Ascoltare la pietra (Arti visive, architettura e urbanistica) (Italian Edition)

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Metodo Di Canto Moderno. Mezzo Secolo Di Canzoni Italiane. Michelangelo E Il Novecento. Michelangelo, Fortuna Di Un Mito. Musica Sacra Per Organo rist. I Linguaggi Del Cinematographer. Il Segno Del Passaggio. Polidoro Caldara Da Caravaggio. Psychopathia Sexualis In Italian Sinema. University of California Press, , 13 , this book speaks to the readers about many issues and from many perspectives. Benay and Lisa M. Interpreting the Noli me tangere and Doubting Thomas. The intersection of faith, gender, and the senses in early modern Italy and its evolution over time are analysed in this volume.

Rafanelli address these themes in their discussions of the changing images of St. Mary Magdalene in Noli me tangere and of St. Thomas in Doubting Thomas depictions. These painted subjects are brought together in their role as witnesses to the corporeality of the Resurrection. A wide variety of visual and textual source material is used to explore these themes across the evolving landscape of early modern piety with an emphasis on the northern and central Italian peninsula.

The origins of depictions of Saints Mary Magdalene and Thomas are established in biblical texts, and the earlier iconographic tradition from the fifth to the fourteenth century is the subject of the first chapter. The authors analyse the development of paintings of Mary Magdalene from her original depiction as a witness to also include later images of her as a hair-clad penitent after the thirteenth century. This chronological span demonstrates the importance of different aspects of her symbolism for early modern observers, and the marked change in the way that the saint was later portrayed.

Depictions of Doubting Thomas, by contrast, remain similar over the same period of time, providing a useful point of comparison throughout the analyses in the volume. In terms of faith, Benay and Rafanelli cite the importance of transubstantiation, after the Fourth Lateran Council of , as an important development in establishing the popularity of depictions of Noli me tangere and Doubting Thomas, both of which attest to the physical presence of the resurrected Christ. The importance of each saint in these depictions for the Mendicant orders is underscored, respectively, in chapters 2 and 3.

For the Dominicans in particular, the Noli me tangere was an important model of piety. On the other hand, the Franciscans identified more with depictions of Doubting Thomas. The parallels between this scene and the image of the stigmata of their founder St Francis made it a particularly powerful symbol. The painting was also used as an example of imitatio Christi in this context.

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This discussion of faith in religious orders establishes useful examples of how the paintings were used in a devotional context. The changing environment of faith during the Reformation is addressed in the final chapter, which details the impact of the Council of Trent on images of Noli me tangere and Doubting Thomas. Italian Bookshelf there were new expectations and requirements for painting in the post- Reformation period.

The consequences of these requirements were most evident in depictions of Mary Magdalene, where the Noli me tangere image was superseded by depictions of the saint as a penitent, painted alone. Her popularity did not wane, but there was a movement away from her depiction and role as a witness to the Resurrection.

The Doubting Thomas trope gained a greater currency, however, particularly in line with empirical science, testing, and investigation in this period. These changing patterns of depiction are important insofar as they take into account the evolution of devotion, theology, and society. Thus, the intersection of faith and these tropes in art is explored across a wide and varying chronology, providing a fruitful line of inquiry.

Turning to gender, the main issue addressed is the status of Mary Magdalene as a female witness to the Resurrection, and her authoritative role in telling her own story. Her role had a special resonance for female viewers as Mary Magdalene was not only a penitent sinner, but also the annunciatrix of the Resurrection of Christ.

However, this latter role was not emphasized pictorially, as female preaching was not something that patrons wanted to encourage. Indeed, both male and female viewers could identify personally with the experience of both of these saints, turning doubt into faith. The discussions of gender focus on the subjects of the paintings as well as their audiences, analysing the variety of interactions for different groups.

The senses of touch and sight are particularly addressed throughout this book, exploring haptic and optic interactions both within the paintings and for the viewers.

