Download e-book LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition)

Free download. Book file PDF easily for everyone and every device. You can download and read online LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition) book. Happy reading LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition) Bookeveryone. Download file Free Book PDF LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF LA RICCHEZZA DEL SAGGIO come diventare saggi in due ore (Italian Edition) Pocket Guide.

Nel contributo successivo J. Schortman relativi alla formazione dello stato hawaiano. Il volume continua con un saggio di Laura Motta, incentrato sullo studio dei rinvenimenti archeobotanici nel settore 9 degli scavi di Andrea Carandini al Palatino a Roma, che, secondo la studiosa, che pur richiama spesso alla cautela per via delle esigue basi documentarie a disposizione, potrebbero essere letti come prove della transizione nel corso del VII sec.

Chiude il volume uno studio di Albert J. Colin Renfrew, E. Cooke Eds. Colin Renfrew, Paul Bahn, Archaeology. Theories, Methods, and Practice , London trad. Teoria, metodi, pratica , Bologna , pp. 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.

Theodore J. Secondo Cachey Petrarca arriverebbe a sostenere che Dante era un falso profeta e che non era un poeta Albert R. 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. Exeter: 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. Firenze: 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 contrary attitudes towards female autonomy and eros are typical of the two authors, and remain consistent in their characterizations of Bradamante and Fiordespina, as well as in their depiction of queer female desire.

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.

Related JoVE Videos

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.

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. Paris: 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: good and bad, real and ideal, private and public, secular and religious, present and absent, social and political, homogeneous and heterogeneous. It is not only ideals and practices of friendship that are considered, but also the relationship between friendship and writing epistolary and poetic , and friendship through writing. Five studies analyze actual historical friendships as reflected in personal correspondence, with three focusing on consolation and counselling in material or spiritual matters, one considering friendship among men of unequal stature, and another discussing friendship at a distance as a spiritual phenomenon.

Bookshelf The remaining two of these studies turn to important literary figures: Dante and Petrarch. 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: friendship as lived, theorized, and penned.

A Bilingual Edition. Troy Tower and Jane Tylus.

Books Audiobooks translation and narration in revenue sharing

Jane Tylus. Chicago: 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: sonnets, capitoli tercets of hendecasyllables linked by concatenation , and madrigals.

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. Della Repubblica fiorentina. Roma: Aracne, Mandricardo e la melanconia. Bruxelles: Peter Lang, 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. 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. 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: Boccaccio as Dantista. 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. Dante in Oxford. 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. Beltami et al. 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.


  • Christus der Kinderfreund - Score;
  • WATCH/MIRA;
  • Product description;

Disreputable Bodies gives a refreshing perspective on these philosophical discourses. Simultaneously, however, matter is the active force behind the ever-changing couplings of the elements. Matter is akin to the sexually aroused woman who continually couples with a fervent desire. These thinkers arrive at such symbols not based on Aristotle alone, but on the interventions of other thinkers and traditions. The Neoplatonic tradition, Plotinus, Maimonides, and Thomas Aquinas are but some of the influences Kodera recognizes in postulating the association between matter and a sexually desirous woman or prostitute.

He establishes two parallel and at times complementary lines of investigation that are evident in this first chapter and continue throughout the book: gendered metaphors and deliberate misreadings of ancient sources. 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.

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. 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 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, Ravenna: Longo, 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. Pare si dilettasse di poesia epica anche Giovan Battista Marino.

The Fall of The Simpsons: How it Happened

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? The scholar addresses this issue from multiple points and perspectives. In the pre-Council of Trent period, we had the debate about the supremacy of sculpture over painting, with different positions taken by Castiglione, Bronzino, and Benedetto Varchi, respectively, but not exclusively.

They all recognized the importance of sculpture for the urban landscape. The illustrations in this volume are superb. The layout of the book renders justice to the masterpieces with which and of which Nagel is conversing. The challenge in question deals with the hidden aspects of the Rinascimento.

Nagel offers such an enjoyable and refreshing look at this complex period that I truly suggest this read to scholars, for he proves the fallacy of some aspects of art history and its connections to the society of the period, thus making manifest the dynamic force of scholarly criticism. But it is always, and especially, a critical reading of the reality a painting interprets.

Kissing the Wild Woman. This work has been overlooked by early modern and contemporary scholars alike. With Kissing the Wild Woman, Nissen provides a welcome and discerning examination of Urania, considering the literary, historical, and art-historical contexts surrounding the author. Nissen devotes particular attention to Boccaccio, whose Fiammetta and Filocolo helped shape the prose romance genre in Italian. In the end, the fictional Urania and the historical Bigolina are in many ways corresponding figures.

While dominant male voices in the century would argue that a woman should achieve self- expression by posing for paintings, Bigolina counters that women can find a more appropriate outlet by harnessing the written word. By devoting due attention to a complex and neglected early modern prose romance, and by writing in a language accessible to scholars and students in all fields, Nissen gives Bigolina the voice she deserves.

