Lattualità dei messaggi dellUtopia di Tommaso Moro (Italian Edition)

Continue shopping Checkout Continue shopping. Unsere Angebote des Tages. E' il momento di confrontarci con la lingua manzoniana, di assaporarne la meraviglia e misurarne la distanza linguistica e culturale rispetto all'Italiano di questo nostro nuovo secolo. Narra le vicende di vari personaggi nella Parigi post Restaurazione, in un arco di tempo di circa 20 anni dal al , con alcune digressioni alle vicende della Rivoluzione francese, delle Guerre napoleoniche, con particolare riguardo alla battaglia Novelle per un Anno by Luigi Pirandello series Evergreen Nelle intenzioni dell'autore, avrebbe dovuto essere una raccolta di tutta la propria produzione letteraria secondo una strutturazione unitaria per un totale di novelle, obiettivo tuttavia raggiunto solo in parte a causa della prematura morte dell'autore.

Nonostante questa disillusione Armand non riesce a smettere di amare la donna In quest'opera Verga supera il bozzettismo veristico per contribuire in modo Le chiese protestanti, seppure con differenze a seconda dei periodi, escludono dall'Antico Testamento gli stessi libri esclusi dal Canone ebraico. La Chiesa cattolica e quelle ortodosse seguono invece il Canone alessandrino con alcune You are currently in the: Choose your country so we can show books available in your region. In Donne sciolte, Irene Zanini-Cordi skillfully analyzes figures of abandoned women in Italian literature across centuries.

The key question is if these women are condemned or liberated. Taking as models mythological heroines from Greek legends, Zanini-Cordi explores four different archetypes of abandoned women: Zanini-Cordi wants to give a voice to abandoned women, who have been neglected by critics in spite of their constant presence both in mythology and literature. She argues that although the abandoned woman is generally described in terms of impotency, immobility, and mourning, ironically she often becomes more active and independent after being abandoned.

Ultimately, she is forced to find herself a new identity. The weakest of abandoned women is Ariadne, who often becomes paralyzed by heartache. In Metamorphosis Ariadne transforms into a constellation, whereas the seduced and abandoned Olimpia manages to re-enter society through marriage.

Consequently, her existence is characterized by silence and paralysis. Both works portray widows who have acquired sexual freedom and financial independence, which is why they represent a threat. Preferably, these women should re-marry soon in order to establish the patriarchal order of society, from which they have momentarily managed to escape. Thanks to her somewhat autonomous status, Rosaura can at least choose her future husband out of four candidates. Her choice is, wisely, based on character.

Berenice takes one step further: Instead of a husband, she prefers long conversations in good company. She clearly defies the rules of society. Italian Bookshelf According to Zanini-Cordi, the female seducer is undoubtedly a creation of male fears. As the author emphasizes: She is beautiful, intelligent, dangerous, and vindictive. She is a good actress with magical skills. Her sexuality is a threat to masculinity, which is why she has to be abandoned for good. Tragically, her re-integration into society is impossible. She also suffers from the famous female malady, hysteria.

Rather than being attracted to Fosca, Giorgio is repulsed by her. Fosca manages, however, to seduce him with her lovely voice. Because she is unloved and abandoned, in the end her destiny is even more tragic: Abandoned by Ulysses, Circe develops a passion for writing. Zanini- Cordi concludes that the pain and suffering caused by abandonment offer this female character the possibility to enter into a symbolic transitional space and time. Finally, we encounter a modern female character, Olga, who does not break down in crisis. Initially, Olga is portrayed in the traditional female roles of a wife and a mother.

However, over the years Olga has somehow lost herself by living solely for others. In the end, Olga finds herself a new identity, without giving up motherhood. As Zanini- Cordi concludes: As a daughter of Medea, Olga represents a new generation of abandoned women created from a feminine point of view. As Zanini-Cordi accurately proves in Donne sciolte, women writers, such as Petrignani and Ferrante, depict female characters that are no longer imprisoned in the stereotypes of abandoned women traditionally portrayed by their male counterparts.

Like Olga, who falling to the bottom experienced the terrifying vuoto di senso, they take flight by taking charge of their lives. These women become donne sciolte, who in their search for identity assume a fluid way of being that permits them to survive in a male- dominated world. As promised, in Donne sciolte she has successfully managed to give a voice to abandoned women who, at last, become liberated.

Volgarizzamenti e tradizioni discorsive nel Trecento italiano. In fact, Albesano reminds the reader that we still have more than four hundred manuscripts of the Latin text of the Consolatio, copied from the ninth through the fifteen centuries, as well as many translations, commentaries and imitations.

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Second, her study offers a better understanding of a critical issue, the medieval translations of ancient and contemporary works, a matter that merits greater study. To understand the real influence and penetration in cultural contexts of important works such as the Consolatio and many others , we cannot underestimate the role and function of translations. In other words, without ignoring the direct knowledge of the original works by medieval authors and scholars, we also need to acknowledge the fact that the easiest and likeliest way to know ancient and foreign literary works might have been through their translations.