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The fourth chapter in particular addresses the hierarchy of the senses in an early modern context, as well as exploring the achievement of truth and justice through touch. This is particularly connected to the image of Doubting Thomas, whose touch and witnessing led to a revelation of truth. The multisensory experience in depictions of Doubting Thomas was also crucial for the devotional practices of the Mendicant orders, combining sight and touch. For the Noli me tangere image, the emphasis, instead, is on unconsummated touch, as Mary Magdalene is rarely depicted making physical contact with Christ.

Her example of achieving grace without using the sense of touch, using sight alone, is particularly highlighted in chapter 5. Through their interpretations of the pictorial traditions of the Noli me tangere and Doubting Thomas themes by addressing the topics of faith, gender, and the senses, Benay and Rafanelli have demonstrated complex developments over the period in question. While the image of Doubting Thomas gained popularity over the centuries, the Noli me tangere was eclipsed by depictions of the penitent Magdalene.

Italian Bookshelf lesser known examples and texts, providing a rich source base. This stimulating volume provides a broad view of the changing religious landscape of Early Modern Italy and will prove especially useful for students of art history. Italian Bookshelf Vittore Branca, ed. Florentine Memoirs from the Middle Ages and the Renaissance. Toronto University Press, This is the first complete English translation of the original Italian edition and makes the complete memoirs accessible to an English-reading audience. At the end of the thirteenth century, merchants in Florence began to add information about their wealth, their life, and their family to their account books.

They recorded important moments such as births, baptisms, and marriages as well as more practical agreements including wills, dowries, and sales contracts. The ricordi are well-known sources in Renaissance scholarship and have been studied since the nineteenth century. Despite their popularity among economic historians, only partial editions of specific memoirs had appeared until the s. Vittore Branca was one of the first scholars to edit a memoir in its entirety: His memoir is considered one of the masterpieces of the genre.

It is known as one of the three crowns of Florentine memoirs, together with the memoirs written by Bonaccorso Pitti c. Dante, Petrarch, and Boccaccio.

Italian Bookshelf to a wider audience. Murtha Baca explains the challenges of translating this type of non-literary document. In this text Branca offers a broad overview of the merchant memoir and summarises the pioneering works on the genre done in the s by Christian Bec, Angelo Cichetti, and Raul Mordenti. He repeatedly stresses that these merchants were not authors in the literary sense of the word but ordinary men who wrote about their own lives. According to Branca these memoirs reveal how merchants experienced and wrote about the political, social, and economic crises they were experiencing.

Florence, one of the first commercial centres in Europe, experienced war, plague, and famines, and several of its earliest trading companies such as the Bardi went bankrupt. Paolo da Certaldo did not write about his own life or business in his libro di buoni costumi. Instead his compilation of moralising precepts, proverbs, and practices is an early advice book on how to conduct oneself, behave, and act as a good human being.

In the memoir with the moralising title, Mirror of Humanity, the grain merchant Domenico Lenzi, frequently recorded the grain prices at Orsanmichele in Florence and the discontent of the famished Florentine populace. Morelli also wrote about contemporary events; in fact he devoted almost half of his memoir to recounting wars and the conduct of politics on the Italian peninsula.

Other merchants focused more on their personal adventures: Merchant Writers gives us crucial information about family life, concepts of family and the self, the importance of status within the Florentine republic, and personal reactions to plague, famine, and death, as well as contemporary ideas about history, writing, and politics. The ricordi are treasure troves that provide historians, literary scholars, and anthropologists with a tantalizing glimpse into many aspects of late medieval urban life. They still offer considerable potential for further study on emerging themes in current scholarship such as memory see the work of Giovanni Ciappelli on this topic and the history of emotions.

Thanks to this new English translation, several of the classic and earliest examples of ricordi are fully available for the first time to an English-reading audience and can be used to introduce students to various aspects of mercantile practices and Florentine society during the Renaissance.

In addition, although this type of memoir was considered typically Florentine, scholars are increasingly studying parallels with other family books from different European cities.

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Italian Bookshelf them to trace variations and evolutions and will allow for further comparisons among family books and memoirs across European regions. Italian Bookshelf Alessandra Buccheri. The Spectacle of Clouds, Italian Art and Theatre. Le prime, utilizzate da Raffaello, piatte, solide, adatte a fungere da supporto ai personaggi, appartengono alla tradizione tosco-romana e si suppongono ispirate alla macchineria scenica fiorentina o a una produzione iconografica da essa direttamente dipendente.