The Perfect Genre. Drama and Painting in Renaissance Italy. Surrey UK : Ashgate, Following her introduction, Kristin Phillips-Court has divided her book into five main chapters, each dealing with a different play. Her focus on textual analysis is supplemented by examination of works of the visual arts: religious frescoes and panels, mythologies, allegorical portraiture, state portraits, and pastoral scenes. The Perfect Genre is a welcome and necessary study with a truly interdisciplinary orientation.

While this approach is not unusual in Italian histories of drama, it is under-represented in Anglo-American publishing. Phillips-Court organizes her investigations by first giving a close reading of select passages from the literary work under consideration. Her quotations appear in the original and in English, an intelligent choice that will make her work accessible both to university students and to scholars of English drama, who will see the relevance to the development of theater and the visual arts in a wider context.

In addition, she examines the biblical and classical sources of Italian Renaissance drama. Phillips-Court does not adequately justify overlooking the seminal productions of Bibbiena and Ariosto, presented with splendid sets by Peruzzi and Raphael. Although her interest is not in artists who were involved in mounting theatrical productions, it would have strengthened her art historical readings to have addressed this field of artistic exchange. Her examination of Tasso is rich and original. Tasso, like Dante and Boccaccio, inspired many artists, but Phillips-Court is concerned to demonstrate the productive dialectical relationship between word and image.

The final chapters on Tasso and Bruno deal with philosophical and metaphysical debates. Phillips-Court shows that she is equally at home with cultural history and political theory. Phillips-Court analyzes the self-fashioning of Paul III Alessandro Farnese and of his family members, in which Titian played so important a role as portraitist, while Caro filled the position of humanist secretary. Rather, Titian took the unprecedented step of depicting a pope with his head uncovered in one of the two versions of the famous portrait, where Paul is not bald nor is his tonsure in evidence.

Earlier in the sixteenth century, Raphael set a precedent in his portrait of Pope Julius II, which he followed in his subsequent portrait of Leo X. This precedent influenced Sebastiano del Piombo in several versions of Pope Clement VII, yet all of these depictions emphasized the ceremonial role of the papacy by outfitting the pope in his appropriate headgear. Phillips-Court uses different registers of theoretical language in her study: literary criticism, historicism, film studies, art history, and visual theory.

The use of film studies is informative and judiciously handled, resulting in a greater appreciation of the technical advancements of Renaissance artists and writers. Occasionally the theory overwhelms the analysis. Was it Brunelleschi who designed the theatrical machinery? Readers of The Perfect Genre will find themselves turning to the plays and visual works in question for a closer look — an admirable achievement worthy of the best tradition of humanist exegesis.

Both the black-and-white images and the color plates are nicely produced. Pp Classical intertextuality in the Furioso has been thoroughly examined on both sides of the Atlantic. Stoppino takes into consideration various kinds of intertextuality and the importance of gender and female genealogy within the Furioso. In the first chapter, Stoppino concentrates on Bradamante as a female warrior in the Furioso and recalls her appearance as such in the cantari and poemi cavallereschi.

The primary texts discussed in this chapter include two late fifteenth-century works: Historia di Bradiamonte sorella di Rinaldo Brescia, and the Inamoramento de Carlo Magno Venezia, The Ariostean incarnation of the Amazon-like figure was inspired by previous epic poetry Virgil, Pulci, Boiardo as well as by travel narratives e. In chapter 4, Stoppino examines how genealogy is transmitted through prophecy in the poem.

La Ricchezza Del Saggio Come Diventare Saggi In Due Ore

Melissa, for example, imparts prophetic knowledge about the future Este dynasty to Bradamante. The author carefully traces the relationship of Bradamante to medieval literary figures of the sorceress and the sibyl. The role of females within dominant patrilineal narratives becomes the main topic of this section. Specifically, she discusses how Ariosto challenges traditional patrilineal prophecy by making Bradamante the addressee of future Este dynastic knowledge. The notion of women as political subjects becomes especially apparent in marriage when loyalty is split between a family of origin and an acquired family.

In the Rocca di Tristano episode, Bradamante becomes the female founder of the Este lineage. Ariosto is able to revitalize classical tales through their medieval representations within the Furioso. The most striking is the introduction of the beauty contest for the women, absent from the French models. Gender plays an important role, and female warriors recall the longstanding but often overlooked tradition of the genealogy of gender. Her research is precise, well-documented and uncovers several intertextual references to medieval romance narratives in the Furioso.

Texts and Translations. Medieval and Renaissance Texts and Studies This edition of Florentine Sacre rappresentazioni gathers some of the religious plays by Feo Belcari and Castellano Castellani and places itself among recent works dedicated to a rediscovery of this genre. The sacre rappresentazioni, plays representing the lives of saints or biblical episodes, now attract the interest of scholars since the elaboration of biblical and hagiographical models can provide significant insights into the cultural environment in which they were produced.

The project behind this volume is ambitious and undoubtedly significant in the field of Renaissance studies. The sacre rappresentazioni were not aimed at the learned but at a wider public, and therefore their form and content mirror the language, tastes and social habits of the average Florentine citizen.

