowledges the socially minded work of both men, he also notes that their images flattened all ethnic and cultural distinction, turning migrants into faceless others and depriving them of agency and specificity in the new nation. In it, Modotti wears a Tehuantepec costume, which Verdicchio interprets as an expression of the self as other. The book closes with a short autobiographical chapter where Verdicchio presents a photograph of his family and friends on the day of their departure from Naples for Canada.

Belabored bodies on which are inscribed socio-economic constraints tied to emigration, they remain out of focus. Yet, in the imperfection of this shot, Verdicchio locates the transition from one national reality to another: The Reprehension of Vice. University of Toronto Press, The result is the most comprehensive analysis of the six tenzone sonnets within the larger Italian literary tradition to date. Arguing for the moral function of literary derision, Alfie grounds his readings of the tenzone within thirteenth-century debates over the nature, value and legitimacy of the Florentine nobility.

In a marked departure from the approach taken in his earlier monograph Comedy and Culture: Northern Universities Press, — namely, that of distinguishing between the seemingly autobiographical claims made by jocose poets and their comic masks — Alfie plunders the Alighieri and Donati family histories to throw light upon the highly personal sequence of ad hominem attacks. The focus instead remains squarely on the tenzoni themselves, on their literary precursors and influence, and on their clear appurtenance to a robust yet currently understudied rhetorical tradition.

Citations from Brunetto Latini and others provide the theoretical framework debate poetry as forum for public reproach and correction. A working lexicon of vituperative motifs is then gleaned from close readings of three sonnets by the Florentine caposcuola of derisive verse, Rustico Filippi ca. Alfie flexes his philological muscles in the next chapter, where all six of the tenzoni between Dante and Forese come under close scrutiny.

A formal analysis of each poem is set against a wealth of socio-historical material relating to, for example, familial alliances, mercantile jargon and even female physiognomy. It is within this narrow context that Alfie clarifies that while the picture of conjugal love presented in Purgatorio 23 may in fact constitute a repudiation of his earlier denigration of Nella, it by no means indicates a rejection of the poetics improperium as a whole. A brief conclusion is followed by an appendix containing manuscript transcriptions of the sonnets and analysis of the sources.

Fabian Alfie is to be commended, first and foremost, for having made literal sense of the notoriously cryptic exchange. His paraphrases, translations and glosses render the almost incomprehensible series of interpersonal attacks intelligible to a modern audience. His novel interpretations are thought- provoking and, while certainly plausible, not always beyond debate. Still, praise for the content and scope of this volume far outweighs any blame for minor stylistic imperfections.

Tempo liturgico e tempo storico nella Commedia di Dante. Libreria Editrice Vaticana, Rather, Ardissino is interested in liturgy as a synonym for community and also for justice. Chapter 3 moves on to Purgatorio, where liturgical hymns and penitential rites are of course foregrounded. Focusing on the episode in the valley of the princes, Ardissino puts forward the thesis that their negligence that keeps them waiting outside the gate is of the state, not of religion Performance, song, and gesture are all reminiscent of liturgical rites, although she also duly notes elements that derive from real contemporary practice: His sin becomes an abandonment of Beatrice in his poems for other women and in his foray into philosophical prose.

After a sort of contrition and baptism, he is back on track to be the poet of Beatrice. In Chapter 6, Ardissino concentrates on the heaven of the wise men, where music is used as the representation of concord. In chapter 7, in keeping with her central concern with the theme of justice, she concentrates on the eagle in the heaven of Jupiter. The final chapter focuses on the celestial rose described in Paradiso 31, where she contrasts, as Dante does, the dysfunctional city of the flower Florence with the ideal community of the celestial rose of saints.

This is liturgical in so far as liturgy presupposes community. The pageants in Eden are modeled both on Roman triumphs and on liturgical processions.

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This is certainly true of most references in this poem, liturgical or not. Devers Program in Dante Studies University of Notre Dame Press, Il volume si basa su una serie di seminari organizzati dal William and Katherine Devers Program in Dante Studies per il settimo centenario della nascita di Francesco Petrarca.

I primi tre interventi che aprono il libro insistono nel presentare l'immagine di un Petrarca che in maniera consapevole e premeditata cerca di cancellare i debiti che lo legano al grande poeta che lo ha preceduto, Dante Alighieri, proprio nel momento in cui sviluppa una poetica che si oppone in maniera sostanziale al dantismo. Secondo Cachey Petrarca arriverebbe a sostenere che Dante era un falso profeta e che non era un poeta Ascoli, nel saggio Blinding the Cyclops: In questo senso le rime petrose di Dante funzionano esplicitamente per Petrarca come controcanto che stimola la formazione della sua voce poetica: Teodolinda Barolini nel suo intervento si concentra sulla natura metafisica della poesia petrachesca, non in quanto soluzione filosofica, ma come risposta pratica ai problemi posti dalla natura temporale della voce poetica sottolineata da Petrarca.

