Singolarità e Formularità (Italian Edition)

This is often an research of arts and aesthetics of their widest senses and studies, providing quite a few views which variety from the metaphysical to the political. Download e-book for iPad: Bento's Sketchbook by John Berger. A meditation, in phrases and pictures, at the perform of drawing, by means of the writer of how of Seeing.

The seventeenth-century thinker Baruch Spinoza—also often called Benedict or Bento de Spinoza—spent the main extreme years of his brief lifestyles writing.

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He additionally carried with him a sketchbook. After his surprising loss of life, his acquaintances rescued letters, manuscripts, notes—but no drawings. Extra info for A Language of Its Own: By Ruth Katz The Western musical culture has produced not just tune, but in addition numerous writings approximately tune that stay in continuous—and vastly influential—dialogue with their topic. A Companion to the Philosophy of Literature - download pdf or read online This huge number of new and up to date essays from a global crew of eminent students represents the simplest modern serious pondering on the subject of either literary and philosophical reports of literature.

Read e-book online Arts and Aesthetics in a Globalizing World Association of PDF This is often an research of arts and aesthetics of their widest senses and studies, providing quite a few views which variety from the metaphysical to the political. Bento's Sketchbook by John Berger A meditation, in phrases and pictures, at the perform of drawing, by means of the writer of how of Seeing. A Language of Its Own: While Tronzo admits the discontinuity and disappearance of historical works from late antiquity, he is able to provide a structural explanation of Naples in the early Middle Ages. He also gives an account of the historical cathedral complex, including the nave, Santa Restituta, and its baptistery, San Giovanni in Fonte.

However, the tower of Santa Maria Maggiore now remains freestanding and it is one of the earliest of a series of medieval passage towers. The focus then shifts to the patronage of the pious confraternities, the Angevins, and the Churches of the Friars. In the s Naples became increasingly valued as a political and economic center, which stimulated urban projects and emphasized the importance of patronage from private donors. San Lorenzo has an extensive building history of reconstruction, delayed completions, and extensions that reflect the changes in Franciscan architecture throughout Italy.

While the history of San Domenico is much less extensive, it proves the importance of Tuscan artists in Naples. According to Bruzelius the War of the Sicilian Vespers in , the construction of the Castel Nuovo by Charles I in , and the transfer of the archive and mint to Naples all contributed to making it the capital of the kingdom of Naples. His first project was the reconstruction of the new cathedral in June , which played an important role in the capitalization of Naples. The final chapter by Bruzelius concludes with the Angevin reconfiguration of Naples.

There are very few remains from fourteenth-century Naples to attest to any sign of cultural vitality. Caroline Bruzelius and William Tronzo offer a very informative analysis of Neapolitan monuments and urbanism in the Middle Ages. They reveal their special expertise in and provide brilliant interpretations of the often ambiguous aspects of Neapolitan art and architecture. Their book is very concise and clear and serves as an excellent introduction to medieval Naples for a wide variety of general readers as well as scholars.

Viene dunque proposta come analisi innovativa quella che interroga i testi allo scopo di individuare nella proiezione letteraria della Roma allegorica il riflesso della rappresentazione del potere. Nella seconda parte del libro, la ricerca si concentra sullo studio della personificazione di Roma nel corso del XIV secolo. International Writings with a Sicilian Accent.

Sweet Lemons 2, the second volume edited by Venera Fazio and Delia De Santis celebrating Sicilian culture, literature, immigrants, and writers, follows directly in the successful footsteps of the first anthology published in Nearly eighty other contributors, whose brief biographies can be found at the end of the book, join them.

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Through analysis of trends in migration, Scambray arrives at the conclusion that the melting-pot culture of North America endangers the national identity that is so important to Sicilians. Concluding with an overview of some of the most recent and important culturally relevant works on, about, or remembering Sicily, Scambray closes suggesting that Sweet Lemons 2 is able to help define Sicilian ethnicity through its compilation of Sicilian poems, memoirs, and tales.