INTERACT/ INTERACTUAR

This version is the most comprehensive to this day but it cannot be considered authoritative. Perhaps new revised editions based on the manuscripts and the early prints are now necessary to substantiate or improve on the nineteenth-century versions. Such editions might, for example, be more accurate and free of ambiguities caused by either typographical or editorial errors. The volume regrettably lacks also a complete bibliography at the end, although the footnotes provide bibliographical references, which at times appear not to be accurate or do not supply all the necessary data.

If, on one hand, Castellani satirizes the celebrated carnival songs, which probably represent to him the epitome of Medicean moral corruption Santa Maria Maddalena , p. The English translation is fluent, clear, and an excellent tool to understand especially the most difficult idiomatic sentences of this variant of Italian vernacular. With some improvements, the volume could be an authoritative and indispensable text in this area of studies. Burlington: Ashgate Publishing Company, It was prepared for press, as editors Juliann Vitullo and Diane Wolfthal note in their Introduction, right before the global economy began its turn towards a recession and waves of protest voiced their outrage with corporate wealth and greed 1.

Several centuries beforehand, during the rise of the monetary economy between the thirteenth and seventeenth centuries , the accumulation and the expenditure of individual and institutional capital were debated in moral and ethical terms. Avarice, and not pride, increasingly began to be viewed as the root of all evils, as articulated by Thomas Aquinas in his gloss of 1 Timothy 1. Today we do not have a manuscript copy to which to refer in studying erasures and additions imported by different handwritings, since master texts were routinely discarded after publication.

But we know from Doglioni, himself a writer, that the lengthy poem in ottava rima that concludes the treatise was not meant by Fonte to be put in this work. We can only surmise what other changes have been effected and what other arguments have been adapted and discarded during the process of preparing the manuscript for printing. Be that as it may, the Merit's conservative ending does not detract from the import of what Fonte forcefully argues throughout. In her biographical sketch of Fonte, Cox argues that there must have been an enmity between the writer and her only brother because he was not mentioned in her first will.

This siblings' rivalry, she adds, may have stemmed from money matters preceding Fonte's own marriage. Cox's hypothesis may very well be grounded in reality - and in the Worth Fonte strongly chastises inept brothers - but in general the omission of a brother's name from the will of a married woman with children in the early modern period was the norm in Venetian society rather than the exception. But such an instance of perhaps over-reading is just a quibble in an otherwise intelligent, well organized, and superbly argued introduction.

Linda Bisello. Medicina della memoria. Firenze: Leo S. Olschki Editore, La scrittura "sussiste sempre dialetticamente rispetto al bianco della pagina" e si mantiene con esso in un rapporto costante "come se da questo schermo [. I moralisti si volgono alla scrittura aforistica una scrittura frammentaria che prevede una lettura "parcellizzante" dei testi consapevoli che la tradizione offra i paradigmi sui quali fondarsi. III della prima parte: "La stilistica della via breve: semitae della letteratura spirituale", Quest'ultimo prova avversione verso uno stile "lambiccato a goccia a goccia, allo stentatissimo lume d'una lucerna" 80 e considera il concettismo e il laconismo sostanzialmente non diversi.

Il dibattito cfr. I, "La controversia secentesca sul 'parlare a riciso'", sorto in Italia, dove lo stile neolaconico ha un rappresentante conosciuto e tradotto in tutta Europa, Virgilio Malvezzi, trova risonanze e riprese in tutte le principali letterature europee. Nel tardo Cinquecento l'innalzamento del modello senecano e tacitista fa seguito al declino del modello ciceroniano. Gianbattista Manzini, tra i maggiori sostenitori del senechismo e del laconismo che nelle sue scritture si offrono come due suggestioni parallele , teorizza "una prosa dell'ingegno come sostituto della vacua efflorescenza decorativa che produce 'libracci migliaiosi' " Anche gli scritti di Tesauro, che adduce esempi normativi prelevandoli da scrittori fino a qualche tempo prima ritenuti irregolari, testimoniano una variazione del gusto stilistico.

Sforza Pallavicino, , la maniera di Tacito deve essere assunta come modello e simbolo ideale dello stile laconico. La compiuta codificazione dello stile laconico avviene, al principio del Seicento, con l'opera di Ericio Puteano cfr. II, "'Laconismi patrocinium': i fondamenti del fiammingo Ericio Puteano", , che soggiorna lungamente a Milano, stringendo rapporti con l'erudito Giovanni Ambrogio Biffi, traduttore di alcuni suoi scritti, e intrattiene rapporti epistolari con il Malvezzi.

Il Puteano sostiene una corrente brachilogica che trova riscontro anche nello stile epistolare di quegli anni, teorizzato, tra gli altri, da Bernardino Pino da Cagli, segretario del cardinale Giulio della Rovere. Tacito e Malvezzi sono i capisaldi dell'indagine del capitolo terzo "Tra 'veloci tragitti' e 'batter di palpebra': il processo mentale associativo nello stile acuto", Malvezzi tiene a modello la prosa di Tacito e la questione stilistica diviene per lui, come fa notare la Bisello, occasione di una disputa che vede scendere in campo lo Sforza Pallavicino, coerente con il Tesauro e ostile all'ornamento quando sia "uno straniero accidente, il quale o corregga o celi i difetti della sustanza" da una cit.