Le preoccupazioni metafisiche di Petrarca emergerebbero soprattutto nelle prime poesie del Canzoniere , e lo porterebbero a ridimensionare notevolmente la materia erotica in favore di una meditazione sulla subordinazione dell'io poetico alla dimensione temporale e molteplice della vita. Come suggeriscono gli stessi curatori, il rapporto tra Dante e Petrarca andrebbe approfondito ulteriormente includendo nel confronto Boccaccio.

Su questo piano appare necessario un approfondimento capace di ricostruire la posizione di Dante e Petrarca nel contesto delle grandi discussioni teologiche e filosofiche del Trecento. A New Life of Dante. Revised and updated edition. University of Exeter Press, Nel riproporre, a quasi dieci anni di distanza dalla prima edizione, la sua fortunata biografia di Dante, Bemrose non ha apportato sostanziali modifiche al suo lavoro.

Il lavoro parte dalla premessa, condivisibile, che negli ultimi dieci anni non sono emersi documenti tali da rivoluzionare la biografia dantesca xi. Cangrande della Scala, Guido da Polenta, Moroello Malaspina, Guido da Batifolle, Margherita di Brabante, del resto, compaiono puntualmente nella biografia di Bemrose, ma chi fossero questi individui, quali fossero le loro idee politiche e, in particolare, quale fosse la natura dei loro rapporti con Dante sono questioni cui forse poteva essere rivolta una qualche attenzione. Per concludere, quindi, il volume di Bemrose risulta una pregevole e stimolante introduzione alle opere di Dante, cui forse avrebbe giovato un aggiornamento critico e storiografico.

A cura di Roberta Morosini, con la collaborazione di Andrea Cantile. Mauro Pagliai Editore, Il volume rappresenta quindi nella sua interezza un notevole elemento di stimolo e di apertura verso un approfondimento indagativo pluridirezionale, vista la ricchezza di elementi e di dati interpretativi forniti.

Each bite is delightful and the service is smooth, moving from one dish to another so easily that any inconsistency is hardly noticeable. The offerings are varied and wide-ranging, but not exhaustive. However, the Fiordespina-Bradamante incident is central to Hopeless Love mostly in an organizational sense, linking works that precede the two romance epics with works that follow them. The first chapter explores the antecedents of Bradamante, the object of queer female desire in both the Innamorato and the Furioso.

DeCoste does not elaborate, however, and thus misses the opportunity to make a thematic connection: These situations are resolved in an Ovidian mode when the fictive male is transformed, through divine intervention, into an authentic man. The brief section on female hagiography that ends the chapter is helpful in establishing cross-dressing and queer female desire as motifs, but seems otherwise extraneous.

This expectation enables Boiardo to imply completion of his tale even while interrupting it; he also utilizes hopeless love to represent the manifold crises — narrative, historical, personal — facing him when he stopped writing his poem. Indeed, Orlando furioso consistently contains and punishes female desire, whereas Orlando innamorato consistently affirms it. One might almost say that for Boiardo, no female desire is queer, and for Ariosto, all female desire is queer, unless it is represents a response or a submission to male desire.

We can only hope that DeCoste will explore this larger theme in her subsequent research: If anything, the comedies appear to be in dialogue with the cantari, with which they share conventional endings. Hopeless Love is necessary reading for anyone interested in the kaleidoscope of sexuality present in Italian Renaissance literature.

Presses Sorbonne Nouvelle, The eleven articles that constitute the collection are organized chronologically. Some are in Italian, others in French. Italian sources are included in the original language with accompanying French translations where applicable. These individual studies follow an august introductory essay by Anna Fontes Baratto who provides an overview of major classical and medieval authors on amicitia, as well as their contribution to the tradition of related literature and to studies comprising the collection.

Essay titles will be abbreviated in this review.

Articles range from historical to literary analyses, with a number of texts constituting interdisciplinary studies that span both categories. Various types of friends and friendships are considered: It is not only ideals and practices of friendship that are considered, but also the relationship between friendship and writing epistolary and poetic , and friendship through writing.

Five studies analyze actual historical friendships as reflected in personal correspondence, with three focusing on consolation and counselling in material or spiritual matters, one considering friendship among men of unequal stature, and another discussing friendship at a distance as a spiritual phenomenon. Bookshelf The remaining two of these studies turn to important literary figures: Fictional or literary friendships also constitute an important focus of the collection.