Entrambe queste concezioni confluiranno nella decorazione delle cupole barocche. Le due tendenze coesistettero nella Roma dei primi tre decenni del Seicento e, prima di congiungersi nella magistrale sintesi del capolavoro lanfranchesco, interagirono nelle opere di altri pittori: Toscani di nascita e formazione, essi avrebbero trasferito nei propri dipinti, contaminandoli con elementi provenienti dalla tradizione settentrionale, i modelli desunti dalle sperimentazioni scenotecniche di Giorgio Vasari, Bernardo Buontalenti e Giulio Parigi.

La bibliografia appare complessivamente poco aggiornata, oltre a presentare inesplicabili omissioni: Appare pure poco comprensibile la scelta di restringere il focus al teatro fiorentino senza valutare il possibile peso delle tradizioni locali: Il problema va almeno posto. E, da ultimo, tra le ascendenze delle scene del S.

Italian Bookshelf Genevieve Carlton. The Demand for Maps in Renaissance Italy. University of Chicago Press, As our own consumption of maps has changed, Genevieve Carlton examines changes in the display of printed maps in the Renaissance household. Carlton argues that the artistic design of printed maps earned for them a prominent place in Venetian and Florentine homes, where they were meant to be seen as much as used. Maps in Venetian household registers are artistic maps of place or regions, although globes are more common in Florentine homes.

Renaissance maps are challenging to place in relation to a market. Carlton sketches a history of mapping geographic knowledge based on a relation of viewer to image, focusing less on cartographic or representational practices than on their continued symbolic content. In contrasting the symbolic prestige of maps to functional use, Carlton contends that the domestic display of maps satisfied numerous desires, including curiosity, study, contemplation of personal history and family pride.

She also raises questions about consumption of maps in centers of the map trade, inviting comparison to studies on the sale of maps in Rome by Jean-Marc Besse, or databases of the late economic historian John Michael Montias counting the maps displayed in Dutch homes. Despite rare evidence for the content of such local maps, landscapes and globes, the aesthetic order of maps is tied to their symbolic roles for study, curiosity, elegant decoration and individual self-fashioning.

Maps displayed in porteghi of administered regions in the Veneto, or views of where travelling soldiers and mercenaries served, offer topoi of memory and statements tied to collective family and personal pride, or invite armchair travel. But what is revealed in the collection and consumption of maps is open to interpretation. Maps intersected with a broader change in material culture that suggests an unclear division between the symbolic and functional. Cartographers designed maps to describe historical information, contemporary events, or offer virtual voyages to the New World.

Carlton focuses less on the forms of visual address transmitted in practices of mapmaking, or relations between such domestic display of maps and the discovery of the New World, than on their multivalent symbolic value: She rarely suggests how maps intersected with a broader growth of material culture which demands exploration.

Her emphasis on maps as objects of prestige is often removed from how maps orient viewers to geographic information, but places them in a domestic economy in provocative ways. Her richly detailed and well-illustrated study reveals the breadth of dynamic functions printed maps gained in the social fabric of both Venice and Florence by invaluably contextualizing the social lives of early modern maps.

Italian Bookshelf Jo Ann Cavallo. The romance epic is perhaps the best genre to study in order to analyze the portrayal of non-Christian societies and the possibility of cross-cultural encounters in early modern Italy. This volume is structured into five parts, each with subdivisions of chapters. Although most of the volume is structured geographically, it begins with an Introduction, which reviews the sources that Boiardo and Ariosto used to gather information about the histories and societies of non-Christian cultures they portray.

It also provides an impressive summary of the epic matter of the Carolingian cycle in Italy from the fourteenth through the sixteenth centuries. This background information allows Cavallo to describe in detail how Boiardo and Ariosto use the cultural knowledge and narratives they inherited in different ways.