Sforza Pallavicino, Circa le argutezze, la Bisello si sofferma a illustrare le posizioni del Tesauro il quale, intendendo la natura come l'enciclopedia delle immagini e delle nozioni, sostiene "l'unica loda delle argutezze consistere nel saper ben mentire", e del Peregrini, nemico di quelle acutezze che si esauriscono nell'esteriore abbellimento del discorso, ma favorevole ad esse quando istituiscano un legame fra le "cose lontane" , in modo tale da generare ammirazione per la mente vivace e accorta che le abbia escogitate. La storia letteraria dell'aforisma s'intreccia a questo punto con il culto per le sentenze tacitiane, per i massimari enciclopedici desunti da Tacito e per lo stile acuto dello storico imperiale, talvolta applicato come maschera su un latente machiavellismo.

Baglioni, Filippo Cavriana, diplomatico e medico di Caterina de' Medici, suggerisce in un proprio commentario "la simmetria tra l'empiria medica e quella politica" , indicando come propri maestri, in originale associazione, Ippocrate e Cornelio Tacito. La brevitas tacitiana, nel gioro di pochi anni, viene vista con scetticismo, riprovata, quindi lodata e talvolta esaltata.

La storia e gli strumenti dell'indagine storica vengono assimilati alla medicina; la diagnosi sullo stato di salute della politica alle prescrizioni mediche rilasciate a un paziente. Botero, Princeton: UP, This volume was hailed as "the best book on Vico. One can understand the reason why Miller, who worked for her DPhil in Modern History under Berlin's supervision, considers the lectures on Vico that he delivered at the Italian Institute of London in as a watershed in the development of Vichian studies.

Obviously, she wants to profess her admiration for her master who was indeed an exceptional man. One can also interpret Miller's attitude as a proof of modesty, since she is the author of a book on Vico which is not without merit G. Costa, New Vico Studies, 13 : But Miller not only proclaims the superiority of Mazzotta's book on Vico over any other work published since , including the one by Leon Pompa, which Berlin regretted not to have been able to exploit since it appeared too late I. She also assures us that Mazzotta "has a better sense and knowledge of Vico than almost any other writer," that "his work can be associated with that of Michelet on Vico" TLS, 10 Dec.

Such wild claims require careful verification. Mazzotta's book is based on a wide and diligent reading of the vast literature dedicated to Vico. In the preface, Mazzotta credits his predecessors, including this reviewer, for "having succeeded in putting Vico studies on a solid philosophical-historical footing" x.

Since he has no original ideas or data to offer, Mazzotta tries to complement the conclusions reached by previous scholars by recasting previous interpretations. The central idea of the book under review, namely "the unification of the arts and sciences" xi , is taken from Giorgio Tagliacozzo who stressed the importance of Vico's "tree of knowledge," the symbol of his pursuit of a philosophy able to close the gap between humanistic and scientific knowledge.

In the introduction, Mazzotta acknowledges that the "question of the 'whole'" and "the encyclopedic genre in the New Science" have "already been pointed out by contemporary scholars" He intends to draft "Vico's periplus around the kingdom of the arts and sciences," and to show "how poetry, as it links them together, modifies the logical coherence of the whole" Mazzotta believes that poetry, the master key of the New Science, "is a unique mode of making and knowing, that the whole must be perceived in the perspective of metaphor's property to join together disparate worlds" Obviously, the poetry and the metaphor mentioned by Mazzotta are deeply rooted in studies on Vico's rhetoric by such scholars as Ernesto Grassi, Andrea Battistini, and Donald Phillip Verene.

That poetry or myth is essential to Vico's project we already knew from Benedetto Croce and his followers. What Croce chose to downplay is that Vico considered poetry exclusively in primitivistic terms, relegating it to the most remote phase of universal history.

Unfortunately, the same fallacy is to be found in contemporary inquiries on Vico's rhetoric.

Identificare proteina-proteina siti di interazione Uso Peptide Array

Therefore, in Vichian terms, a poetic philosophy is either a weak philosophy or a travesty of something else. Croce identified it with his own, late romantic philosophy, founded on aesthetics. Mazzotta, following in the steps of other scholars Grassi, Battistini, and Verene views Vico's poetic philosophy as a travesty of rhetoric. But you cannot adopt this view unless you cancel as Croce and Grassi did for different purposes the clear-cut separation between archaic and developed civilizations which Vico carefully draws in his New Science.

In other words, you obtain a more coherent Vico only at the cost of ignoring the inner complexity of his thought, which is further complicated by Vico's strategy to elude the censorship always ready to neutralize any attempt to make early eighteenth-century Italian culture an active part of the contemporary European culture. Mazzotta's eclectic attitude is probably responsible for the exasperating fuzziness of his formulations.