In addition to specific literary friendships, the topic of friendship in literary texts is a third unifying theme of the collection. The classical sources of medieval Italian conceptions of friendship and the ends to which they were appropriated are duly highlighted in this comprehensive study on amity as an idea and as a reality in Italy of the Middle Ages: The Edition of the Rime.

Massimo ROSSI - Italian Poetry

Troy Tower and Jane Tylus. University of Chicago Press, King and Albert Rabil Jr, which also includes the recent publication of the works of Lucrezia Marinella and Chiara Matraini, among other female writers. The importance of this volume resides in several aspects. First, it is the only modern edition to restore the original order of the poems that appeared in the edition prepared by Cassandra Stampa after the death of her sister Gaspara.

The poems are grouped by genre in three sections: Second, this edition proposes to reproduce the original Renaissance text with its inconsistencies in elisions, spelling, capitalizations, and diacritics; discrepancies among subsequent editions are signalled in the notes to the text grouped at the end of the volume.

Selected Poems, New York: Italica, , which presents a limited critical apparatus. She first gives some biographical information, engaging with preceding critical interpretations i. Next, she addresses the poetic influences on Stampa starting with Petrarch, but including also Sappho, Ovid, Horace, Propertius, Tibullus, Catullus, as well as some of her male and female contemporary writers.

All of these essays are lucid and informative, a perfect starting point for undergraduate and graduate study alike, especially given the useful select bibliography that follows and complements them. Also, at the very end of the volume, the editors have inserted three Appendixes. Tylus at times modifies the internal ordering of words and the sequence of lines for the benefit of the rhythm, but this technique does not work to the detriment of the original meaning. One problem the reader not proficient in early modern Italian might face is that of understanding when the translation drifts apart from the original and becomes more interpretative than literal.

If Tylus on occasion expresses concerns about translation in the notes, this is not always the case in the volume as a whole. A larger number of footnotes to the Italian text could have helped in disentangling some syntactic and semantic complexities which otherwise remain obscure.

If, on one hand, this translation aims to function intrinsically as a commentary on the original, therefore reducing the need for the multiplicity of notes the Italian reader is accustomed to in traditional Italian critical editions, on the other hand the reader now and then is left with some lingering textual concerns. Also, it might have been helpful to include line numbering for the poems. Mandricardo e la melanconia. Giudicetti dispiega uno sguardo focalizzato sulle due questioni — alle quali sono dedicati grosso modo le due parti che compongono il libro — avendo cura di farle convergere fino al loro contatto, momento in cui si raccolgono tutte le suggestioni accumulatesi nelle pagine.

A questo scopo, viene premessa una breve rassegna critica della bibliografia ariostesca, suddivisa per temi rilevanti, in modo da chiarire le connessioni con i lavori degli studiosi che lo hanno preceduto. Giudicetti individua cinque principali funzioni svolte dalla voce nel poema: Il motivo ispiratore e la lente attraverso cui guardare alle ottave ariostesche sono sempre chiari, e sono i momenti in cui la parola si organizza e assume determinate caratteristiche Il desiderio di stringere una soluzione, per quanto opinabile e passeggera si voglia, rimane.

Alcune parti non mancano di convincere, e offrono un punto di vista interessante sui meccanismi della parola nel poema, come nel caso di Rinaldo nel secondo capitolo della seconda parte. La sezione sul riso , ad esempio, non convince troppo, e rischia di cadere, come succede anche altrove, in un eccesso di soggettivismo e patetismo: Metamorphosing Dante is the second volume in the series Cultural Inquiry, a project directed by Christoph F. The more specific focus and achievement of this volume is that it draws theoretical models of tension from Dante that support and give meaning to tensions found in contemporary literary thought and its expression.

In the Introduction, Camilletti, Gragnolati and Lampart pay special attention to the contextualization and definition of the term metamorphosis as a profoundly comprehensive and multifaceted notion. The book is divided into four sections. Among the successes of this volume beyond the vast identification and thoughtful analyses of appropriations of Dante in contemporary literature is the discovery and re-appropriation of the notion of tension itself as a positive, rather than as a negative term.

Each of the tensions identified in the various essays marks a locus of fecund ground, where literary exploration and innovation happen. Overall, this volume succeeds in demonstrating through its nineteen unique analyses that the act of metamorphosing Dante is a widespread twentieth- and twenty-first-century literary and artistic phenomenon, worthy of our attention not only as proof that understanding the past notwithstanding its medieval-ness can help provide a positive foundation for the present, but also as evidence that discovering fruit in spaces of tension has historical legitimacy.

