Fin dalle prime espressioni, in queste pagine, si avverte il profumo nostalgico della perduta gioia contemplativa. Noi moderni abbiamo perduto la contemplazione Mi tornano nella memoria due espressioni che piacevano immensamente a Paolo VI. L'arcivescovo Montini la ripeteva a Milano, quale successore degli Apostoli in genere, e la ripeteva a Roma, con massima precisione, quale successore del capo degli Apostoli.
A proposito di questa seconda affermazione, viene pertinente una osservazione di G. Paolo VI s'inginocchia, e sull'esempio del Signore, bacia i piedi del metropolita Melitone. Ma la prova che non lascia dubbio sulla vita mistica di papa Montini, mi pare che deve essere cercata nel suo Testamento. Siano salutati e benedetti tutti quelli che ho incontrato nel mio pellegrinaggio terreno. Il presente elenco non ha nessuna pretesa di completezza. Certo non vi comprende Paolo VI. Comunque, in ogni caso, la figura estetica gli soccorre inattesa e fresca.
Nella persona di padre Gemelli egli vedeva il medico cultore con rinomanza crescente della scienza e della tecnica. Sapeva per esperienza quale danno la cultura potesse ingenerare al cristianesimo quando veniva presentata ai giovani come una forza avversa alla religione. Egli non la temeva per se stessa, ma per le distorte conseguenze.
Di padre Gemelli il card. Sarebbe bastato quell'impegno per riempire i giorni dell'arcivescovo di Milano. Qualche anno prima della sua elezione a papa, un mattino il card. E la conversazione per quel giorno fu interrotta. Ma era anche una profezia d'imminente realizzazione. Tuttavia il suo dono era il colloquio personale. Disarmato, non gli restava che arrendersi all'amore che l'amava, e da quel colloquio usciva un uomo diverso, i cui occhi lavati di pianto vedevano un mondo nuovo.
E lo aveva imparato da Ambrogio negli anni di Milano. La fidanzata, sinceramente religiosa, gli aveva detto che non gli bastava l'animo di contendere con Dio, anche se la rinuncia era per lei la fine di un mondo. Ma passando dall'arcivescovado milanese al Vaticano, Paolo VI non ha mutato cuore.
Ma Pascal aveva per Cristo un amore drammatico. Certezza, Certezza, Sentimento, Gioia, Pace. E il parroco di sant'Antonio, card. Bevilacqua aveva per Cristo e per la Chiesa un amore aggressivo. Cheyney E. Chittolini G. Cinti B. Colomer L. Couderc, B. Conchetta B. Studi sul cardinale Bessarione , Rome, Conrads N. Continisio C. Conzato A. Il Consiglio dei Dieci, il Senato e la politica estera veneziana , dans Studi veneziani , n. Corbett T. Cossio J. Covini N. Scambi militari, condotte e diplomazia , dans M. Cozzi G. Cremer A. Cruz Coelho M. Heullant-Donnat H. Daumet G.
Davies G. De Benedictis A. De Caprio V. Storia e geografia. De Divitiis B. De Franceschi S. De Frede C. De Mattei R. De Rosa D. Il cancelliere e il pensatore politico , Florence, De Vivo F. Dean T. Gamberini, I. Delatour J. Berkvens-Stevelinck, H. Bots et J. Deutsches internationales Privatrecht im Hilling H.
Di Simone M. Ferronato, L. Alberico Gentili e la seconda scolastica. Atti del convegno internazionale Padova, novembre , Milan, , p. La Castille et la Navarre , Madrid, , p. Rucquoi, N. Dini V. Doglio M. Arnaldi, M. Il Seicento , I, Vicence, , p. Domingos Ventura L.
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POPES BEFORE JOHN PAUL II
Internationale Beziehungen , Paderborn, Duranti T. Dziatzko K. Eck W. Patrizi G. Elliott J. Externbrink S. Externbrink, J. Fattori M. Meccanismi istituzionali ed accentramento di governo , Stuttgart, Fedi R. Bembo, Castiglione, Della Casa , dans E. Malato dir. Feldkamp M. Un profilo , Milan, Figge R. Figliuolo B. Figueira R. Bowman, B. Firpo L. Cantimori, L. Firpo, G. Spini, F. Venturi et V. Folin M. Fragnito, M. Atti del convegno internazionale Ferrara, 30 marzo-3 aprile , Florence, , p. Politica, cultura, istituzioni di un antico stato italiano , Rome-Bari, Formare alle professioni. Arisi Rota A.