He seems to consider the sublime as the basis of his interpretation of Vico's poetry. But Mazzotta, like Battistini and Massimo Lollini, considers sublime poetry as coextensive to human history, while it should be viewed as coextensive only to the early phase of it. Vico offered an original interpretation of the Longinian sublime, which was confined to archaic societies. These, however, did not exist only in the past. Indeed, he considered contemporary England as a relatively primitive country. The fact that Vico at the same time praised English culture is not at odds with his idea that creativity is the main connotation of primitive civilizations.

We should also keep in mind that the continent was under the spell of England, which after the Glorious Revolution was considered a rampart of Protestantism. In this context, Vico's ideal eternal history, emphasizing the creativity of primitive people, appears to be the embodiment of his dissatisfaction with the Catholic countries of Europe. Mazzotta's reluctance to make use of textual evidence and concrete historical data accounts for his strong inclination for abstract, atemporal "discourse.

Anyhow, we can hardly be satisfied with vague statements such as "Vico proposes an ancient and yet new esthetics whereby the imagination and the passions are no longer sundered from reason," or "Neoplatonic ideas of the imagination merge with neo-Aristotelian notions of art" 9. The ambition to offer, in a normally sized book, a summa of Vichian studies severely mars the validity of the book under review.

Mazzotta is obliged to compress in ten chapters the huge amount of published material, from which he freely draws, without taking into account manuscript sources. Here the reader will find many basic facts of Vico's life, but no allusion to his familiarity with Giuseppe Valletta's library which possessed many prohibited books. The author has forgotten to see the page volume of Valletta's philosophical works, edited by Michele Rak, who also made a list of Valletta's library. Such a gap cannot be filled by Biagio De Giovanni's article on Valletta, which Mazzotta quotes in chapter 8 n.

Even Paolo Mattia Doria goes unmentioned. He will appear only in the same chapter 8 as "Vico's own friend and imitator in Naples" , a characterization that is going to raise many eyebrows. Chapter 2, "The Idea of a University" , deals not only with the University of Naples where Vico taught rhetoric, but also with the Neapolitan learned societies.

Here Mazzotta, who closely follows such scholars as De Giovanni, Giuseppe Ricuperati, and Vincenzo Ferrone, offers a good synthesis, but forgets to mention Celestino Galiani, a patron of Vico and a key figure in the Neapolitan intellectual world, which he shielded from the strict requirements of the Holy Office. In Chapter 3, "The Historian of Modernity" , Mazzotta defines both Vico's concept of history and his idea of politics through an analysis of the Neapolitan Conspiracy and The Life of Antonio Carafa, while the rest of the book chapters is dedicated mainly to the New Science.

Ascoli and V. Since Machiavelli's figure looms large in the book under review, one would expect to find at least a passing reference to an astute essay by Enrico De Negri, which was considered important by Pietro Piovani: "Principi e popoli in Machiavelli e Vico" Tra filosofia e letteratura, Naples: Morano, , Chapter 10, "The Bible" , proves that Mazzotta is well informed about the literature concerning the controversies on the Holy Scripture and Vico's attitude toward them.

He quotes many significant scholars, such as Arnaldo Momigliano, Richard H. Popkin, Paolo Rossi, and Massimo Lollini. It is a pity that Mazzotta, who has never been at the forefront of Vichian research, did not suspect that the Holy Office prohibited the publication of the Venetian edition of Vico's masterpiece, because the New Science was deemed to be a dangerous attack against the Catholic interpretation of the Bible.

Hidalgo-Serna, J. Sevilla, J. This aspect of Vico's life radically changes our perception of his religious orientation, and jeopardizes the interpretation of Catholic scholars, including John Milbank whom Mazzotta praises for having placed Vico "within a Catholic theological historical context" n. We doubt that Milbank's Catholic Vico can be reconciled with Machiavelli through the anti-Machiavellian tradition, as suggested by Mazzotta.

Extremely superficial is also the treatment of the crucial problem of the Malebranche-Vico relationship, which can no longer be understood on the basis of Augusto Del Noce's obsolete essay, quoted by Mazzotta n Given these shortcomings, it is hard to understand why such lavish praises were heaped on the book under review.

La vicenda letteraria e politica di Eleonora de Fonseca Pimentel. Just a few years after her birth, the family moved to Naples. It is to the tumultuous history of this city that her own story is indissolubly tied. At the Bourbon court in Naples, De Fonseca Pimentel's prestigious position as the queen's librarian assured her livelihood and granted her access to the world of philosophers and intellectuals. She corresponded with Metastasio and Voltaire, among others, and wrote both official poems for the court which supported her, and poems of personal inspiration.

Most striking, among the latter, are the five, very moving sonnets written after the death of her infant son, as well as the ode on her miscarriage, a thematically unique piece of poetry. During the first half of , de Fonseca Pimentel founded, directed, and edited the first periodical of the Neapolitan Republic, Il Monitore Napoletano.

