English translation of 'Riso', in Lessico critico decameroniano'

Il ruolo della cornice ne Lo cunto de li cunti, Decameron e Le mille e una notte. Autore sconosciuto, Le mille e una notte, XII-XVI sec. A.c. Giovanni Boccaccio, Decameron, 1349-1351. Giambattista Basile, Lo cunto de li cunti, 1634-1636.. more

Il ruolo della cornice ne Lo cunto de li cunti, Decameron e Le mille e una notte. Autore sconosciuto, Le mille e una notte, XII-XVI sec. A.c. Giovanni Boccaccio, Decameron, 1349-1351. Giambattista Basile, Lo cunto de li cunti, 1634-1636. Problematica In questo saggio cercherò di mettere in rilievo, attraverso la descrizione dei dispositivi narrativi, il dialogo intertestuale che si instaura tra Le mille e una notte, il Decameron e Lo cunto de li cunti. Verranno tratteggiati i dispositivi narrativi ed enunciativi di tre testi che sono stati prodotti in contesti sociali e letterari completamente diversi tra loro e si cercherà, per ognuno, di tener conto dello specifico ambito in cui sono stati scritti. Le il dialogo intertestuale con i testi passati e presenti verrà analizzato per approfondire la comprensione degli scritti. Se il testo è il punto di partenza, il contesto rappresenterà la chiave di lettura, insieme alle possibili influenze che le opere e gli autori stessi potrebbero aver subito. Il dialogo che intercorre tra un testo e l'altro non sarà trattato in 1

l'articolo esamina la sottile presenza del Decameron (novelle comiche) nelle commedie di Machiavelli.

Cet essai réunit trois tentatives de cerner les dynamiques symboliques à l'oeuvre dans trois secteurs, essentiellement littéraires, de la culture médiévale des XIIe-XIVe siècles. Initiation à la lecture des romans du Graal Apparue en.. more

Cet essai réunit trois tentatives de cerner les dynamiques symboliques à l'oeuvre dans trois secteurs, essentiellement littéraires, de la culture médiévale des XIIe-XIVe siècles.
Initiation à la lecture des romans du Graal
Apparue en France à la fin du XIIe siècle, la légende du Graal idéalise
des valeurs chevaleresques plus ou moins christianisées. Si la quête du
Graal symbolise une recherche spirituelle, les auteurs souvent anonymes
des romans ont affirmé que l’élucidation de leurs récits appartient à ceux
qui ont le « coeur pur ». Le lecteur est ainsi invité à suivre une spiritualité
de la lecture que cette étude tente de dégager à partir des romans arthuriens des XIIe et XIIIe siècles.
La musique chez Hildegarde de Bingen
Mystique visionnaire, musicienne et abbesse du Saint Empire, Hildegarde
de Bingen (1098-1179) a conçu sa musique comme une réminiscence
du paradis et une révélation du mystère de l’homme. A partir des textes d’Hildegarde, cette étude offre une synthèse d’une métaphysique et d’une spiritualité chrétiennes de la musique.
La sagesse du Décaméron de Boccace
Chef-d’oeuvre de la littérature italienne, le Décaméron de Boccace (1313-1375) est grevé d’une réputation de grivoiserie et d’anti-cléricalisme. Comme La Divine Comédie de Dante, ce recueil de cent nouvelles est pourtant un livre à clés. En filigrane de contes extraordinaires de vie et de diversité, apparaissent une sagesse et une spiritualité d’amour que cette étude tente de mettre à jour, à travers l’étude croisée de thèmes centraux : la sagesse de l’Amour, la sexualité, la religion, le voyage, le rire, le couple et l’adultère, le paradis, le sens du conte.

Il volume contiene saggi di G. Alfano; B. Barbiellini Amidei; J. Bartuschat; L. Battaglia Ricci; R. Bragantini; ; C. Cazalé Bérard; A. M. Cabrini; A. D'Agostino; E. Menetti; G. Polimeni: M. Rosso; F. Spera; C. Zampese.