Of the eight full translations and five partial translations completed in Italy in the fourteenth century, Albesano considers the four in her book. First and foremost is the translation by Alberto della Piagentina, in which the original alternation of poetry and prose is fully respected. There are 44 different extant manuscripts of this translation, which was composed between and by della Piagentina while in a Venetian jail.

Concerning scholarly familiarity with the translation, Albesano dedicates less attention to this translation, and points out primarily the relevance of the adaptation of the metrum used by Alberto. The metrum employed by Boethius, typical of the classic elegiac tradition, becomes here the new terza rima, that will also be employed later by other medieval and Renaissance poets as a rendition of modern elegy We still have eight different manuscripts of this translation Next, we have the translation of the Dominican Giovanni da Foligno,composed before , of which seven manuscripts remain Last of all, Albesano studies an anonymous translation of the Consolatio, written in Italian-Venetian and preserved at the public library in Verona, ms.

It is interesting to note that it is based on a French translation in prose, preserved in the ms. As Albesano argues, the translation was probably made by a Northern Italian who had already translated the Consolatio into Italian; its language is also a sign of the circulation and fame of the Consolatio in peripheral parts of Italy such as the Venetian region These last three versions are characterized by many religious insertions especially in chapters XXXV and XXXVI of the original and by a profound structural reorganization of the original work, in order to emphasize the moral and didactic purpose of the Consolatio For instance, Albesano argues, the way in which the three authors connect prose to poetry follows the style of presenting exempla in sermons, because images taken from the parts in poetry sections of the Consolatio are explicitly used as illustrative stories of the theological and moral concepts expressed in the narrative sections.

As it appears, the text of the Consolatio is assimilated to the alternation of rationes and exempla commonly employed in the sermons by Dominican preachers The systematic and drastic reduction of biographical details and historical and mythological references in the original text moves in the same direction. In the Italian-Venetian translation, for instance, the moral illustrative purpose of these stories — the condemnation of a vice or the illustration of a virtue — is even introduced by a moralisatio, often repeated at the end, to highlight their moral function.

The mythological stories most modified in this way are the myth of Orpheus meter 12, book 3 , Ulysses and Circe meter 3, book 4 , Agamemnon, Ulysses and Polyphemus, Hercules meter 7, book 4 , and the story of the emperor Nero meter 6, book 2 Etica e teologia nella Commedia di Dante: Atti del Seminario Internazionale, Torino, Ottobre Edizioni di Storia e Letteratura, Justice then is to return the universe to its intended state of ordered harmony. Alongside this critical reflection, she views the Commedia as a story of metamorphosis and development towards a state of human perfection which can only come to fruition within a society.

The argument then shifts to detailing the epics of Statius and Lucan and pointing out the cyclical nature and inevitability of vendettas and civil war. Although initially confusing in terms of argumentation, this essay proves exciting in its completion and demonstrates a harmonious and broad reading of Dante in this context. This essay is a thorough analysis of a well known scene, and, although not ground-breaking in its content, it is nonetheless interesting and engagingly argued.

The essay opens with a brief tracing of the manuscript history of the Commedia, before moving onto the main focus on the commentary tradition and in particular the commentary of the so-called Anonimo Fiorentino. While interesting and informed in its own right, its striking difference in terms of approach makes this essay something of a surprise at the end of what is otherwise a collection rooted in deep textual and literary analysis. The Reggimento was intended, quite simply, to perform the same function for women.

Amor and Curialitas direct the author to transcribe these lessons for the benefit of those who were absent. The nearly one hundred documenti delivered by the figura docens are organized according to twelve allegorical female characters: Until now, the only unabridged version of the Documenti was that of Francesco Egidi Roma: Like Egidi, Albertazzi chose A as his primary exemplar: Abbiamo rinunciato ad elencare le variazioni grafiche A: Albertazzi has regularized but not modernized spelling, capitalization, accents, punctuation, yod representation y and j and the use of the cedilla.

B, which Egidi chose to include in his edition as woodcuts. Albertazzi, however, has included the much more polished, Giottesque versions of ms. A in full color. Each of these images is presented at the beginning of the passage dedicated to its corresponding allegorical personage, which is extremely helpful because, as Egidi himself had pointed out in an article in , the colors are of great importance to a proper understanding of the underlying symbolism.

Albertazzi has made significant corrections to the text, including those proposed in by Maria Cristina Panzera, and changed what had been the traditional mode of graphical representation. Albertazzi has also elected to separate all the Latin glosses from the poetry and to place them into the second volume. Both volumes provide an index of names and a breakdown of rhyme schemes. All things considered, this new edition is far more useful than its predecessor and will undoubtedly become the new standard. Maney Publishing for the Society for Italian Studies, After a rapid but engaging tour through Donati family history, Boitani gives three close readings of the appearances of Donati family members in the Commedia: These readings create concentric circles of reference for each passage, connecting it to different theological contexts, to different themes in the Commedia, and to different traditions of intellectual writing ranging from Augustine to John Clare.