Forster R. Fossati F. Freedman J. Freudenberger T. Frey L. Frigo D. Continisio, C. Mozzarelli, R. Oresko et L. Fubini R. The structure of diplomatic practice, , Cambridge, , p. Fulin R. Cicogna , dans Archivio veneto , 4, , p. Gaeta F. Dal primo Quattrocento al Concilio di Trento , Vicence, , p. Galland B. Garber K. Neumeister, C. Gardi A.
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IV, Quaderni , 1, , p. Charges, hommes, destins , Rome, , p. Gattoni M. Geffcken F. Genet J. Cassagnes-Brouquet, A. Chaou, D. Pichot et L. Rousselot dir. Lachaud, L. Gilles H. Gillett A. Girolamo Ruscelli. Atti del convegno internazionale di studi. Procaccioli P. Inventaire analytique , Paris, Gong G.
La guerra civil y el predominio de la nobleza , Valladolid, Grabar V. Graesse J. Grimm H. Griselle E. Guerra y diplomacia en la Europa occidental Gullino G. Tenenti, U. Il Rinascimento. Politica e cultura , Rome, Guyon G. Arabeyre, J. Guyotjeannin O. Fianu, D. Haggenmacher P. Atti del convegno internazionale , Padova, novembre , Padoue, , p. Haye T. Heller-Roazen D. Der Pirat und das Recht , Francfort-sur-le-Main, Hollenbeck M. Holzapfl J. Schriftlichkeit, Sprache und politische Rhetorik , Munich, Hugon A. Hutchinson R. Im Spannungsfeld von Recht und Ritual. Hobsbawm E. Isaacs A.
Chittolini, A. Molho et P. Iserloh E. Israel I. Philosophy and the making of modernity , Oxford, Jesus da Costa A. Jugie P. Jamme, O. Jusserand J.
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Kaiser F. Kaiser R. Keens-Soper M. Berridge, M. Keens-Soper et T. Kempe M. Kingsbury B. Kintzinger M. Schwinges, K. Klippel D. Koskenniemi M. Yearbook of political thought and conceptual history , 14, , p. The structure of international legal argument. Reissue with new epilogue , Cambridge, Kugeler H. Kugeler, C. Sepp et G. The theory and practice of diplomacy in the century following the Peace of Westphalia , Ph. Kyer C. Langhorne R. Lauro A. Diritto e riforma nello Stato della Chiesa , Naples, Lazzarini I.
Aigle, S. Baggio, M. Riflessioni sulla comunicazione non-verbale , Rome, , p. Diplomatic networks and political conflict in the age of the italian wars , dans D. Unterholzner, H. Noflatscher, M. Chisholm et B. Le Pogam P. Lempereur A.
Leopold A. The crusade proposals of the late thirteenth and early fourteenth centuries , Ashgate, Leverotti F. Lingens K. Dingel, M. Lipgens W. Loomie A. Discours et savoirs , Rennes, , p. Lutter C. Macalister-Smith P. MacCaffrey W.
Mainoni P. Un rapporto difficile , dans Ead. Malcolm N. La salvaguardia dei beni culturali nel diritto internazionale. Atti del convegno Dodicesima giornata gentiliana, San Ginesio settembre , Milan, , p. Malettke K. Mallett M. Mandrou R. Manso Porto C. Maravall J. Analisi di una struttura storica , Bologne, Maria Oliva A. Marquez P. Martin G. Masson F. Mattelart A. Mazzacane A. Ein biographisches Lexikon. Von der Antike bis zum Jahrhundert , Munich, , p. McClure M. Sovereignity and mediation in seventeenth-century France , Urbana, Chicago, Meninger A. Menniti Ippolito A. Carriere, gerarchie, organizzazione curiale , Rome, Merceron J.
Mignini F. Milani G. Zum geistlichen und weltlichen Gesandtschaftswesen , Zurich, , p. Mohnhaupt H. Jahrhunderts , dans C. Jahrhundert , Hambourg, , p. Molen G. Kirchliche Finanzen. Vatikanisches Archiv. Studien zu Ehren von Hermann Hoberg , Rome, , p. Moores J. Moschetti C. Diritto e potere nella storia delle relazioni commerciali marittime dello Stato della Chiesa, secondo i dispacci dei nunzi apostolici a Venezia , dans Studi in onore di Gino Barbieri.