Per portare alla luce le linee del disegno generale che presiede alla scrittura di Fiammetta, Decameron e Corbaccio, dovremo definire la Fiammetta e il Corbaccio come rispettivi confini non solo cronologici ma anche semantici dell’opera.. more

Per portare alla luce le linee del disegno generale che presiede alla scrittura di Fiammetta, Decameron e Corbaccio, dovremo definire la Fiammetta e il Corbaccio come rispettivi confini non solo cronologici ma anche semantici dell’opera maggiore, dove l’idea di confine rimanda opportunamente al senso di linea di demarcazione tra due territori limitrofi e complementari dell’inventio. Una lettura sinottica delle tre opere chiarirà come la generale costruzione narrativa ruoti in tutte attorno a elementi ricorrenti, veri e propri archetipi dell’immaginario narrativo dell’autore.

Electronic coursebook for the homonymous optional course published by cetateadescaun.ro

Decameron’s tale II.9 became popular in Spain through Juan de Timoneda’s close adaptation, which influenced a series of subsequent works, from fifteenth-century novellas to seventeenth-century pliegos de cordel. The tale’s plot underwent.. more

Decameron’s tale II.9 became popular in Spain through Juan de Timoneda’s close adaptation, which influenced a series of subsequent works, from fifteenth-century novellas to seventeenth-century pliegos de cordel. The tale’s plot underwent substantial adaptations in order to fit the new cultural and ideological contexts as well as the different needs and expectations of its readers. An element that apparently went unchanged is the tale’s exemplary female protagonist, Zinebra, who became a model for a new generation of literary female heroes whose adventures captivated large portions of the reading public. Particularly appealing was the triumph of human and divine justice.
La novella II.9 del Decamerón se difundió en España gracias a la reelaboración de Timoneda y dejó su huella en una cadena de obras vinculadas intertextualmente, desde el siglo XVI hasta los pliegos de cordel del siglo XVIII. Adaptada a nuevos contextos culturales e ideológicos, la intriga sufrió importantes transformaciones, en las que juega un papel determinante el tipo de destinatario al que se dirigía el autor. El elemento más persistente fue el patrimonio genético de Zinebra, modelo ejemplar para las generaciones de heroínas que cautivaron a un amplio público con sus aventuras, conduciendo al triunfo de la justicia humana y divina.

The intellectual production of Petrarch and Boccaccio came to constitute the most solid knot in the premodern world to tie the Greco-Roman spirit to the Christian in a new and fertile synthesis, so as to spread their own influence rapidly.. more

The intellectual production of Petrarch and Boccaccio came to constitute
the most solid knot in the premodern world to tie the Greco-Roman spirit
to the Christian in a new and fertile synthesis, so as to spread their own influence rapidly throughout the various European nations.

In my paper I will explore a consistent set of theological and aesthetic concepts, foremost among them the medieval (and especially Dante's) idea and representation of Christian conversion in Augustinian terms. The two main poles around.. more

In my paper I will explore a consistent set of theological and aesthetic concepts, foremost among them the medieval (and especially Dante's) idea and representation of Christian conversion in Augustinian terms. The two main poles around which my investigation revolves are the conclusions respectively of Petrarch's Secretum and Boccaccio's tale of Ser Ciappelletto (Dec. I, 1), two texts that bear witness to the radical intellectual turn towards the new era of Italian Renaissance humanism. With the lone exception of Francesco De Sanctis, critics have surprisingly devoted scant attention to the revolutionary meaning these two texts have as signposts – signposts which lead the way to an insightful understanding of the historical transition between the Middle Ages and the early Renaissance.