The introduction by co-editor and contributor Venera Fazio explains that, following the success of their first volume, she and co-editor Delia De Santis requested contributions from writers of Sicilian heritage from English-speaking countries including the United Kingdom, Ireland, Australia and New Zealand, in addition to North American countries. The inclusion of personal memoirs, poems, short stories, and historically fictional fables helps readers to appreciate what it might mean to be Sicilian and the important differences between Sicilians and peninsular Italians.

For those already familiar with Sicily and her offspring, this volume highlights some of the most beautiful memories, stories, and fables associated with her. Sulle tracce di Orfeo: Pisa, Edizioni ETS, Questi sono tutti aspetti positivi. Il terzo capitolo analizza Orfeo come simbolo che incarna la cultura degli albori del melodramma.

The Art of Reading Italian Americana: Italian American Culture in Review. Tradition and the Italian American Writer , which included selected works from his column in Fra Noi, a Chicago-based monthly publication dedicated to Italian American culture. Reading the reviews in the order in which they are presented, one gets a sense of the wide-ranging and profoundly interdisciplinary nature of Italian American Studies. In addition to demonstrating the epic scope of available literature, provocative juxtapositions like those listed above highlight the existence of a vibrant and engaged community of scholars.

The collection also underscores the political commitment of so many Italian American scholars and how studies in Italian American history and culture connect to larger questions of justice and equality. Bookshelf Another important feature of the collection is its emphasis on the connection between Italy and Italian America. A History of Southern Italy While the current structure of the book does allow for fruitful comparisons along its delightfully meandering path through a ten-year period of publications in Italian American Studies, an alternative might have been to organize the reviews thematically or chronologically, or at least to include indices listing the works by genre, discipline or year published.

Finally, there are enough typos to stumble over and the page numbers in the index are inaccurate in some cases. The book will be of interest to scholars of Italian American, American, and Italian Studies, as well as a wider public of informed citizens. It seems a particularly useful resource, as well, for university professors beginning to develop an Italian American Studies curriculum.

Studi sulla letteratura e le arti. Nel poema Il poeta degli Iloti, egli rinuncia alla poesia cosmica ed epica per convertirsi alla musa del lavoro e delle umili cose ; in Un uomo di pensiero e un uomo di azione afferma che la poesia non comporta imitazione e sgorga dal turbamento dello spirito che rivela a se stessi ed agli altri cose ignote.

Paolo Pacello, aversano nato nel , a latere del petrarchismo dominante, testimonia il liberalismo linguistico degli scrittori napoletani Il salernitano Vincenzo Braca compose farse cavaiole offensive nei riguardi dei Cavesi. Italy and the Bourgeoisie. The Re-Thinking of a Class. Fairleigh Dickinson University Press, The nine essays collected in the volume draw upon cultural and especially literary production in order to understand the ways in which artists and writers, often themselves formed in a bourgeois social environment, have represented the character, the mission and, increasingly, as we move down the decades, the shortcomings of this class from unification to the beginning of the twenty-first century.

In one of the strongest contributions, Cristina Della Coletta considers the bourgeoisie at its apogee in the second half of the nineteenth century. Giuseppe Tosi, writing on a series of memoirs that reflected upon the armistice of 8 September , also considers a sudden shift in self-perception: Another historical trauma, that of terrorism, is the subject of three closely related essays by Cosetta Seno Reed, Giancarlo Lombardi and Gius Gargiulo.

The instrumental logic that governs bourgeois relations makes both the capitalist fathers and the revolutionary children that putatively rise against them faces of the same coin. With the final two essays we come to the threshold of the twenty-first century. For Nicoletta Di Ciolla, the noir fiction of Gianni Farinetti, and in particular his first novel, Un delitto fatto in casa , paints a broad picture of an Italian and, specifically, Turinese upper bourgeois family in order to lay bare the hypocrisy and hollowness that governs both its private and public actions.

The contradictory father-daughter relationship staged by Mazzucati is the story of a failed transgression, as the protagonist remains in thrall of the bourgeois values internalized in childhood. The only flaw of the volume is that Farleigh Dickinson University Press seems to have spent little time on copy-editing the text. Otherwise, these essays, all characterized by theoretical rigor and fine textual analyses, are exemplary of the kind of contribution that an interdisciplinary approach — cutting across film, literary and cultural studies — can make to the renewal of Italian Studies.