Problemi e metodi di storia ed economia , Salerne, , p. Mout M. Speculator , um , dans M. Negri P. V, , , p. Nelson J. Dierkens, J. Nerlich D. Niethammer E. Nieto Soria J. Tendances de la recherche , dans A. Nuovo A. Nussbaum F. Ducher , New York, Ochoa Brun M. Ogdon M. Olivera Serrano C. Oliveri M. Origini dello Stato. Molho A. Ostolaza Elizondo I. Palau y Dulcet A. Panizza D. Giurista e intellettuale globale. Atti del convegno Seconda giornata gentiliana San Ginesio, 17 maggio , Milan, , p.
Partner P. The papal state in the middle ages and the early Renaissance , Londres, Pellegrini M. Maddalo, M. Miglio et A. Pennington K. Formes et enjeux. Monnet, J. Perrin-Marsol A. Dewes, S. Persico T. Il piccolo Stato. Barletta L. Pillorget R. Pirillo D. Atti del convegno di Macerata in occasione delle celebrazioni del quarto centenario della morte di Alberico Gentili Macerata, Dicembre , Macerata, , p. Pizzorusso G. Politics and diplomacy in early modern Italy. Friedemann P. Pope L. Posthumus Meyjes G. Potofski A.
Preto P. Lachaud F. Prodi P.
Prudhomme C. Quaglioni D. Macerata, Dicembre , Milan, , p. Prodi, W. Quaritsch H. Entstehung und Entwicklung des Begriffs in Frankreich und Deutschland vom Jahrhundert bis , Berlin, Queller D. Strayer, D. Queller, F. Quondam A. Raimondi E. VII, 58, , p. Raines D. Loredana Marcello Mocenigo tra sapere e potere , dans L. Arcangeli, S. Ramos O. Ramsay C. Friedemann, F. Gauthier, J. Malvache et F.
La politique comme science morale , I, Bari, , p. Reeves J. Reinhard M. Reinhard W. Reitemeier A. Ribeiro F. Carlos Amaral et M. Riccardi L. De la cristiandad al sistema europeo , Madrid, Roberg B. Bartolomeo Pacca und der Nuntiatur-streit. Rodenas Vilar R. Roosen W. The rise of modern diplomacy , Cambridge Mass. Rosso C. Rowen H. Rucquoi A. Ruda J. Ruggiu F. Dumanowski, M. Ruiz A. After the introduction, the text consists of three sections.
The editors also include the reproductions of the title pages of the editio princeps of each text, their early modern translations and latest editions in Italian and other languages, other editions of selected works by Garzoni, and an index of the names of scholars and editors in alphabetical order.
Scholars will appreciate the plethora of information in reference to the commentaries of the two modern editions of La piazza, published in by Einaudi and Olschki. The last two topics were at the center of a debate about natural and black magic flourishing in Italy and in Europe during the sixteenth and seventeenth centuries in religious, medical and philosophical milieux. Was Garzoni ready to start a new chapter in his intellectual life? It seems possible, even though it cannot be proven with absolute certainty.
It is a beautifully written and thoroughly researched work that addresses the still underrepresented topic of Dante and music. The Florentine poet lived through momentous changes in the fields of music education and performance, the biggest novelty consisting in the growing repertoire of polyphonic hymns and chants. The first chapter of the book presents the results from an impressive array of musicological studies, all converging towards a similar conclusion: forms of improvised and archaic polyphony were indeed part of the repertoire commonly performed in the major churches of Tuscany, Veneto, and Umbria in the thirteenth century.
According to the author, Dante might also have heard some forms of composed polyphony, like conductus and motets, perhaps also during his stay at the papal court of Boniface VIII in Ciabattoni expounds with great clarity the aural itinerary. On a deeper level of analysis, the author identifies a system of musical references and carefully planned internal symmetries underlying the Comedy. An important tenet of medieval music theory was the necessity of a musical balance between body and soul, a sympathetic relationship, the lack of which needed to be cured with musical therapy.
The musical architecture of the poem was influenced by well-established ideas of the Scholastic tradition, whose precepts conditioned both theoretical and practical aspects of music production. The superiority traditionally attributed to vocal over instrumental music, for instance, is reflected in the Inferno through a preeminence of similes based on music instruments; one of the most famous examples is the lute-shaped character of Master Adam, whose abdomen sounds like a drum when hit by Sinon the Greek.
In choosing the lute, Ciabattoni argues, Dante was well aware of its humble role among the chordophones as an instrument of Arabic origin, mostly used for popular entertainment; thus, the lute becomes a comic counterpart of the nobler cetra evoked in Paradiso in association with the eagle formed by the blessed Par. More simply, music is one of the means employed by Dante to get around the conundrum of having to put down in words an experience that transcends human senses.