The essay aims to demonstrate how important still is to identify sources and intertextualities in the Decameron, in order to correctly understand the literary plan of Boccaccioʼs masterpiece. The article thus pinpoints textual fragments.. more

The essay aims to demonstrate how important still is to identify sources and intertextualities in the Decameron, in order to correctly understand the literary plan of Boccaccioʼs masterpiece. The article thus pinpoints textual fragments which go back to Ovid, Seneca, Boethius, as well as to medieval authors. On the one hand these fragments underline the independence of Boccaccioʼs cultural project from that of Petrarch; on the other hand, such peculiar excerpts oblige us to consider friendship (and its commitments) as one of the key themes of the Decameron.

In Boccaccio's Decameron, Novella 7.9, the final trick Lidia plays on her husband Nicostrato with her lover Pirro involves making love in full view of Nicostrato, but convincing him that what he sees is an illusion produced from the.. more

In Boccaccio's Decameron, Novella 7.9, the final trick Lidia plays on her husband Nicostrato with her lover Pirro involves making love in full view of Nicostrato, but convincing him that what he sees is an illusion produced from the height of a pear tree. Jalal al-Din Rumi tells a similar tale in his Masnavi, and an earlier analogue in Arabic in a collection of tales by Ibn al-Jawzi (d. 1201) dates from about the same time as the Latin poem, Comoedia Lydiae, which is the proximate source upon which Boccaccio bases his retelling. The tree itself (the 'enchanted pear tree' or the tree of deception) has roots in the Tree of Existence, the Tree of Knowledge, Rabbinic material, and in Roman depictions of Venus genetrix. It turns up again in Chaucer's Merchant's Tale. This article shows how there were various versions of this tale circulating in the Mediterranean in the 12th to 14th century, based on misperception and employed especially in varieties of the fabliau genre to depict women's wiles and the gender wars. The article also suggests that scholars attempting to explain Boccaccio's views on women would do well to consider earlier analogues and sources of his tales, to analyze what changes Boccaccio introduces, and what the import of those changes may be.

The article explores how Boccaccio drew on medieval ideas about marvels and wonder in his refection on literature, Dante's writings, and ethics. The research addresses concepts related to marvels and Dante inherent in the title.. more

The article explores how Boccaccio drew on medieval ideas about marvels and wonder in his refection on literature, Dante's writings, and ethics. The research addresses concepts related to marvels and Dante inherent in the title Decameron, Proemio, Introduction to Day 1, Decameron 1.1 (Ciappelletto), Decameron 3.8 (Ferondo, Purgatory, Geryon), Decameron 3.10 (Alibech), Introduction to Day 4, and Conclusion to Day 6 (Valley of Women).

Against the advice of a key collaborator, Giorgio Vasari enhances his Lives of the Artists with colorful anecdotes, taking up a tradition of story telling with deep Florentine roots. Thus Botticelli terrorized his neighbor by manhandling.. more

Against the advice of a key collaborator, Giorgio Vasari enhances his Lives of the Artists with colorful anecdotes, taking up a tradition of story telling with deep Florentine roots. Thus Botticelli terrorized his neighbor by manhandling a great rock that was effectively, in Vasari’s telling, beyond human capacity to lift. This paper explores the resonances of this story with ideas about the powers of stone and relates these to current thinking about the agency of material objects, whether worked or unworked. Two discursive traditions are invoked. One is the place of certain kinds of stone in the Florentine imaginary as well as in the built environment and in ritual practice; here impulses from Boccaccio’s Decameron are foregrounded. The other involves the Renaissance reception of didactic poetry, notably that of Ovid and even Lucretius, which conjoins mythological and proto-scientific in explanation especially of the origins of things. We see such literary stimuli operative in programs like those devised by Vasari for the Palazzo Vecchio; these richly suggest and to a degree illustrate the properties and powers of stone.

Recensione a:
Giuseppe Chiecchi, L'arte narrativa di Giovanni Boccaccio, Firenze, Olschki, 2017.
Apparso su: Studi sul Boccaccio 45 (2017): 347-348.