An analysis of African figures is the focus of Part II. She describes how the author modifies earlier depictions of the Levant found in the medieval Carolingian epics, transforming it into a region in which different cultures negotiate tensions through chivalric tournaments rather than warfare. This chapter focuses on how the Furioso reworks the late medieval tradition of the apocryphal letter from Prester John, the great Christian African priest-king, whom Western Europeans sought out in the early modern period as an ally against their Muslim enemies.

This gift leads to the destruction of Biserta with an emphasis on a crusading ideology and its religious justifications for warfare. In the last section of the book, Part V, Cavallo analyzes the adventures of the Saracen knight Brandimarte and his eventual marriage to Fiordelisa in the Innamorato and compares it to the demise of the knight in the Furioso.

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Each part provides a detailed and fascinating account of how a non-Christian space was represented both in the romance epic tradition and more generally in early modern Italian culture. Italian Bookshelf Dante Alighieri. Poems of Youth and of the Vita Nuova. Due parole come sempre se ne spendono poche sulla traduzione. Italian Bookshelf Lodovico Dolce. Dialogo della instituzion delle donne, secondo li tre stati che cadono nella vita umana.

The Modern Humanities Research Association, Dolce collaborated with Gabriele Giolito, one of the most prominent and successful publishers of the sixteenth century, who took advantage of the cultural shifts affecting a new generation of readers. These included a reading public that was not necessarily familiar with Latin, and that comprised a great number of women to whom many new works of the era were dedicated.

Flaminio will teach conduct to Dorotea. The latter agrees, on the condition that she can interrupt her tutor whenever she needs an explanation. That this permission is granted by Flaminio might suggest that Dolce believed women had the right to speak up on their own behalf, until this notion is undermined by the reality that Dolce does not allow Dorotea to reply if she disagrees with her tutor. Italian Bookshelf choosing a morally grounded wet nurse.

As a baby girl grows into a child, she should be supervised by her mother or other virtuous women. It is important for adult women to avoid any offensive acts or words when in the presence of little girls, thereby protecting their good nature and chastity. Little girls should avoid playing with little boys, and instead play with toys that allow them to practice domesticity when they come of age. Reverence and obedience mould the perfect wife, who will acquiesce to her husband. In the third book, Flaminio explains to Dorotea that widows should be as virtuous and restrained as unmarried girls.

The virtue of chastity is a theme across the three stages addressed in the Dialogo. A widow will wrap herself in reverence and chastity, freeing herself from the need to submit to her father or husband, finding instead a celestial groom in God. The third book is quite brief compared to the previous two. In the case of Dolce and his Dialogo, the influx of women readers who were not versed in Latin and to whom the publishing market had to cater, influenced the choices Dolce and his contemporaries made.

La vita, le rime e la fortuna in musica di Girolamo Casone da Oderzo c. Storia, Letteratura, Paleografia, vol. Preceduto dalle pagine dedicate alla circolazione dei testi casoniani al di fuori delle stampe, in particolar modo dei madrigali apprezzati, musicati ed ampiamente diffusi cap. Oltre al Goselini, vi si raffigura Annibale Guasco che il Casone stesso ebbe modo di conoscere e frequentare negli ambienti pavesi.

Italian Bookshelf sigle e abbreviazioni e un utile indice dei capoversi. Italian Bookshelf Martin Eisner. Boccaccio and the Invention of Italian Literature. Dante, Petrarch, Cavalcanti, and the Authority of the Vernacular. Cambridge University Press, The earlier version was an invitation to praise Dante extended to all Florentines, while the calculated revisions in the second version were aimed exclusively at Petrarch.

He proposes that Boccaccio aimed to make amends for Dante being denied the laurel crown and a magnificent sepulcher.

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By creating a glossed text, he elevates the Vita nuova to the same level as authoritative writings of other revered disciplines. Petrarch claims to have outgrown his youthful imprudence, and the vernacular for that matter. He indicates the relative novelty of a scholastic Latin commentary applied to a vernacular poem. Boccaccio was invited to lecture on Dante in Florence, an event viewed by Eisner as a return of the exiled poet. Boccaccio equated his deteriorating health to punishment for lecturing on Dante. For Eisner, this proves that Boccaccio viewed himself as an agent of the vernacular tradition.