The desperate cry of a musicless soul opens the poem, like a strident anticipation of the infernal danse macabre; on the other end of the musical spectrum, the harmony formed by the angelic choirs is the greatest representation of a joy deriving from the sheer presence of God, something no words could ever fully express. One can illustrate the shift from a bi-dimensional to a tridimensional plane by folding a sheet of paper to form a cube; the idea of a four-dimensional structure is much harder to grasp, and yet we can somehow fill this conceptual gap through a spatial metaphor, e.
Ciabattoni concludes his investigation with a chapter dedicated to the Music of the Spheres. Stanley Lombardo. Steven Botterill. Notes by Anthony Oldcorn. Indianapolis: Hackett Publishing Company, Inc. Likewise both translators place their English version on pages facing the original Italian, inviting comparisons between ancient Italian and modern English. Sensitive to these classical echoes, allusions, and parallels, Lombardo often goes to great lengths to highlight them, which can be a bonus for the novice reader and an annoyance for the seasoned scholar see below.
Note, for example, the effortlessness of the rhymes and even an occasional hendecasyllable in the celebrated closing speech of Ulysses Inf. Five times had we seen it wax and wane, the light on the underside of the moon, since we began our journey on the main, And then a mountain loomed in the sky, still dim and distant, but it seemed to me I had never seen any mountain so high.
Three times it spun her around in the water, and the fourth time around, up the stern rose and the prow plunged down, as pleased Another, Until above us we felt the waters close.
Neither does Lombardo shy away from using slang terms when the original calls for it. Succinct prose synopses introduce each canto, and narrative divisions within cantos are separated by an extra line of space. Specialist readers may find it annoying when Dante is attempting to be allusive and the translator insists on being specific, especially when it means adding proper names not present in the original. A prime example occurs in Inferno 2. The poet makes a series of allusions comparing the pilgrim to Aeneas and St. None of these italicized names my emphasis appears in the Italian.
Why are they not mentioned specifically by name until the Pilgrim claims he is neither? Dante-Pilgrim literally is neither Aeneas nor Paul, but figuratively and dramatically he is both of them. Anthony Oldcorn, emeritus professor of Italian Studies at Brown University, compiled the urbane notes accompanying the translation. He rarely misses a biblical reference or a classical allusion in the Dantean text, whether it is to Virgil, Ovid, Statius, or Lucan.
He makes excellent but sparing use of well- known twentieth-century commentators, such as Contini, Ferrante, and Freccero. Eliot, and Seamus Heaney invariably prove enlightening. Only occasionally does the venerable Oldcorn stumble, as when he asserts, while annotating Inferno Such minor errors, however, can easily be remedied in the next printing. In sum, this highly readable translation, with its impressive but comprehensible introduction and informative but not overpowering scholarly apparatus, is destined to become a new favorite in American high schools and college campuses.
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Madison U. The Hospital of Incurable Madness. Daniela Pastina and John W. Monica Calabritto. Depictions of the mentally ill during the late Renaissance have never been as riveting as those presented in The Hospital of Incurable Madness. As one might surmise, the vernacularizing of literary canonical writings would not have been well received by the Church, given the times. Nonetheless, the use of the vernacular to educate the reading public allowed Garzoni to take a few liberties.
These are then subdivided into a variety of disorders that afflict the mad. The men inhabiting each area are given by far the most attention, whereas the women are relegated to the last eleven pages of the book, reflecting contemporary preconceptions. Women, on the contrary, while also divided by the same disorders, are isolated in individual cells, are nude and are watched over by a Superintendent. They are involved in domestic activities and have no recourse to the gods for assistance. Such comments, however, are actually intended to mock the insane, thus drawing attention to their moral sins.
In fact, madness for Garzoni represents a failure of human reason. Those who crossed the moral line were thus deemed prostitutes. Women were portrayed as engaged in domestic chores, for it was thought that this activity might reunite them with the outside world. In fairness to the translators, they do state that they were aiming for an idiomatic English translation. I would also have liked to see the original text on the facing page for comparison, but publishing requirements being what they are, this was probably unfeasible. The notes are exceptionally thorough and added to the understanding of the text for those not familiar with the more obscure mythological references and the like.
Surprisingly, Lelia admits to enjoying her male role and being kissed by another female. The gender-swapping of this sixteenth-century comedy was further complicated by the fact that male actors were playing the kissing women. Giannetti argues that seicento comic theater, with its characters and situations drawn from quotidian life, can serve as a lens through which to examine gender, homosexuality, and marriage during the Renaissance.