Building a Monument to Dante: In chapter two, Boccaccio the biographer is examined as a force that shapes a figure of Dante that supported his own position in contemporary political and intellectual debates. In the third chapter, Houston delves into two lesser known works of Boccaccio in order to support his proposal of Boccaccio the apologist. Boccaccio, whose diverse literary pursuits made him too complex to fit in traditional medieval editing categories, broke the mould with his much more emancipated relationship as editor to the author.

Ever acting as a mediator of his two dominant masters, Boccaccio upheld Dante as an icon and an authoritative counterpoint to the philosophy of Petrarch. In the biographical Trattatello in laude di Dante, Houston finds that Boccaccio combines the various contemporary forms of biography to figure Dante as a man ordained by divine providence to instruct through his poetry. These advocates generally rely on the justification that Boccaccio must have undergone a radical spiritual and moral conversion in the early s.

In order to make the text accessible and meaningful to the popolani, Boccaccio keeps his Esposizioni relatively tangible with his vision of poetry as fundamentally political and ethical. In order to harmonize his reading of Dante among humanists and critics of vernacular literature, he downplays the specifically Christian allegory and interprets the Commedia as a secular text.

According to Houston, Boccaccio wrote at the helm of all new literary constructions that translated wisdom, whether pagan, Christian, vernacular, or Latin, to leaders of his day who could benefit from its moral lessons. Nonetheless, Houston pertinently reminds the reader that, despite these differences, throughout his lifelong monument-building process on behalf of Dante, Boccaccio always kept Petrarch in mind, and never abandoned the hope of harmonizing his two masters.

As a result, not only Boccaccio scholarship but also students and scholars of the literary environment of the tre corone will benefit greatly from this book. The Paget Toynbee Lectures. Nine lectures delivered between and are presented in this collection of the Paget Toynbee Lectures; four of these are here published for the first time. Regarding textual changes introduced by De Robertis, Leonardi points out sentences with a modern syntax and, vice-versa, syntagms whose meanings have precedents in Duecento poetry.

He also discusses choices relating to three enduring debates. He dwells on sources such as Boethius, pseudo-Seneca, Ovid, Juvenal, Lucan, at times mediated by Brunetto or Boethius himself, through whom Dante renewed the concepts of nobility and generosity , This essay briefly outlines the initial diffusion of the poem with bibliography updated to to concentrate on metaphors variously elaborated by Dante, each time enriching them to complete their meaning. Distancing himself from Charles S. The use of important editions such as Brunetto Tresor, edited by P.

Some inaccuracies also occur in the index of names. The book offers an overview of on contemporary Dante Studies from various countries, and it thus shows how different approaches, from Italy and from the Anglo-Saxon scholarship, can exchange results. Disreputable Bodies gives a refreshing perspective on these philosophical discourses. Simultaneously, however, matter is the active force behind the ever-changing couplings of the elements.

Matter is akin to the sexually aroused woman who continually couples with a fervent desire. These thinkers arrive at such symbols not based on Aristotle alone, but on the interventions of other thinkers and traditions. The Neoplatonic tradition, Plotinus, Maimonides, and Thomas Aquinas are but some of the influences Kodera recognizes in postulating the association between matter and a sexually desirous woman or prostitute. He establishes two parallel and at times complementary lines of investigation that are evident in this first chapter and continue throughout the book: In the Neoplatonic context, Kodera examines the many female and overwhelmingly negative associations Ficino makes with matter.

Matter is the mirror image that ensnared Narcissus the soul and pulled him down to destruction ; matter is the female womb that traps and imprisons the soul, and, through the mirror influence of the liver, can receive alien imagery that changes the foetus. Here Kodera discusses some of the anxieties that develop in tandem with these gendered metaphors: How does Kodera arrive at these bold assertions and expose the implicit meaning of these metaphors? Such misreading is at times the result of Renaissance thinkers tempering their Peripatetic or Platonic philosophies with the interventions of other authors such as the Rabbinic tradition in the Neoplatonic works of Leone Ebreo , or even new technologies distillation, primitive forms of plastic surgery that offer more dimensions to an already existing metaphor.

In other instances, the Renaissance philosophers deliberately ignore or misconstrue passages from Platonic texts that are contrary to their personal philosophy. Disreputable Bodies gives thought-provoking perspectives on long-studied philosophical discourses. It is not by accident that Kodera begins most chapters with citations from Shakespeare that make use of the very metaphors and abstract concepts under review in the chapter, demonstrating that by explicating these metaphors in their philosophical context, Renaissance scholars will be able to elucidate further other lingering quandaries in an assortment of literary texts.