In acting as biographer, editor, and scribe, Boccaccio advanced the vernacular and created a space for his own literary works. Scholars deciding to develop any of the countless spunti unearthed by Eisner will be aided by his thorough review of literary criticism and extensive endnotes. This book is invaluable for those who wish to move beyond a general comprehension of the tre corone, and understand exactly how they coalesced.

On a literary level, the essays reflect also on the metapoetic moments created by Stampa, convincingly exploring her strategic use of playing with multiple poetical personae within her oeuvre. They provide a nuanced reading of her adoption of the Ficinian theory of love in order to aim for a more complex view on the matter. In chapter 7, William J. Italian Bookshelf This analysis leads to an investigatation of how Stampa coherently challenges the Petrarchan paradigm of desire in embracing a new lover, Bartolomeo Zen, after the end of the relationship with Collaltino.

Italian Bookshelf Paolo Falzone. La dottrina della conoscenza, secondo un assunto aristotelico esplicitamente citato da Dante ad apertura della sua opera Conv. Nella vigna del testo. Per una etologia della lettura, Milano: Cortina, di non poco conto appaiono il quarto e il quinto paragrafo della sezione. Il grande studioso auspicava la conoscenza ad ampio raggio della cultura e delle preoccupazioni intellettuali di Dante; nel suo lodevole volume Falzone assolve appieno la speranza del lontano — nel tempo ma vicino nelle intenzioni — maestro ideale.

Italian Bookshelf John Freccero. Readings from Medieval to Modern in the Augustinian Tradition. Danielle Callegari and Melissa Swain. Fordham University Press, This volume offers a sampling of essays from the singular career of John Freccero, known principally as one of the great North American Dantists. Despite original publication dates ranging from to , the set discloses a remarkably consistent voice and critical practice.

Freccero is a singularly solemn reader; he comes from a school of almost totemic veneration of the canon, and he writes with an enviable depth of erudition. One gets the sense that he is a singularly pious reader as well, as evidenced by the consistent capitalization of pronouns referring to God. At the same time, his critical practice is intimate, with an emphasis on the primary sources — for example, Dante and Augustine — that he puts into play. Contemporary voices, for example, most of the generation of North American Dantists who came after Singleton, get minimal acknowledgment, as Freccero seems not too terribly interested in having a critical conversation with them.

Freccero chose for this volume essays that put Dante and Augustine in play with one another and with other later authors. The result is rather unbalanced, with six essays devoted to Dante and the remaining four addressing Petrarch, Machiavelli, Donne, and Svevo. These essays create an interlace of meaning across disparate passages and scenes, at times relating the seemingly unrelated through a key citation from an Augustine, a Boethius, a Macrobius.

Italian Bookshelf Ages, as his efforts to do battle on the terrain of modernity betray a less firm footing. The mere fact that Freccero feels impelled to make such a claim reflects rather sadly on the pressure that the novel has exerted on our critical thinking, a pressure to which we surrender only at the risk of admitting, uselessly, that non-novelistic forms are somehow inferior. Surely some attentive editing could have eliminated these problems without compromising the overall argument. The wake that Dante himself leaves, then, for Freccero as a Christian reader, would be perhaps less echo than choice, to follow Dante or Ulysses.

For all the value of these essays, it is regrettable that Fordham, one of the few university presses in the United States that reliably publishes in the Italian Middle Ages, would choose to invest in what is principally a volume of reprints rather than a new publication. At a time of shrinking resources academic publishers would do well to think more expansively. Michael Sherberg, Washington University in St. On the one hand, it sets out to offer teachers a greater understanding of Petrarch, his works, and his legacy in literature and culture; on the other, it proposes to offer pedagogical advice to help teachers in a variety of contexts.

The latter section demonstrates pedagogical questions and techniques directed toward teaching Petrarch and Petrarchism for teachers in diverse languages, curricula, and academic institutions.

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Thus, the advice offered is practical, based on actual experiences, and not only theoretical. Furthermore, the materials are presented in such a way that a wide variety of teachers can adapt with ease whatever aspects might most benefit their class, whether undergraduate or graduate; in Italian or in English; a survey or specialized seminar. The resources are also presented clearly enough that they readily facilitate syllabus design for numerous course scenarios.