Their cross- dressing and feminization were often central to the humor and action of many plays. In Renaissance society, boys were labeled as male, but did not yet have the social or economic power of older men. Yet while the young theatrical characters successfully assumed the adult male role at the end of the play, the boy actors would continue play female roles for years. The pedant- student relationship, in such theater, reveals a more general power imbalance between older and younger men and perhaps served as a warning of how such a relationship could materialize in real life.
Often true love was contrasted with the misery of a loveless arranged marriage. On stage, the young lovers circumvented obstacles with clandestine marriages, while the unhappy married woman sought solace in extramarital affairs. Looking beyond the canonical comedies, Giannetti found a surprisingly rich discussion of married life, offering alternatives to arranged marriages.
Here, love wins, but often through adultery and premarital sex. The prominence and popularity of these themes in comedies suggest a general anxiety over the practice of arranged marriages and evidence that art imitated life and, perhaps in some instances, life imitated art. Giannetti reveals a rich dialogue both on and off stage that portrayed, discussed, challenged, and contributed to seicento ideas on gender, homosexuality, and marriage.
Who is Mary? Chicago: U of Chicago P, King, sono raccolte le traduzioni di tre testi sulla Vergine Maria composti da Vittoria Colonna, Chiara Matraini e Lucrezia Marinella nel sedicesimo secolo. Dopo la consueta prefazione alla collana firmata dagli editori, in una lunga introduzione Haskins svolge il duplice compito di riassumere la storia del culto mariano dalle origini alla Controriforma e di contestualizzare storicamente i testi pubblicati Senza il sostegno di una vera e propria discussione filologica, vengono quindi pubblicate le traduzioni dei testi di Vittoria Colonna, Chiara Matraini e Lucrezia Marinella.
Essay and Studies Toronto: Centre for Reformation and Renaissance Studies, The volume presents a wide and multifaceted approach to Ovid, encouraged by the interdisciplinary subject, which places Ovid and later writers on the same level of interest. As a result, while highlighting the different practices of reading Ovid by authors from various historical contexts, the collection also displays different methods of scholarly reflection on Ovid and later artists.
Some of the essays in this volume are particularly valuable in pointing out the evolving notion of Ovid as an authority on various matters. First, Ovid appears to be perceived as a literary authority, providing examples of narrative strategies see Fumo on Chaucer representing the Wife of Bath as a storyteller , and acting as a key to decode figures of speech. Considering Ovid as a moral authority requires taking into account the problematic interaction between the pagan poet and Christian doctrine.
Criticism in the Middle Ages found such models also in Ovid. A major result of inquiring into Ovidian authority is the revelation that he is a modern poet in a modern world. This is true in two ways. On the one hand, the Metamorphoses contains elements of originality appealing to writers ready to withdraw from medieval intellectual systems. In general, the collection provides a rich and complex reflection, posing interesting problems of method and content, and suggesting perspectives for new studies.
A rich bibliography and a remarkable corpus of illustrations complete the volume. This lively and thought-provoking book proves how the multiform content of Metamorphosis accounts for the continuity of its fortune, which is deeply rooted in European cultural history. The poem changes its focus with the changing interests of the ages, thus mirroring the subject of the poem itself. Chiara Matraini. Giovanna Rabitti. Chicago: The U of Chicago P, King and Albert Rabil Jr. Their comments begin with sections on Greek philosophy, Roman law, and the establishment of Christian doctrine.
Their series provides a forum for the publication of a variety of texts written by and about women. The volume on Chiara Matraini fits in perfectly with the desire of the series editors to provide a new space for these voices, as there has been a rediscovery of Matraini in the last thirty years. The bulk of her comments are available in her previously published articles and book.
This is, however, the first time this information is available in English. Maclachlan does not translate the Rime in its entirety. She includes forty-six poems out of the original ninety-nine. The poems are presented in facing page translations. B1, C1. She does not concern herself with reproducing the rhyme present in the Italian, but does respect the form of the poems sonnet, madrigal. For all of these prose works, only the English translations of the texts are provided.
When Matraini includes a poem with the prose, Maclachlan provides both Italian and English. This volume is significantly different from the previous publication, for only twenty-eight poems out of eighty-seven are in common with Book A. Through computerized searching, she was able to isolate poetic imitatio as it pertains to the poems included in this volume. Maclachlan has done a great service for the English speaking audience interested in Italian Renaissance poetry.