This is the activity for which she is best known. But on August 20 of that same year, de Fonseca Pimentel was hung for her participation in the revolution of the Neapolitan people against the Bourbons. She was buried in a common grave. After a detailed biography of this fascinating figure, perhaps a bit idealized as a fighter and an intellectual, and as a precursor to women's emancipation, Elena Urgnani's book presents all of de Fonseca Pimentel's known literary texts: sonnets one of which written in Neapolitan dialect , an epithalamic poem, cantatas, an ode, and a religious oratorio, as well as essays, articles from Il Monitore Napoletano, and in a separate chapter, her letters.

As Urgnani mentions more than once, it is probable that some or even many of de Fonseca Pimentel's works have been destroyed or lost for example, none of her letters to Metastasio seems to have survived. Each of the texts included in these two middle chapters is preceded by a useful, highly informative introduction which places the piece in its often complicated historical and stylistic context.

The reading of each work is also facilitated by linguistic, historical, and cultural notes. In the following chapter of the book, Urgnani provides a more extended interpretation and discussion of de Fonseca Pimentel's works presented in the preceding chapters. Urgnani intends to redeem de Fonseca Pimentel as more than a minor poet, comparing her at first with Ugo Foscolo, as well as by noting the ways in which she distinguishes herself from the rest of Arcadia, and underlining the influence of Parini.

For Urgnani, de Fonseca Pimentel is representative of the tensions and contradictions of the late Settecento, a period torn between Arcadia and pre-Romanticism. This is an interesting and well-argued chapter, though I found it repetitive at times because its aims often coincide with those of the single introductions to the works found in the previous two chapters. Still, Urgnani's great admiration for de Fonseca Pimentel, if it could occasionally be seen as obtrusive, usually pleasantly seasons her arguments. I found especially fascinating Urgnani's interpretation of the poet's religious oratorio, La fuga in Egitto, a piece usually dismissed by critics as a step backwards on the part of an Illuminista author, if not as downright hypocritical.

These hopes were in fact squelched by the Bourbons in the same year that the oratorio was written, Urgnani's volume ends with an account of the historical and literary reception of de Fonseca Pimentel's work it is interesting to remember, for instance, that during the Fascist era de Fonseca Pimentel was hailed as a kind of "madre della patria" , and is completed by an extended bibliography of primary and secondary sources. La vicenda letteraria e politica di Eleonora de Fonseca Pimentel is a welcome and indeed an indispensable addition to the field of Italian Women's Studies and to Italian Studies more generally, above all because it provides for the first time all of de Fonseca Pimentel's literary texts within one volume.

Another great merit of this work is its persuasive recovery of de Fonseca Pimentel as an important literary figure, rather than one with an exclusively historical significance. Our literary history is enriched, our canon is fruitfully destabilized, by the addition of a poet like de Fonseca Pimentel who, although she was recognized as such in her own time, has been remembered solely for her political adventures.

This selective oblivion has been in great part due, according to Urgnani, to the harsh judgment of Benedetto Croce, who dismissed de Fonseca Pimentel's work as the minor poetry of a member of Arcadia and of Metastasio's circle, and who mistakenly, in Urgnani's opinion viewed it as possessing historical value alone.

On repeated occasions in this book, Urgnani points out aspects of the poet's work which effectively refute Croce's reductive interpretation, attributed at least in part to Croce's general dislike for Metastasio's period. Among the several happy surprises of Elena Urgnani's book is the brief preface by Luisa Muraro, one of Italy's most original feminist scholars. The enthusiasm of Muraro's preface is tamed by its criticism of Urgnani's occasional critical harshness asprezze , which Muraro hypothetically attributes to Urgnani's American academic experience ouch!

Urgnani, on the other hand, refers to Muraro's work very positively, especially in the remarkable, important last paragraph of her interpretive chapter, where she attributes her own fascination with de Fonseca Pimentel to this writer's status as female authority. Reading de Fonseca Pimentel's work, then, is for Urgnani, and perhaps could be for us as well, a recovery of what Muraro has famously termed "l'ordine simbolico della madre" in her book by the same title. The literary, linguistic authority of de Fonseca Pimentel, excluded by critics, has been painfully repressed; nevertheless, we need to face her authoritative voice if we too want to speak, have a voice.

Urgnani's personal reflection at this point is so well-placed as to seem inevitable, even necessary. Indeed, in this paragraph, Urgnani significantly and uncharacteristically refers to de Fonseca Pimentel as Eleonora. Because for this critic, Eleonora de Fonseca Pimentel is both sameness she is a woman and otherness she is a southerner , both a real fellow writer and an idealized counterpart, both history and voice.

Her loss is thus bound to become that "doloroso lutto culturale" against which this book, by its very existence, struggles. Il viaggo in testi inediti o rari. Fernanda Roscetti. Roma: Istituto Nazionale di Studi Romani, E proprio i Travels, cui De Caprio ha dedicato una monografia, nel , per i tipi dell'Archivio Guido Izzi che comprende, tra l'altro, in appendice uno dei taccuini di appunti, intitolato Viaggio in Lapponia, da cui doveva prendere quindi forma l'opera definitiva pubblicata a Londra nel rappresentano il termine di confronto esplicito del diario romano, permettendo allo studioso di evidenziare il passaggio dell'Acerbi da una scrittura e da un atteggiamento propri del 'viaggiatore' a quelli tipici del 'turista'.