Voices of Italian America: Fordham University Press, Il testo si aggiunge agli studi e ai volumi dedicati alla letteratura italo-americana negli Stati Uniti, prendendo in esame testi ed autori che spaziano dal XIX sino a gran parte del XX secolo. Tra gli autori antologizzati si conta Riccardo Cordiferro, che compose poesie in italiano, ma anche in calabrese, siciliano e napoletano. La quinta parte Prose of Testimony: Marazzi distingue tre fasi relative alla letteratura italo-americana dal fascismo ai nostri giorni: The Muslims of Medieval Italy.

Edinburgh University Press, This work, by noted historian Alex Metcalfe, is a wonderful addition to the bibliography on the central Mediterranean. In a chronological reach that extends from the year to , Metcalfe charts the creation and eventual demise of Muslim society in Sicily and Southern Italy. Metcalfe examines the political and economic organization of the new Muslim holding, including the Islamicization and Arabicization of cities such as Palermo which became important centers of Islamic cultural and political life.

Such tensions evolved into the civil wars that rocked the island between and Non-Muslims would pay both a land and a religious poll tax, or jizya, but would retain religious autonomy. In the case of conversions, the jizya was remitted. According to Metcalfe, many communities retained their Christian faith, even while adopting Arabic culture and language. In this same chapter, Metcalfe also examines the relationship between Sicily and Ifriqiya, the old Roman province of Africa corresponding to present-day Libya, Tunisia, and Algeria, noting that the island, despite its origin as a colony, began to develop very complex and, at times, decidedly antagonistic relationships with the motherland.

It was during Fatimid- Kalbid rule that the town of Palermo reached its prime while the rural economy of the countryside was transformed by systems of irrigation and the introduction of new plants, such as citrus fruit, date palms, mulberry, sumac, sugar cane, and papyrus. According to Metcalfe, the most important product of Sicily was grain, traded with Ifriqiya for gold.

Yet despite the flourishing of the island under Kalbid rule, from the mids a new civil war swept across Sicily. This war, which is discussed by Metcalfe in his fourth chapter, was the result of internal dissent between the emirs who dominated Sicily, but was also aggravated by external aggressions on the part of the Byzantines and especially the Normans who landed on the island in the s, completing their conquest in It also did not originate from the north of Europe. While the Normans who landed in Sicily hailed originally from Normandy, they were already well established in southern mainland Italy where they served as mercenaries of the Byzantines or as barons and knights titled by Papal investiture.

Subsequent pages of this chapter focus on Robert Guiscard and his brother Roger de Hauteville, whose successful military campaigns were aided by tensions that were simmering among the emirs. The Normans also adopted the Muslim system of tribute that permitted Christians and Jews to live on the island, with the Normans becoming the beneficiaries of the jizya that was now paid by Muslims and Jews.

In the sixth chapter, Metcalfe focuses on additional strategies employed by the Normans to rule over a population of different faiths, ethnicities, cultures, and languages. As a result of this process, many educated and wealthy Muslims left the island for Ifriqiya or Andalusia in what Metcalfe compares to a diaspora, whose consequence was the rapid decline of Arabic Islamic culture.

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Chapter seven further describes the increasingly peripheral role of Muslims in Sicily, forced to live in crown lands or Latin church holdings. In these pages, Metcalfe devotes much attention to George of Antioch, a central figure in the administration of the island under Roger II. Metcalfe also devotes some pages to describe the tense relations between the Normans and the papacy, leading to treaty of Benevento whereby the king limited the presence of papal legates on the island.

In chapter nine and ten , Metcalfe surveys the period between the s and s, when many massacres of Muslims took place. Initially limited to the killing of eunuchs who held high administrative positions, the violence quickly spread to Palermo and Messina, where in the s even ordinary Muslim homes were looted. The eleventh chapter further examines the plight of Muslim minorities whose promotion and social mobility were increasingly tied to conversion to Christianity. This said, Metcalfe clearly acknowledges the importance of the kingdom in the transmission of Arabic-Greek and Greek-Latin culture and devotes his thirteenth chapter to a discussion of Norman patronage, especially in the translation of philosophical and scientific texts.