She has provided translations of a variety of works and has also placed those works within a chronological framework. Previously such a variety of selections had not been available to English speakers. This monograph could perhaps make the poet more readily known to scholars of the period. Matraini, as a student of writers such as Petrarch, Bembo and Vittoria Colonna, was an important feminine voice of the second half of the sixteenth century. Her rich and intriguing poetry is deserving of further recognition by those interested in the early modern period.
Veena K. Donna oggetto del discorso letterario e soggetto della creazione poetica, quindi sguardi e voci, visages e paroles. Da questa doppia prospettiva, perennemente dialogante, deriva la divisione in due parti della raccolta. Raffa, professor of Italian at University of Texas at Austin. The guide examines the cosmologic, spiritual and textual journey, canticle by canticle and region by region, in the same sequence as Dante the pilgrim experiences it. Danteworlds has an organized and patterned structure: each canticle is introduced by a short essay on the allegorical aspect of the dantesque region, which is also accompanied by an illustration of its physical layout.
The book is divided into the three realms of the afterlife, which is then organized into sub- chapters dedicated to each individual circle, terrace, or sphere. Each chapter features three elements: a brief summary of the plot, encounters and allusions; selected verses from the poem; and discussion questions.
At the same time, the allusions comment on theological and philosophical elements, while also hinting at historical events, biblical and classical references and rhetorical figures. Through these allusions one can begin to form a wider perspective of the allegoric poem. Raffa, in fact, brings to surface these sometimes hidden references and provides a space for the infinite connections that make them so noteworthy.
For example, the author underlines the reappearances of characters and the respective allusions between a canticle and another, in the end providing an efficacious prospective of the afterlife. Danteworlds includes a comprehensive bibliography of books, websites and an index of Dante and early modern studies. Guy P. Curmudgeons in High Dudgeon: Years of Invectives Messina: EDAS, This conjecture has some legitimacy.
These are just two examples among the many that Rao relates in his survey of the humanistic invective, a literary genre that has recently enjoyed considerable attention. The seven chapters follow a chronological scheme arranged as a series of juxtaposed micro-biographies portraying, among others, Petrarch, Salutati, Panormita, Filelfo, Poggio, Valla, and a few minor figures who were makers and often targets of invectives.
In strictly informative terms, chapters one to six do not offer new material that the classic studies on the subject of humanistic invective like those by Remigio Sabbadini, Felice Vismara, Pier Giorgio Ricci, and Antonio Lanza have not already covered, but their arrangement as a narrative helps the reader place the invective against a historical background. Nonetheless, the choice of putting such a definition at the end of the book chapter seven ends on p.
Indeed, one can appreciate the idea of providing a definition only inductively, as a result of the preceding empirical survey, but given the introductory nature of this study and the public to which it is directed, one can argue that it would have been more convenient to supply the reader with a definition, even for mere heuristic purposes, at the very beginning of the book. She examines two major changes between the Quattrocento neo-Latin humanist letterbook and its post-Aretinian version in the Cinquecento: the shift from writing about history and abstract issues to self- promotion amongst contemporaries, and the central role given to gender in Cinquecento female epistolary that is lacking in their Quattrocento predecessor with the exception of Laura Cereta.
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Elissa Weaver. Ravenna: Longo Editore, , pp. Her breadth of research is extensive and includes criticism in Italian, French and English Renaissance Studies. In addition, although male-female patronage is examined on a case-by-case basis, connections are not made between the chapters in order to formulate a larger conclusion about gender relations, literary production, gift exchange, and power within literary social networks given the shifting perspectives on gender.
Nevertheless, Writing Gender is a fresh approach to the history of women that exposes the role of both authentic and ventriloquized gendered voices in the construction and performance of gender in Renaissance and Baroque vernacular letter collections. Aileen A. Feng, University of Arizona Matteo Residori, ed. Francesco Petrarca: Gabbiani. Milano: Edizioni Adelphi, An important read for any medievalist or early modernist, this book is designed for a wide range of readers, offering to friends of Petrarch — both old and new — a selection of Latin poems that they will undoubtedly find enjoyable.
The slim volume provides an unconventional, remarkably personal presentation of Petrarch and his work, and will serve as a fascinating addition to any library for its unique content and visual appeal. Over the course of a literary career that spanned more than fifty years Petrarch authored a number of Latin epigrams. A number of surprises await the reader in these enigmatic verses: for example, the icy Laura of the Canzoniere is transformed into a playful, erotic companion.