Pur riconoscendo, infatti, i limiti di tale distinzione "utile come strumento conoscitivo solo a patto che venga considerata come una distinzione non solo empirica ma anche non netta e non rigidamente definibile e a patto che, di conseguenza, non si considerino quella del viaggiatore e quella del turista come due categorie opposte" 28 , De Caprio sottolinea che in questo viaggio romano "come un turista, egli passa frettolosamente nei luoghi senza interagire sostanzialmente con essi [.

Il che non possiamo invece dire del secondo saggio, Il viaggio politico. Un intellettuale tra Impero e Restaurazione. Napoli: Liguori, L'autrice traccia, sulla base di materiale in gran parte inedito e conservato presso la Biblioteca Oliveriana di Pesaro e la Rubiconia Accademia dei Filopatridi di Savignano sul Rubicone, il percorso di formazione di Giulio, dall'infanzia trascorsa sotto l'attento sguardo paterno ai primi studi compiuti con precettori locali e, successivamente, nel collegio di San Carlo a Fano.

E sorprende allora di non trovare tra i nomi di coloro che ebbero contatti con il giovane Perticari quello di Aurelio de Giorgi Bertola, corrispondente e amico dell'Amaduzzi ed estimatore di quel Gessner di cui Perticari volgarizza l' "Idillio della notte" a soli 23 anni, anzi suo estimatore a tal punto da recarsi in Germania appositamente per farne la conoscenza e da scriverne un elogio dopo la morte, nel Dall'esame della ricca corrispondenza del Perticari, emerge quindi la figura di un uomo di lettere vissuto in un'epoca di contraddizioni, di bruschi trapassi di potere che non potevano non riflettersi su coloro i quali di quel potere si facevano spesso compiacenti cantori.

Rimanendo sempre un illustre esempio per Perticari, Monti fu a sua volta sensibilmente influenzato dalle teorie linguistiche del genero, come appare evidente soprattutto nella "Proposta" a cui il Perticari collabora con due scritti che costituiscono la summa dei suoi interessi linguistici e filologici: il primo un trattato sugli scrittori trecenteschi, il secondo un'analisi dell'influenza della poesia del Duecento e del modello dantesco sulla costituzione dell'italiano letterario. Ricordi Torino, Svizzera, Parigi, Londra. Marco Montersino. Victor Cousin, che lo commemora nella Revue des deux mondes, celebra tanto il significato politico della sua azione quanto la sua ricchezza umana tenerezza e forza, dice, erano intimamente congiunte in lui.

Di Santarosa sono rilevanti anche gli interessi culturali. Marco Montersino ha pubblicato questi Ricordi nella collana di letteratura italiana in Piemonte dell'editore Olschki, controllando il testo sui quaderni di Santarosa, correggendo le sviste di una precendente edizione curata da Nicomede Bianchi nel e preparando un apparato di note e di informazioni preliminari, con un'utile storia della fortuna critica di Santarosa.

Nell'introduzione a questo volume Narciso Nada sottolinea il carattere frammentario dei Ricordi, sorta di "contrappunto alle lettere [. Nell'una e nell'altra opera Santarosa si presenta come un gentiluomo colto, attento agli sviluppi della politica e della cultura europea, affezionato alla moglie e ai figli lontani, addolorato dall'esilio ma deciso a mantenersi coerente con i propri ideali, mai malevolo nei confronti dei paesi che lo ospitano.

A differenza di conterranei come Pellico, Santarosa ha un profondo rispetto per le religioni altrui. Poi tutti seduti a una lunga tavola ed un aspetto di letizia e pace dolcissimi" Ricordi E lo amano e riveriscono assai. Le onde dei laghi svizzeri "percuotono il lido, e biancheggiano tra i sassi. Le nuda mura de' templi de' seguaci di Calvino, e le immagini che ingombrano i templi cattolici non parlano al cuore come questo spazioso orizzonte" Ricordi Era difficile conciliare questo sentimento con la tradizione cattolica del primo Ottocento, e non si vede con chiarezza come Santarosa lo abbia fatto: in lui coesistono la contemplazione dell'infinito riflesso nella bellezza maestosa della natura e l'ossequio alla dottrina tradizionale Ricordi 21 , il dialogo diretto con il Dio e l'accettazione della funzione mediatrice della chiesa.

L'ultimo orizzonte. Torino: Trauben Edizioni, I tre saggi sono stati originariamente presentati durante una giornata di studio dedicata a Leopardi nel , nell'ambito del bicentenario della nascita del poeta. Un errore di stampa? Inutile, in ogni modo, parlare di quello che 'sarebbe potuto essere'. Qui si identifica l'importanza per Leopardi della poesia lirica, del rapporto che implica anche contraddizione fra poesia e pensiero, e, soprattutto, della valenza conoscitiva che la parola poetica ha per il poeta di Recanati e la matrice sensistica della sua filosofia.