This intellectual exchange is noteworthy but Metcalfe again points out that the translations were primarily from Arabic or Greek into Latin, thus indicating an orientation towards a language, and by implication, a Western culture, of growing hegemony. The chapter traces the succession crisis that befell the kingdom after the death of William II in , leading to the Staufen dynasty of Henry VI of Germany and his son Frederick, both German emperor and king of Sicily. While he patronized Muslim art and science, his court did not promote Muslim subjects to any high administrative positions.

At the same time, however, he accelerated the process towards a wide adoption of Latin Christianity by pushing Muslims to accept the concessions made by his predecessor William to the Bishop of Monreale. His behavior fomented more Muslim revolts, which he promptly crushed before deporting all his remaining Muslim subjects to a single location on the mainland: This mass deportation, which occurred at the beginning of the thirteenth century, severely impacted Western Sicily, where a sophisticated system of irrigation put in place by the Muslims had enabled a highly diversified production of crops.

With the departure of the Muslims, a monoculture of tenant farmers took hold, whose repercussions on Sicilian economy would be felt for centuries to come. By , the demise of the Muslims was sealed: The Chronicle of Le Murate. Center for Reformation and Renaissance Studies, This book presents an interesting document disclosing the life of the Benedictine convent of Santissima Annunziata delle Murate, commonly referred to as Le Murate. Among the many religious communities spread throughout Renaissance Florence by the population of nuns in the city had reached 2, , Le Murate was an institution of crucial importance, because of its strong bonds with the most prominent families of the time.

It includes a detailed description of the day-to-day activities of the nuns, as well as their participation in the life of the city. Although the idea of aesthetic enjoyment was alien to the rule, as Weddle reminds us, Sister Giustina does not refrain from a cautious artistic — and monetary — assessment of a painting: Beyond the enjoyment of Renaissance art, the convent of Le Murate was tightly connected with well-known citizens and institutions.

This Chronicle casts light on a religious institution that had a secular import and a major impact in the life of Florentine women of the time. The convent functioned as an essential component of the support network for lay women who, after having received part of their education inside the convent, kept a close relationship with the nuns even once they left the convent walls. The material of the chronicle is divided into 78 chapters and arranged chronologically.

As Weddle reminds us in her introduction, Sister Giustina abided by the intrinsic humility dictated by her habit and rule and was not concerned with the notion of individual authorship. The chapters reveal facts that vary in nature and are often transfigured into signs of the divine plan to which the nuns of Le Murate were strenuously struggling to conform.

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.

1. Exposing Infant Baptism, Revealing Believers Immersion Part 1: Must Babies Be Sprinkled or Believers Be Immersed? What is the Origin of Baby Baptism? What is the Hebrew Understanding of Baptism?!
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3. LHéroïne (French Edition);
4. Y si yo fuera Susana San Juan... (Spanish Edition).
5. Walking the Dog.

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. 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. 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.

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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. 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.

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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.

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. 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.

This is a part of the Renaissance less studied and less taken for granted, particularly in Southern Europe — Italy, that is. Nagel convincingly argues that there did not exist a specific program that addressed nudity or improper visual interpretations of sacred images. Everything was placed in the hands of the individual surveyors and their artistic sensibility.

When, then, did artistic license become a problem? Idolatry comes as a result of putting certain esthetic criteria on a scale, a scale that is a product of society. As such, its connotation varies from Florence to Northern Europe. What is recognizable in the Netherlands i. Doubling — the character and the real person who modeled for it — produces a theatrical effect The widespread use of wax effigies in Florence at the time has a role in the passage between inserting portraits of real people of the time into paintings representing sacred images.

Ghirlandaio is a good example of creating balance between sacred figures and portraits of Florentines of his time in his Tornabuoni chapel How do you avoid idolatric worshiping, then? How do you rethink image?