In the summer of Petrarch left Avignon for Vaucluse, a tranquil valley just east of the bustling papal city. Despite his numerous changes in residence, and his ultimate return to Italy in , Petrarch believed Vaucluse to be the most beautiful place on earth. In this way the selected compositions have a unity of background, even though they deal with a wide variety of themes. The title, Gabbiani, is derived from one of the most intriguing epigrams contained in the book. A flock of seagulls observed during a trip in the Tyrrhenian motivated Petrarch to pen an epigram written in the form of a dialogue with his friend and travel companion, likely the Flemish musician Ludovico di Beringen.
The transformation of Laura and the poetic voice represents a converging of erotic desires that are far more explicit than those mentioned in the Canzoniere. Throughout, Rico skillfully weaves biographical facts together with a description of the twelve texts. The presentation of the volume is eye- catching. The physical presentation of the text is mirrored in the elegance of the translations. The texts are arranged in the order in which they were written, and each translation is followed by a brief essay that provides glosses of the text, contextual information and critical analysis.
Rico provides the necessary background to understand and appreciate the twelve epigrams he has selected, and, overall, the critical apparatus is accessible and usefully selective. In sum, this is a superb book, useful to both specialists and students alike, as it offers a fresh look at the founding father of Humanism. The translations are extremely readable and their juxtaposition to the original Latin makes them an ideal tool for professors of Italian. In addition to serving the community of scholars, Rico has put together an excellent teaching resource that shows a more spontaneous side of Petrarch, providing an alternative to the calculated, restrained poet of the Canzoniere.
What role could an uneducated woman who had to dictate everything she wrote possibly have among the greatest authors of her time? The question of whether Catherine could write and even the authenticity of her writings have not yet been established. Raymond of Capua, however, her most influential biographer, never even mentions this letter. The Medieval Heart. New Haven: Yale UP, Pp In her erudite debut book, Webb provides a concise overview of the complexities inherent in medieval philosophies of the heart.
She traces the evolution of ideas concerning the heart, from Aristotle through Descartes, concentrating on mostly Italian medieval conceptions of the heart as physical organ, metaphor, and seat of the soul and emotion. Webb identifies four thematic concepts and devotes a chapter to each: the Sovereign Heart, the Porous Heart, the Engendering Heart, and the Animate Heart. The first chapter on the Sovereign Heart explores medieval notions of the body politic and power. The debate over head or heart as ruler of man, church and society is iterated and addressed from different perspectives.
Webb uncovers the debate as one of centrality of rule, represented by the heart, against hierarchical, mental rule, represented by the head that emphasizes a plurality within a unity. Webb stresses in her second chapter the radical to us medieval concept of a porous, breathing heart: a heart that is physically and metaphorically open to being autonomously altered by the outside world.
It is accessible, open to the core. Like blood that circulates within the body, this chapter explores the circulatory patterns that go beyond the human body and return. The chapter is devoted to how communication that flows through all five senses can be seen as analogous to circulatory patterns of the heart. Disease is used as a metaphor for how the heart functions; that is, an incorporation and an invasion.
Sight is active and passive, and always transformative. The author identifies all five senses as integral to the creation and understanding of poetry, using the stilnovistic poets to demonstrate her thesis. The medieval person had an almost mystical, magical interconnection with the world that could result in a positive influence or could be dangerous: pestilence and contagion were believed to pass through the senses, including sight of the ill, as evidenced by many chronicles of the period. A discussion of gender and the heart occupies the third chapter.
Webb summarizes some medieval ideas of medical explanations of fecundity and reproduction, and concentrates especially on the qualities of heat and coldness. Heat was associated with action and the masculine, while cold was tied to passivity and femininity. The heart was considered the source of heat in the body, and therefore whoever had more heat had more heart.
Those who obsess over love and beauty become melancholic; they first overheat and then are left cold and dry. The author analyzes other popular topoi in relation to gender: frozen hearts, melting hearts, the transfusive heart. The fourth chapter follows the medieval viewer as he or she confronts the animate, and inanimate, heart.
The key difference between the two is identification: once the identity is revealed, the flesh is no longer seen as impersonal. The exciting, overarching research completed by Heather Webb is as remarkable as her amount of sources. Sensitively written and highly readable, her book is a solid contribution to medieval intellectual history and Italian literature.
She makes a convincing case for the heart as the object and theme that tie together medieval science, philosophy, theology and poetry. Leicester: Troubador Publishing, Cavalcanti, figura chiave nello sviluppo della lirica italiana del Duecento e autore essenziale per la ristrutturazione della poesia modernista inglese, viene riproposto al mondo di lingua inglese, per la sua influenza su buona parte della poesia italiana ed europea a lui contemporanea e quella susseguente.