The third lecture is a culmination more than a conclusion. It is the most expansive of the three sections: Boitani suggests more than he spells out: Le cento novelle contro la morte: Giovanni Boccaccio e la rifondazione del mondo. The work consists of four chapters and has essentially a twofold value. On the one hand, it offers a thorough yet concise background on the Black Death.

On the other hand, Cardini enriches the general field of Boccaccio scholarship by carefully examining the effects of the plague on Florentine society vis a vis the brigata through historical documents and ultimately through consideration of a couple of exemplary novelle. He begins by sketching the historiographical information on the Black Death and noting the two different schools of interpreting the nature of the fourteenth century: According to the author, the letter is fully deserving of attention alongside the Decameron for its simple, efficacious and dramatic beauty.

All the while, Cardini skillfully indicates other potential scholarly avenues that might yield fruitful research for students of Boccaccio. However, Cardini goes as far as to express the meal of the falcon and their convivial union in terms that verge on the parodic in a day dedicated to happy endings through matrimony: Ultimately, he concludes, the ten young people return home having found their personal and comunitaria salvation. Cardini then makes the valid and necessary point that the impianto teologico to which he alludes does not exclude other interpretations.

In this way, the door is left open for readers of his work and the Decameron to follow the numerous historical and literary leads indicated by Cardini along the way and to pick up on intimations made or missed opportunities found throughout the somewhat restricted viewpoint of a handful of referenced novelle. Schooling in Bergamo and the Venetian Republic, U of Toronto P, In this thorough, well-researched book, Carlsmith guides the reader through one hundred and fifty years of educational practice and reform in Bergamo. In this part of the world, the years represent a key period in history, one during which humanists introduced a new kind of pedagogy.

Furthermore, it suffered from an undeserved and distorted reputation as an illiterate town. Studying the aims and goals of education, the skills both parents and rulers wished to impart on their children or their subjects provides a window into the dominant values and concepts in a society.

He aims to break new ground by using a holistic rather than narrow approach to the history of education by examining several kinds of institutions that provided educational opportunities and provides meticulous details available through case studies and microhistories of these institutions. Around the commune of Bergamo began to sponsor public instruction. Prior to this date, education was controlled by the nobility and the Church.

The commune wanted to increase the number of literate bureaucrats, merchants and clergy and was willing to experiment with a wide variety of choices. Carlsmith also examines the role of law schools from to in his first chapter. Brotherhoods, companies, consortiums, and sodalities were all names given to voluntary associations of laymen who lived by certain rules and performed good works. Other charitable organizations also founded schools, hired teachers and offered scholarships, subsidies, and other forms of economic support for education. Their level of support ranged from firewood and sacks of grain to multi-year scholarships.

During this period, the Church sought to re-establish its dominance in education, casting a wide net to teach reading, writing and the rudiments of Christian faith. The diocesan seminary, on the other hand, provided an exclusive and rigorous orthodox education. Both institutions had to interact with the commune and had to contend with both Venetian and Milanese oversight. The primary ministry of the Jesuits and the Somarchans was education, but the Jesuits were repeatedly rejected in the area until the eighteenth century.

The Somarchans supervised orphanages and public schools. Ecclesiastical institutions did not limit themselves solely to religious education. Chapter 5 examines home schooling practices, private tutoring, and the creation of a private, cooperative academy focused on providing a classical curriculum. Historically, tutors were hired by prince and patriarchs, and humanist scholars traveled from town to town.

Few parents in Bergamo could afford private tutors, but going beyond existing institutions, elite parents who wanted a classical education for their children founded the Caspi Academy in , which aimed to provide both a religious and secular education. Case studies provide examples of methods of recruiting, hiring, and the expectations of the instructors, examples of contracts, teaching careers, and the introduction of new practices. Several illustrations, frescoes and woodcuts show education in action, reminding us that books were scarce and that lectures, oral communication, and memorization were still important components of the educational practices of the times.

Saggio di una bibliografia garzoniana. In the last forty years the work of the Regular Lateran canon Tomaso Garzoni from Bagnacavallo has been rediscovered and studied not only in Italy, but also in France, Spain, Germany and the United States. After the introduction, the text consists of three sections. The editors also include the reproductions of the title pages of the editio princeps of each text, their early modern translations and latest editions in Italian and other languages, other editions of selected works by Garzoni, and an index of the names of scholars and editors in alphabetical order.

Scholars will appreciate the plethora of information in reference to the commentaries of the two modern editions of La piazza, published in by Einaudi and Olschki. The last two topics were at the center of a debate about natural and black magic flourishing in Italy and in Europe during the sixteenth and seventeenth centuries in religious, medical and philosophical milieux. Was Garzoni ready to start a new chapter in his intellectual life? It seems possible, even though it cannot be proven with absolute certainty.