U of Notre Dame P, In many ways the African American reception of Dante follows the trends in reading Dante over the centuries, but Looney focuses on what makes the African American reception of Dante unique; namely, the suggestion that Dante is a kind of abolitionist and the Divine Comedy a kind of slave narrative. The second half of the introduction tells of the surprising presence of Dante in a wax museum in Cincinnati created by Francis Trollope in The book is divided into four chronological categories, each with its specific semantic significance: First, Looney briefly considers the debate between W.

Du Bois and Booker T. Washington at the turn of the century over appropriate models of education for African Americans. At the heart of the chapter is a discussion of the imitation of the Inferno in the film Go Down, Death! While Williams uses Dante as a signifier of integration, Wright uses the Comedy to mark migration, and Ellison, as Looney explains in the concluding analysis of this chapter, employs Dante both to migrate into and to integrate his work with the European canon.

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During the Black Revolution, Dante continued to be seen as a powerful model of activism and emancipation as evidenced by the early work of Baraka LeRoi Jones , who employs Dante in his expression of a new kind of militant black identity. Looney argues that, unlike Ellison and Wright who see Dante as a gateway into European culture, Baraka uses Dante first to measure the growing distance between himself and European literature, and subsequently to separate himself from it completely.

Loftis, Dudley Randall, Askia M. In terms of academic significance, Freedom Readers fills a gap in the reception of Dante in America. The chronology of African American Dante reception examined has been almost completely ignored by Dante scholars, as well as by Americanists and African Americanists. The literary imitations inspired by Dante which are examined in this book are not only useful for furthering an understanding of African American culture, but also for revealing unforeseen features of the Divine Comedy.

Il primo capitolo riguarda la linguistica. Stazio assurge a esempio paradigmatico del rapporto ambiguo — e si potrebbe aggiungere poietico —col testo virgiliano. Dante seguirebbe qui la stessa metodologia agostiniana, nella rilettura di testi classici in un nuovo sistema di significati.

Massimo Rossi

Si tratta di Catone, Dido ed Enea. Marchesi non solo adotta un approccio costruttivista nella sua speculazione, ma lo attribuisce allo stesso Dante, quale autore e teorizzatore del linguaggio poetico. Riferendosi al capitolo 24 del Purgatorio, Dante mostrerebbe attraverso Stazio la differenza tra una corretta lettura costruttivista e una, inappropriata, di stampo oggettivista.

Questo limite emerge soprattutto a proposito della tesi secondo cui Dante si appropria della lettura riservata al testo sacro per applicarla al suo capolavoro. Patrologia Graeca 53, Imprenscindibile in questo contesto il ruolo svolto da edizioni e traduzioni, che reintroducono nel circuito intellettuale opere di difficile accesso e talora assai rare. Negli altri due saggi, Elizabeth Fiedler discute il contesto religioso e iconografico del lavoro di Marinella, mentre Ryan Gogol si sofferma sul rapporto letterario tra la scrittrice e Cristofano Bronzini.

Una, Margherita Sarrocchi, sembra essere stata un punto di riferimento per Marinella, con la sua Scanderbeide e Sin dal primo canto il lettore familiarizza con i toni elevati e le immagini potenti, come nel caso della descrizione della flotta veneziana I, 30 sgg. Risulta insomma fondamentale ritornare in possesso di, e avere a disposizione, questo tassello del mosaico epico italiano e della letteratura seicentesca.

La stagione epica non era tramontata: Pare si dilettasse di poesia epica anche Giovan Battista Marino. Fra i molti su questo argomento che furono scritti nel Seicento si veda quello sulla translatio della Santa Casa di Loreto dalla Palestina ai colli lauretani: Il tempio peregrino, poema sacroeroico di Giulio Acquaticci, recentemente edito a cura di Dino S.

Cervigni, Roma, Aracne, , pp. Come questa meritoria edizione riconferma. The Controversy of Renaissance Art. I rarely come across studies that truly debunk long-established assumptions about their own field of research. In The Controversy of Renaissance Art, Alexander Nagel meditates on Renaissance scholarship, on theoretical assumptions that have been — perhaps — too often taken for granted, and argues for a new interpretation of the artistic works of this period.

It is well before those years, in fact, that the connections between sacred iconography and lay painting were subject to a profound scrutiny on the part of many Italian painters, who found new ways of depicting lay themes by reworking, reinterpreting sacred images. From sacred iconography to the role of art itself, whether instrumental to the delight of private individuals or to form a collective conscience, virtually everything is scrutinized. He argues for the need to look at the research of religious historians to understand artistic texts in an utterly different way.