Il metro e la forma delle poesie, sono visti da West quali elementi sonori non sempre traducibili, per cui il lettore deve esserne avvisato. Capire questo significa intendere i limiti della traduzione, ma anche il suo potenziale creativo. In questo splendido volume, Simon West dimostra la sua eccellente preparazione come critico e traduttore.
Love in the Mirror. Jon R. Toronto: Iter Inc. It is a play that challenged the norms of comedic motifs established by Renaissance theater, delineating a conscious act of defiance that strongly paralleled the plight of contemporary women like Isabella whose very presence and participation in the theatrical world continually challenged the pre-established confines that sought to limit their activity therein. He can be counted as one of the few men who not only sympathized with female struggle, but regarded female intellectual capabilities with respect and at times drew upon them for his own intellectual justification.
He thereby exacts an unusual role reversal, in which it is a man who seeks the aid of a woman to sustain his worth, rather than the inverse, as is more commonly seen. For followers of The Other Voice series in particular, the comedy will be of great interest for its treatment of common themes in the querelle des femmes.
Though quarreling between the sexes is a typical element of comedies, the gendered banter in Love in the Mirror reaches a heightened level of intellectual cultural referencing. Act I, scene 3, presents an amusing scene with Florinda, the protagonist, and Guerindo, a suitor, engaging in a parody of the trite arguments repeatedly utilized during Renaissance gender debates.
The underlying message of the parody points to the futility of such an argumentative style since for every point a counter-point is easily found, thus becoming comical. He eschews archaisms and abandons the cumbersome practice of literal translation in favor of transporting the overall meaning in order for readers to find contemporary, palpable relevance. He emphasizes translation as a culturally creative act with the final product inhabiting its new cultural idiom as comfortably as it inhabited the original. The meanings enveloped in the numerous witty conceits, rhetorical phrases, and musical numbers that populate Love in the Mirror find their English equivalents easily in the hands of Snyder.
Moreover, he is extremely faithful to the original text, discarding nothing in his translated version other than a very short list of demons III. He reveals himself to be a firmly textual interpreter of the play by interpreting the words of Andreini literally, without expounding upon the possibility of further meaning. Florinda is eager to be with her love and invites Eugenio believing him to be Lidia to her bed.
Eugenio is aware of the identity confusion but cares for little other than the chance to be with the beautiful Florinda. Eugenio disregards moral integrity quite easily for the chance to bed Florinda, thus introducing the possibility of continuing his deceit in the bedroom. Meaning the story of Eugenio the Hermaphrodite is potentially pure inventio: a lie concocted by Eugenio in order to get what he wants.
Lettere dalla Francia Viaggio in Inghilterra A cura di Paolo L. Bernardini e Diego Lucci. A modern edition of this important work, edited by Marco Sioli, appeared in ; earlier, Antonio Pace produced an excellent English translation Syracuse UP, , with extensive annotations by Joseph and Nesta Ewan. His account of his stay in France has been lost, but nine of his letters to his mentor, the great Milanese scientist Paolo Frisi, have survived eight are from France, the ninth from London , and so has the detailed journal that Castiglioni kept while in England.
These documents, which form an excellent introduction to his American journey, can now be read in this carefully edited volume, thanks to Paolo L. Bernardini and Diego Lucci. In all things, Castiglioni preferred the unadorned and unaffected. Perhaps he saw in Franklin the same economy, the same spare elegance, that he saw in nature. And he was indeed a keen observer of nature. At Kew Gardens, he discovered a new plant.
It had escaped the eye of his English counterparts because it had a very small pistil attached directly to its stem. Italian Bookshelf Some of the charm of these documents — and this also reminds us that Castiglioni was part of the Enlightenment — lies in his descriptions of attempts at air balloon flight. One balloon, which took off from Paris, was ungovernable. Another attempt, by a baker from Oxford, nearly ended in disaster. The editors have provided a useful introduction which places Castiglioni in his historical and cultural context.
In England he found a freedom of the press that his Milan did not enjoy. In the end, however, it is clear that England left a deep and favorable impression on Castiglioni. His brief and final entry, in which he records boarding the ship that will take him to Boston, reveals an anxiety that might have been brought on by his having to leave England.
Il volume costituisce un contributo importante sia per la pubblicazione di documenti inediti, sia per la ricostruzione erudita dei rapporti intrattenuti con alcune figure chiave nella biografia culturale del poeta. Ravenna, Longo, Vocabolario cateriniano. A cura di Giada Mattarucco. Prefazione di Maria Antonietta Grignani. Bargagli, Il Turamino, a cura di L.