It is a beautifully written and thoroughly researched work that addresses the still underrepresented topic of Dante and music. The Florentine poet lived through momentous changes in the fields of music education and performance, the biggest novelty consisting in the growing repertoire of polyphonic hymns and chants. The first chapter of the book presents the results from an impressive array of musicological studies, all converging towards a similar conclusion: According to the author, Dante might also have heard some forms of composed polyphony, like conductus and motets, perhaps also during his stay at the papal court of Boniface VIII in Ciabattoni expounds with great clarity the aural itinerary.

On a deeper level of analysis, the author identifies a system of musical references and carefully planned internal symmetries underlying the Comedy. An important tenet of medieval music theory was the necessity of a musical balance between body and soul, a sympathetic relationship, the lack of which needed to be cured with musical therapy. The musical architecture of the poem was influenced by well-established ideas of the Scholastic tradition, whose precepts conditioned both theoretical and practical aspects of music production.

The superiority traditionally attributed to vocal over instrumental music, for instance, is reflected in the Inferno through a preeminence of similes based on music instruments; one of the most famous examples is the lute-shaped character of Master Adam, whose abdomen sounds like a drum when hit by Sinon the Greek. In choosing the lute, Ciabattoni argues, Dante was well aware of its humble role among the chordophones as an instrument of Arabic origin, mostly used for popular entertainment; thus, the lute becomes a comic counterpart of the nobler cetra evoked in Paradiso in association with the eagle formed by the blessed Par.

Far from being merely a decorative element, music in the Comedy has a structural function: More simply, music is one of the means employed by Dante to get around the conundrum of having to put down in words an experience that transcends human senses. The desperate cry of a musicless soul opens the poem, like a strident anticipation of the infernal danse macabre; on the other end of the musical spectrum, the harmony formed by the angelic choirs is the greatest representation of a joy deriving from the sheer presence of God, something no words could ever fully express.

One can illustrate the shift from a bi-dimensional to a tridimensional plane by folding a sheet of paper to form a cube; the idea of a four-dimensional structure is much harder to grasp, and yet we can somehow fill this conceptual gap through a spatial metaphor, e. Ciabattoni concludes his investigation with a chapter dedicated to the Music of the Spheres. Notes by Anthony Oldcorn. Hackett Publishing Company, Inc.

Likewise both translators place their English version on pages facing the original Italian, inviting comparisons between ancient Italian and modern English. The advantages to a classical background, steeped in mythology and Virgilian vocabulary, should be apparent even to the cursory reader of Dante, who according to Virgil-Character knew the Roman epic thoroughly: Sensitive to these classical echoes, allusions, and parallels, Lombardo often goes to great lengths to highlight them, which can be a bonus for the novice reader and an annoyance for the seasoned scholar see below.

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Note, for example, the effortlessness of the rhymes and even an occasional hendecasyllable in the celebrated closing speech of Ulysses Inf. Five times had we seen it wax and wane, the light on the underside of the moon, since we began our journey on the main, And then a mountain loomed in the sky, still dim and distant, but it seemed to me I had never seen any mountain so high.

Three times it spun her around in the water, and the fourth time around, up the stern rose and the prow plunged down, as pleased Another, Until above us we felt the waters close. For example, Inferno 26 also begins with a rhyming of the first and third verses: Neither does Lombardo shy away from using slang terms when the original calls for it.

Succinct prose synopses introduce each canto, and narrative divisions within cantos are separated by an extra line of space. Specialist readers may find it annoying when Dante is attempting to be allusive and the translator insists on being specific, especially when it means adding proper names not present in the original. A prime example occurs in Inferno 2. The poet makes a series of allusions comparing the pilgrim to Aeneas and St.

The translator removes the punch from that pivotal verse by inserting the names of Aeneas and Paul when he translates the preceding periphrastic expressions: None of these italicized names my emphasis appears in the Italian. Why are they not mentioned specifically by name until the Pilgrim claims he is neither? Dante-Pilgrim literally is neither Aeneas nor Paul, but figuratively and dramatically he is both of them.

Anthony Oldcorn, emeritus professor of Italian Studies at Brown University, compiled the urbane notes accompanying the translation. He rarely misses a biblical reference or a classical allusion in the Dantean text, whether it is to Virgil, Ovid, Statius, or Lucan. He makes excellent but sparing use of well- known twentieth-century commentators, such as Contini, Ferrante, and Freccero.

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Eliot, and Seamus Heaney invariably prove enlightening. Only occasionally does the venerable Oldcorn stumble, as when he asserts, while annotating Inferno Such minor errors, however, can easily be remedied in the next printing. In sum, this highly readable translation, with its impressive but comprehensible introduction and informative but not overpowering scholarly apparatus, is destined to become a new favorite in American high schools and college campuses.