A multitude of resources is made available that can assist instructors as they teach in a number of contexts. For whatever reason, images or screenshots were not included for the digital resources. Such an inclusion would have further strengthened an understanding of these materials for the reader. Particularly useful are the lists of courses, poems, and themes taught by survey respondents as well as volume contributors. The editors openly admit the difficulties found by instructors when teaching Petrarch.

Italian Bookshelf with two polls. On one end, there is more teacher-centered, academic, and theoretical information; on the other, one finds more student-centered, pedagogical, and practical advice. It accentuates many aspects of the teaching process: Let us look at a couple exemplary essays from each variety.

He offers four thematic clusters to demonstrate the divergence between Petrarch and Dante. These themes and associated poems could easily be turned into class lectures or even syllabus units. She details typical in- class discussion questions and activities, and shares strategies for helping students who might be new to the material. She supports her practices with a variety of sources from the scholarship of teaching and learning, not just with observations and results culled from classroom experience. Time and again the editors and contributors provide abundant material and teaching methods, together with the instructions for deploying them successfully in the classroom.

These materials and tools provide ample fodder for both sides of the teaching experience: Italian Bookshelf Christopher Kleinhenz. Dante intertestuale e interdisciplinare. Le tipologie di citazione biblica individuate sono: Le analisi testuali di Kleinhenz prevedono sempre una lettura puntuale ed estesa del passo biblico in questione. Italian Bookshelf Di esso, che compare nel momento del bacio di Giuda, Dante deve aver fatto un emblema di tradimento, trasferito poi alla scena infernale.

La stessa struttura parallela dei canti, che consente una lettura orizzontale e verticale del poema, avrebbe il suo modello nei mosaici della cupola del Battistero di Firenze , sotto gli occhi del poeta quotidianamente. I saggi della seconda parte del volume, alcuni dei quali lecturae Dantis, sono dedicati rispettivamente a: Concludiamo col primo saggio del volume. Italian Bookshelf Marilyn Migiel. The Ethical Dimension of the Decameron. Continuando una ricerca avviata con il suo A Rhetoric of the Decameron Toronto: I due capitoli successivi considerano due novelle della terza giornata: Francesco Ciabattoni, and Pier Massimo Forni.

Testing the Reader in Decameron 3.

Italian Bookshelf che tale simpatia non sia ben riposta. Read the Story of Tofano and Ghita [Decameron 7. Boccaccio incoraggia a scrutare punti di vista diversi e la sua stessa persona autoriale va tenuta distinta da quella storica del Boccaccio scrittore. Boccaccio offre ai suoi lettori uno sguardo sul mondo disincantato e in divenire, aperto a interpretazioni concorrenti, modellato su personaggi che non sono o buoni o cattivi ma, come qualunque essere umano, un misto di entrambi. Prendendo le mosse, tra gli altri, dagli studi di Paolo Prodi proposti in Il sovrano pontefice Bologna: I sei capitoli del libro sono infatti divisi in due sezioni: Tale esperienza si riflette nei Commentarii: Interessante a proposito notare come, a tal fine, Pio II ricorra a linguaggio, attributi e ideali propri del potere secolare per trasmettere la supremazia del papa sia nella sfera temporale che in quella spirituale.

Italian Bookshelf Kristina M. Dante, Boccaccio, and the Literature of History. According to Olsen, Dante possessed a strong sense of nostalgia for the aristocracy, and for him cortesia was an essential bygone element of courtly life. Olsen concludes her introduction with an examination of Boccaccio as dantista, his distinct view of cortesia, and the need for it to be nurtured as a civic ethos in the factionalized city of fourteenth-century Florence. The first chapter treats the history of cortesia as Boccaccio expressed it in his literary works, focusing especially on the greed and incivility of the Florentine elite.