L'esame delle suggestioni scientifiche e delle influenze filosofiche da cui, attraverso Pascal, Fontenelle, Algarotti e Rousseau, il "neoplatonismo esce disorientato", si accompagna ad una analisi di alcuni testi poetici accurata seppur ovviamente limitata all'essenziale dato che si tratta pur sempre di un saggio. A questo punto si intrecciano considerazioni morali al pensiero sulla fisica e sull'astronomia, ancora insieme ad una lettura attenta dei testi poetici e di prosa, lettura che segue giustamente un logico sviluppo cronologico all'interno dell'opera dello scrittore del "pathos dell'infinito", fino al "Canto nottuno", definito "pura poesia cosmica" e a "La ginestra".

L'interpretazione della Williams non riconosce la forza e il coraggio della ginestra, ma ne fa invece strumento e simbolo di consolazione. La poesia e il pensiero di Leopardi sono analizzati alla luce di poeti e filosofi di tempi e origini diverse, come Keats, Voltaire, Locke, Bentham, Tommaseo, Epitteto, Hobbes, ed alcune affermazioni sono chiaramente corrette. Il terzo saggio, di Roberto Bertoni, intitolato "Note sul dialogo di Calvino con Leopardi" sembrerebbe meno direttamente connesso con il resto della raccolta, ma, attraverso l'analisi dei rapporti testuali e di pensiero fra i due scrittori, anche questo studio si presenta come un'apertura alla presenza e valenza leopardiana nella letteratura contemporanea.

L'autore spazia con approfondita conoscenza attraverso tutta l'opera di Calvino e di Leopardi. In un involontario movimento circolare, qui la raccolta torna a rifarsi, come nel primo saggio, a Newton e Galileo , pur ovviamente in un contesto diverso. Calvino si confronta in maniera dinamica e articolata con la questione leopardiana del rapporto fra individuo e natura, rifuggendo sempre dall'idillio come "commozione e nostalgia" e alludendo "al contrasto leopardiano tra coscienza del presente e memoria del passato".

In particolare in Se una notte d'inverno un viaggiatore si scorge un Calvino vicino a Leopardi nella concezione della vita come 'deserto'. Nell'insieme, i tre saggi qui riportati si inseriscono in maniera stimolante nel discorso aperto dai numerosi studi e convegni del , che ci si augura non restino circoscritti a quel particolare anno, ma siano un invito a continuare e approfondire la ricerca leopardiana. La giovine del miracolo. Torino: Tirrenia, Sergio Calzone arriva a conclusioni originali studiando I promessi sposi da punti di vista insoliti.

In alcuni casi queste conclusioni sono convincenti e degne di seria riflessione. I capponi di Renzo, la mula di don Abbondio, i cavalli dei monatti, le capre del lazzeretto entrano direttamente nella trama de I promessi sposi. Raccolte le descrizioni di animali sparse nel libro, Calzone le rilegge in maniera unitaria vedendo in esse delle immagini negative che illustrano un destino di sofferenza e di morte.

I monatti sospingono i loro cavalli "a frustate, a punzioni, a bestemmie" cap. Rappresentano "una temporanea uscita dalla Storia, e una pausa interamente spirituale, di fiducioso abbandono [. I locali di quei palazzi si dilatano e si rischiarano quando l'Innominato matura la sua conversione, annunciata nella "sala grande" cap. Le pagine di Calzone sul simbolismo che compare a tratti nel romanzo manzoniano stanno alla pari con quelle di Jean Pierre Barricelli su 'Structure and Symbol in Manzoni's I promessi sposi' PMLA 87 []: , rifluite poi in Manzoni Boston: Twayne, , Sull'onomastica manzoniana hanno scritto pagine importanti Eurialo De Michelis "I nomi.

Come scelti", in La vergine e il drago, Padova: Marsilio, , e Gianfranco Contini "Onomastica manzoniana", in Varianti e altra linguistica, Torino: Einaudi, , Calzone approfondisce l'argomento consultando un Dizionario dei nomi e dei santi e considerando il significato che la tradizione religiosa attribuisce ai nomi propri utilizzati da Manzoni. Se i rimandi a santa Marta e a sant'Alessio sono chiari e hanno un loro significato, sono poco convincenti quelli a sant'Egidio protettore dei tessitori; e l'Egidio del romanzo, spiega Calzone, corrompe Gertrude, che permette a sua volta il rapimento della tessitrice Lucia e a san Lorenzo protettore di bibliotecari e librai; e il Renzo del romanzo condurrebbe "quella che potremmo definire una guerra di retroguardia con la cultura scritta", La seconda ipotesi mi sembra improbabile: Alfonso de' Liguori era una campione delle pratiche religiose di ispirazione gesuitica che Eustachio Degola avversava e per le quali il suo allievo Manzoni non sembra aver avuto un particolare apprezzamento.

Le prove che Calzone adduce, in ogni caso, sono abbastanza deboli: Tannoia racconta che sant'Alfonso era accolto da festosi evviva e da acclamazioni di gioia dai fedeli che si accalcavano lungo il suo cammino, proprio come accade al Federigo manzoniano; e che l'uno e l'altro, in tempi di carestia, acquistarono grano da distribuire ai poveri