The Hospital of Incurable Madness. Daniela Pastina and John W. Arizona Center for Medieval and Renaissance Studies, Depictions of the mentally ill during the late Renaissance have never been as riveting as those presented in The Hospital of Incurable Madness. As one might surmise, the vernacularizing of literary canonical writings would not have been well received by the Church, given the times. Nonetheless, the use of the vernacular to educate the reading public allowed Garzoni to take a few liberties.

These are then subdivided into a variety of disorders that afflict the mad. The men inhabiting each area are given by far the most attention, whereas the women are relegated to the last eleven pages of the book, reflecting contemporary preconceptions. Women, on the contrary, while also divided by the same disorders, are isolated in individual cells, are nude and are watched over by a Superintendent.

They are involved in domestic activities and have no recourse to the gods for assistance. He presents Giacoma of Piangipane as follows: Such comments, however, are actually intended to mock the insane, thus drawing attention to their moral sins. In fact, madness for Garzoni represents a failure of human reason. Those who crossed the moral line were thus deemed prostitutes. Women were portrayed as engaged in domestic chores, for it was thought that this activity might reunite them with the outside world. In fairness to the translators, they do state that they were aiming for an idiomatic English translation.

I would also have liked to see the original text on the facing page for comparison, but publishing requirements being what they are, this was probably unfeasible. The notes are exceptionally thorough and added to the understanding of the text for those not familiar with the more obscure mythological references and the like. Surprisingly, Lelia admits to enjoying her male role and being kissed by another female. The gender-swapping of this sixteenth-century comedy was further complicated by the fact that male actors were playing the kissing women.

Giannetti argues that seicento comic theater, with its characters and situations drawn from quotidian life, can serve as a lens through which to examine gender, homosexuality, and marriage during the Renaissance.

Their cross- dressing and feminization were often central to the humor and action of many plays. In Renaissance society, boys were labeled as male, but did not yet have the social or economic power of older men. Yet while the young theatrical characters successfully assumed the adult male role at the end of the play, the boy actors would continue play female roles for years. The pedant- student relationship, in such theater, reveals a more general power imbalance between older and younger men and perhaps served as a warning of how such a relationship could materialize in real life.

Often true love was contrasted with the misery of a loveless arranged marriage. On stage, the young lovers circumvented obstacles with clandestine marriages, while the unhappy married woman sought solace in extramarital affairs. Looking beyond the canonical comedies, Giannetti found a surprisingly rich discussion of married life, offering alternatives to arranged marriages.

Here, love wins, but often through adultery and premarital sex. The prominence and popularity of these themes in comedies suggest a general anxiety over the practice of arranged marriages and evidence that art imitated life and, perhaps in some instances, life imitated art. Giannetti reveals a rich dialogue both on and off stage that portrayed, discussed, challenged, and contributed to seicento ideas on gender, homosexuality, and marriage.

U of Chicago P, King, sono raccolte le traduzioni di tre testi sulla Vergine Maria composti da Vittoria Colonna, Chiara Matraini e Lucrezia Marinella nel sedicesimo secolo. Dopo la consueta prefazione alla collana firmata dagli editori, in una lunga introduzione Haskins svolge il duplice compito di riassumere la storia del culto mariano dalle origini alla Controriforma e di contestualizzare storicamente i testi pubblicati Senza il sostegno di una vera e propria discussione filologica, vengono quindi pubblicate le traduzioni dei testi di Vittoria Colonna, Chiara Matraini e Lucrezia Marinella.

Essay and Studies Centre for Reformation and Renaissance Studies, The volume presents a wide and multifaceted approach to Ovid, encouraged by the interdisciplinary subject, which places Ovid and later writers on the same level of interest. As a result, while highlighting the different practices of reading Ovid by authors from various historical contexts, the collection also displays different methods of scholarly reflection on Ovid and later artists.

In some papers, traditional approaches of textual analysis reveal a deep and enlightening dialogue between Ovid and subsequent authors: Some of the essays in this volume are particularly valuable in pointing out the evolving notion of Ovid as an authority on various matters. First, Ovid appears to be perceived as a literary authority, providing examples of narrative strategies see Fumo on Chaucer representing the Wife of Bath as a storyteller , and acting as a key to decode figures of speech.

Considering Ovid as a moral authority requires taking into account the problematic interaction between the pagan poet and Christian doctrine. Criticism in the Middle Ages found such models also in Ovid. A major result of inquiring into Ovidian authority is the revelation that he is a modern poet in a modern world. This is true in two ways. On the one hand, the Metamorphoses contains elements of originality appealing to writers ready to withdraw from medieval intellectual systems. In general, the collection provides a rich and complex reflection, posing interesting problems of method and content, and suggesting perspectives for new studies.