Each chapter is divided into sub-categories which support and reinforce the principle theme of the chapter. Italian Bookshelf Florentine banking crisis, which, she argues convincingly, coupled with the Black Death severely changed the social and political orders of Florence. Because of the astronomically high death rate during the plague, the elite families were reduced in both size and political influence, thereby allowing the gente nuova to gain power. Enumerating the vices which Dante mentions in Inferno 16 and Paradiso 16, and which Boccaccio reiterates in Decameron 9.

The first of these is Cangrande della Scala, who generously hosted Dante in his exile, and to whom Dante refers in Paradiso In the final chapter, Olsen suggests that Boccaccio intended to create a future for cortesia through his portrayal of certain historical figures.

While her study is intellectual, it is not overly academic, which produces an enjoyable and very informative work. Italian Bookshelf Franco Pierno, ed. Pontifical Institute of Mediaeval Studies, He next explores the case of the Visions of St. Leandro Alberti, however, in his Vita della Beata Colomba da Rieto , makes his own linguistic and editorial role much clearer, directly stating his purpose of making the life of the mystic accessible to all Italians. He demonstrates the distinction between these two approaches with examinations of sermons by Bernardino and Girolamo Savonarola.

Savonarola, he writes, preaches in the old Dominican style, while Bernardino prefers a narrative style of preaching through exempla. Coletti concludes that Bernardino is the more modern preacher of the two. The first texts in the Lombard volgare, Polimeni explains, had the goal of esplanimento, making accessible the word of God. Italian Bookshelf conjunctions and other intra-phrasal connectives.

Confraternities that often sang laude in public would have almost certainly exposed any writers in Florence or Bologna to this genre. She argues that many of the images and other elements said to tie profane poetry to laude could actually point to Latin hymns or to the Marian imagery of the courtly love tradition. Instead, she identifies a lexical change in the descriptions of the beloved in the stilnovo poetry of the s and s, in particular in pseudo-latinisms present in the laude but absent in more prestigious genres, concluding that, while we cannot determine the extent, some contact must have occurred between laude and secular poetry.

She concludes by stressing the importance of metaphorical language for Benivieni, including that language borrowed from Bonaventure. Italian Bookshelf in Italy. From her vast data set, she is able to identify the regions in which the practice is most and least frequent as well as the most common sources for religious names. Overall, the volume makes strides towards a better understanding of a number of early Italian texts of linguistic interest and points to rich avenues for future research. Historians of language will find this book of particular value, but it will also be of interest to literary scholars working on the period.

Italian Bookshelf Christian Rivoletti. Rivoletti dimostra come il poema ariostesco funziona come un intertesto per varie opere letterarie successive al Furioso. Lo studio include anche un capitolo dedicato alle arti figurative con illustrazioni a stampa, dipinti ed affreschi di artisti di considerevole rinomanza. Il capitolo quarto e quinto presentano la ricezione del poema ariostesco in Germania nel periodo romantico. In seguito Rivoletti analizza il famoso saggio sulla poesia sentimentale di Schiller che descrive come il poeta moderno non vive un rapporto diretto e armonico con la natura tipico del poeta antico Lo studioso menziona anche diversi esempi di interpretazioni artistiche, comprese le dodici acquaforti di Daniel Niklaus Chodowiecki , gli affreschi di Julius Schnorr von Carolsfeld per il Casino Massimo Lancillotti a Roma ?

Italian Bookshelf Sherry Roush. Ventriloquizing the Dead in Renaissance Italy. As the author acknowledges in her opening comments, what began as an examination of Italian Renaissance ghost stories developed into a study focused on how and for what purposes early modern Italian authors gave voice to the spirits of prominent, deceased figures from the past.

The study consists of four chapters preceded by an ample Introduction on the essence of eidolopoeia in both antiquity and the works of Dante, Petrarch and Boccaccio. In the chapters that follow, the author examines some of the ways eidolopoeia influenced various outcomes in the literary, legal and political spheres. Le Biblioteche Pubbliche Statali: Le Carte Della Scala. Le Figuline Riminesi rist. Le Opere E I Giorni. Le Origini Del Melodramma rist. Classense PDF Download. La Fidanzata Di Zorro. Maestri E Tipografi A Brescia Esperienze Recenti PDF complete. Quarant Anni Di Architetture.

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