A rich bibliography and a remarkable corpus of illustrations complete the volume. This lively and thought-provoking book proves how the multiform content of Metamorphosis accounts for the continuity of its fortune, which is deeply rooted in European cultural history. The poem changes its focus with the changing interests of the ages, thus mirroring the subject of the poem itself. Selected Poetry and Prose: The U of Chicago P, A Bilingual Edition is the first monograph published in English on this sixteenth-century Italian poet.

King and Albert Rabil Jr. Their comments begin with sections on Greek philosophy, Roman law, and the establishment of Christian doctrine. King and Rabil state that it was with the advent of the humanist foundation that things began to change: Their series provides a forum for the publication of a variety of texts written by and about women.

The volume on Chiara Matraini fits in perfectly with the desire of the series editors to provide a new space for these voices, as there has been a rediscovery of Matraini in the last thirty years. The bulk of her comments are available in her previously published articles and book. This is, however, the first time this information is available in English. Maclachlan does not translate the Rime in its entirety. Maclachlan chose two to three poems out of every five: She includes forty-six poems out of the original ninety-nine.

The poems are presented in facing page translations. She does not concern herself with reproducing the rhyme present in the Italian, but does respect the form of the poems sonnet, madrigal. For all of these prose works, only the English translations of the texts are provided. When Matraini includes a poem with the prose, Maclachlan provides both Italian and English. This volume is significantly different from the previous publication, for only twenty-eight poems out of eighty-seven are in common with Book A.

Through computerized searching, she was able to isolate poetic imitatio as it pertains to the poems included in this volume. Maclachlan has done a great service for the English speaking audience interested in Italian Renaissance poetry. She has provided translations of a variety of works and has also placed those works within a chronological framework.

Previously such a variety of selections had not been available to English speakers. This monograph could perhaps make the poet more readily known to scholars of the period. Matraini, as a student of writers such as Petrarch, Bembo and Vittoria Colonna, was an important feminine voice of the second half of the sixteenth century. Her rich and intriguing poetry is deserving of further recognition by those interested in the early modern period. Donna oggetto del discorso letterario e soggetto della creazione poetica, quindi sguardi e voci, visages e paroles.

Da questa doppia prospettiva, perennemente dialogante, deriva la divisione in due parti della raccolta. Entrambi i saggi sono dotati di utili appendici: Raffa, professor of Italian at University of Texas at Austin. The guide examines the cosmologic, spiritual and textual journey, canticle by canticle and region by region, in the same sequence as Dante the pilgrim experiences it. Danteworlds has an organized and patterned structure: The book is divided into the three realms of the afterlife, which is then organized into sub- chapters dedicated to each individual circle, terrace, or sphere.

Each chapter features three elements: At the same time, the allusions comment on theological and philosophical elements, while also hinting at historical events, biblical and classical references and rhetorical figures. Through these allusions one can begin to form a wider perspective of the allegoric poem.

Raffa, in fact, brings to surface these sometimes hidden references and provides a space for the infinite connections that make them so noteworthy. For example, the author underlines the reappearances of characters and the respective allusions between a canticle and another, in the end providing an efficacious prospective of the afterlife. Danteworlds includes a comprehensive bibliography of books, websites and an index of Dante and early modern studies.

Curmudgeons in High Dudgeon: This conjecture has some legitimacy. These are just two examples among the many that Rao relates in his survey of the humanistic invective, a literary genre that has recently enjoyed considerable attention. The seven chapters follow a chronological scheme arranged as a series of juxtaposed micro-biographies portraying, among others, Petrarch, Salutati, Panormita, Filelfo, Poggio, Valla, and a few minor figures who were makers and often targets of invectives.

In strictly informative terms, chapters one to six do not offer new material that the classic studies on the subject of humanistic invective like those by Remigio Sabbadini, Felice Vismara, Pier Giorgio Ricci, and Antonio Lanza have not already covered, but their arrangement as a narrative helps the reader place the invective against a historical background. Nonetheless, the choice of putting such a definition at the end of the book chapter seven ends on p. Indeed, one can appreciate the idea of providing a definition only inductively, as a result of the preceding empirical survey, but given the introductory nature of this study and the public to which it is directed, one can argue that it would have been more convenient to supply the reader with a definition, even for mere heuristic purposes, at the very beginning of the book.

Consequently, Rao emphasizes the historical importance of this literary genre: She presents two seemingly divergent trends in publishing that she argues should be viewed as having complimentary trajectories: She examines two major changes between the Quattrocento neo-Latin humanist letterbook and its post-Aretinian version in the Cinquecento: Behind both projects is an attempt at constructing the literary persona of the author, a move politicized through patronage: A Literary Nun in Baroque Venice.

Longo Editore, , pp. Her breadth of research is extensive and includes criticism in Italian, French and English Renaissance Studies. In addition, although male-female patronage is examined on a case-by-case basis, connections are not made between the chapters in order to formulate a larger conclusion about gender relations, literary production, gift exchange, and power within literary social networks given the shifting perspectives on gender. Nevertheless, Writing Gender is a fresh approach to the history of women that exposes the role of both authentic and ventriloquized gendered voices in the construction and performance of gender in Renaissance and Baroque vernacular letter collections.

Feng, University of Arizona Matteo Residori, ed. Gli studi di Eugenio Refini e Luciana Borsetto trattano altri due luoghi comuni che hanno goduto di grande successo letterario: Manricardo e Doralice trovano accoglienza nella casa di un pastore e lo stesso capita ad Angelica e Medoro. Secondo lo studioso, il castello e il palazzo di Atlante, la dimora di Alcina e la rocca di Logistilla non sono tanto luoghi in cui sostano i personaggi, ma piuttosto costruzioni simboliche del desiderio, e quindi personaggi essi stessi: I loro stessi eventuali abitanti sono oggetti di desiderio: Gli spazi studiati sono vari e intesi in senso lato, mentre gli approcci metodologici scelti dai vari autori divergono in maniera sostanziale: An important read for any medievalist or early modernist, this book is designed for a wide range of readers, offering to friends of Petrarch — both old and new — a selection of Latin poems that they will undoubtedly find enjoyable.

The slim volume provides an unconventional, remarkably personal presentation of Petrarch and his work, and will serve as a fascinating addition to any library for its unique content and visual appeal. Over the course of a literary career that spanned more than fifty years Petrarch authored a number of Latin epigrams.

A number of surprises await the reader in these enigmatic verses: In the summer of Petrarch left Avignon for Vaucluse, a tranquil valley just east of the bustling papal city. Despite his numerous changes in residence, and his ultimate return to Italy in , Petrarch believed Vaucluse to be the most beautiful place on earth. In this way the selected compositions have a unity of background, even though they deal with a wide variety of themes.

The title, Gabbiani, is derived from one of the most intriguing epigrams contained in the book. A flock of seagulls observed during a trip in the Tyrrhenian motivated Petrarch to pen an epigram written in the form of a dialogue with his friend and travel companion, likely the Flemish musician Ludovico di Beringen. The transformation of Laura and the poetic voice represents a converging of erotic desires that are far more explicit than those mentioned in the Canzoniere.

Throughout, Rico skillfully weaves biographical facts together with a description of the twelve texts. In the essay that concludes the book the editor describes his criteria for selection: The presentation of the volume is eye- catching. This is a fitting choice, since it fits perfectly within the time frame Rico has selected: The physical presentation of the text is mirrored in the elegance of the translations.

The texts are arranged in the order in which they were written, and each translation is followed by a brief essay that provides glosses of the text, contextual information and critical analysis. Rico provides the necessary background to understand and appreciate the twelve epigrams he has selected, and, overall, the critical apparatus is accessible and usefully selective. In sum, this is a superb book, useful to both specialists and students alike, as it offers a fresh look at the founding father of Humanism.

The translations are extremely readable and their juxtaposition to the original Latin makes them an ideal tool for professors of Italian. In addition to serving the community of scholars, Rico has put together an excellent teaching resource that shows a more spontaneous side of Petrarch, providing an alternative to the calculated, restrained poet of the Canzoniere. Reclaiming Catherine of Siena: Literacy, Culture, and the Signs of Others. Catherine Benincasa, better known as Saint Catherine of Siena, needs no introduction: What role could an uneducated woman who had to dictate everything she wrote possibly have among the greatest authors of her time?

The question of whether Catherine could write and even the authenticity of her writings have not yet been established. Raymond of Capua, however, her most influential biographer, never even mentions this letter. In her erudite debut book, Webb provides a concise overview of the complexities inherent in medieval philosophies of the heart. She traces the evolution of ideas concerning the heart, from Aristotle through Descartes, concentrating on mostly Italian medieval conceptions of the heart as physical organ, metaphor, and seat of the soul and emotion. Webb identifies four thematic concepts and devotes a chapter to each: The first chapter on the Sovereign Heart explores medieval notions of the body politic and power.

The debate over head or heart as ruler of man, church and society is iterated and addressed from different perspectives. Webb uncovers the debate as one of centrality of rule, represented by the heart, against hierarchical, mental rule, represented by the head that emphasizes a plurality within a unity. Medieval saints also tend toward a more cardio-centric interpretation of power: Webb stresses in her second chapter the radical to us medieval concept of a porous, breathing heart: It is accessible, open to the core.

Like blood that circulates within the body, this chapter explores the circulatory patterns that go beyond the human body and return. The chapter is devoted to how communication that flows through all five senses can be seen as analogous to circulatory patterns of the heart. Disease is used as a metaphor for how the heart functions; that is, an incorporation and an invasion.

Sight is active and passive, and always transformative. The author identifies all five senses as integral to the creation and understanding of poetry, using the stilnovistic poets to demonstrate her thesis. The medieval person had an almost mystical, magical interconnection with the world that could result in a positive influence or could be dangerous: A discussion of gender and the heart occupies the third chapter. Webb summarizes some medieval ideas of medical explanations of fecundity and reproduction, and concentrates especially on the qualities of heat and coldness. Heat was associated with action and the masculine, while cold was tied to passivity and femininity.

An individual, regardless of gender as determined by the sexual organs, could be more masculine or more feminine depending on the attributes of his or her personality: The heart was considered the source of heat in the body, and therefore whoever had more heat had more heart. Those who obsess over love and beauty become melancholic; they first overheat and then are left cold and dry.

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The author analyzes other popular topoi in relation to gender: The fourth chapter follows the medieval viewer as he or she confronts the animate, and inanimate, heart. Ultimately, she distinguishes between two competing views of the in animate heart: The key difference between the two is identification: The exciting, overarching research completed by Heather Webb is as remarkable as her amount of sources.

Sensitively written and highly readable, her book is a solid contribution to medieval intellectual history and Italian literature. She makes a convincing case for the heart as the object and theme that tie together medieval science, philosophy, theology and poetry. The Selected Poetry of Guido Cavalcanti: A Critical English Edition. Cavalcanti, figura chiave nello sviluppo della lirica italiana del Duecento e autore essenziale per la ristrutturazione della poesia modernista inglese, viene riproposto al mondo di lingua inglese, per la sua influenza su buona parte della poesia italiana ed europea a lui contemporanea e quella susseguente.

Il metro e la forma delle poesie, sono visti da West quali elementi sonori non sempre traducibili, per cui il lettore deve esserne avvisato. Capire questo significa intendere i limiti della traduzione, ma anche il suo potenziale creativo. In questo splendido volume, Simon West dimostra la sua eccellente preparazione come critico e traduttore. Love in the Mirror. It is a play that challenged the norms of comedic motifs established by Renaissance theater, delineating a conscious act of defiance that strongly paralleled the plight of contemporary women like Isabella whose very presence and participation in the theatrical world continually challenged the pre-established confines that sought to limit their activity therein.

He can be counted as one of the few men who not only sympathized with female struggle, but regarded female intellectual capabilities with respect and at times drew upon them for his own intellectual justification. He thereby exacts an unusual role reversal, in which it is a man who seeks the aid of a woman to sustain his worth, rather than the inverse, as is more commonly seen.

For followers of The Other Voice series in particular, the comedy will be of great interest for its treatment of common themes in the querelle des femmes. Though quarreling between the sexes is a typical element of comedies, the gendered banter in Love in the Mirror reaches a heightened level of intellectual cultural referencing.

Act I, scene 3, presents an amusing scene with Florinda, the protagonist, and Guerindo, a suitor, engaging in a parody of the trite arguments repeatedly utilized during Renaissance gender debates. The underlying message of the parody points to the futility of such an argumentative style since for every point a counter-point is easily found, thus becoming comical.

Elenco delle Reti Tematiche:

He eschews archaisms and abandons the cumbersome practice of literal translation in favor of transporting the overall meaning in order for readers to find contemporary, palpable relevance. He emphasizes translation as a culturally creative act with the final product inhabiting its new cultural idiom as comfortably as it inhabited the original. The meanings enveloped in the numerous witty conceits, rhetorical phrases, and musical numbers that populate Love in the Mirror find their English equivalents easily in the hands of Snyder. Moreover, he is extremely faithful to the original text, discarding nothing in his translated version other than a very short list of demons III.

He reveals himself to be a firmly textual interpreter of the play by interpreting the words of Andreini literally, without expounding upon the possibility of further meaning. Florinda is eager to be with her love and invites Eugenio believing him to be Lidia to her bed. Eugenio is aware of the identity confusion but cares for little other than the chance to be with the beautiful Florinda.

He is ready and willing to be, say, or do whatever it takes to consummate: Eugenio disregards moral integrity quite easily for the chance to bed Florinda, thus introducing the possibility of continuing his deceit in the bedroom. Meaning the story of Eugenio the Hermaphrodite is potentially pure inventio: Lettere dalla Francia Viaggio in Inghilterra A cura di Paolo L. Bernardini e Diego Lucci. A modern edition of this important work, edited by Marco Sioli, appeared in ; earlier, Antonio Pace produced an excellent English translation Syracuse UP, , with extensive annotations by Joseph and Nesta Ewan.

His account of his stay in France has been lost, but nine of his letters to his mentor, the great Milanese scientist Paolo Frisi, have survived eight are from France, the ninth from London , and so has the detailed journal that Castiglioni kept while in England. These documents, which form an excellent introduction to his American journey, can now be read in this carefully edited volume, thanks to Paolo L. Bernardini and Diego Lucci. In all things, Castiglioni preferred the unadorned and unaffected.