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Relevant bibliographies by topics / Ariosto, Lodovico, Orlando Furioso (Ariosto)

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Academic literature on the topic 'Ariosto, Lodovico, Orlando Furioso (Ariosto)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Ariosto, Lodovico, Orlando Furioso (Ariosto)"

1

Ghirardi, Pedro Garcez, and Ludovico Ariosto. "La pazzia di Orlando/A loucura de Orlando." Revista de Italianística, no. 10-11 (December 30, 2005): 145. http://dx.doi.org/10.11606/issn.2238-8281.v0i10-11p145-147.

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Ghirardi, Pedro Garcez. "Traduzir Ariosto: um depoimento." Estudos Avançados 26, no. 76 (2012): 109–20. http://dx.doi.org/10.1590/s0103-40142012000300011.

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Italiano, Federico. "Die globale Dichtung des Orlando Furioso." Arcadia 47, no. 1 (2012): 16–33. http://dx.doi.org/10.1515/arcadia-2012-0006.

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AbstractThe epic poem of Ludovico Ariosto, Orlando Furioso (1516–1532), one of the most influential texts of Renaissance writing, shows not only a precise cognition of early modern cartographic knowledge, as Alexandre Doroszlaï has illustrated it in Ptolemée et l’hippogriffe (1998), but also performs a complex transmedial translation of cartographic depictions. The journeys around the globe of the Christian paladins Ruggiero and Astolfo narrated by Ariosto are, in fact, performative negotiations between literary and cartographic processes. Riding the Hippograph, the hybrid vehicle par excellen

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Castro Díaz, Antonio. "Ana Vian Herrero, Disfraces de Ariosto ("Orlando furioso" en las narraciones de "El Crotalón"). University of Manchester, Manchester, 1998; 111 pp. (Manchester Spanish and Portuguese Studies, 7)." Nueva Revista de Filología Hispánica (NRFH) 47, no. 1 (2017): 168–71. http://dx.doi.org/10.24201/nrfh.v47i1.2091.

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Sowell, Madison U., and Peter V. Marinelli. "Ariosto and Boiardo: The Origins of Orlando Furioso." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 104. http://dx.doi.org/10.2307/1347206.

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Dorigatti, Marco, and Peter V. Marinelli. "Ariosto and Boiardo: The Origins of 'Orlando Furioso'." Modern Language Review 84, no. 4 (1989): 1001. http://dx.doi.org/10.2307/3731236.

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Brand, C. P., P. V. Marinelli, and Denise Alexandre-Gras. "Ariosto and Boiardo: The Origins of Orlando Furioso." Comparative Literature 42, no. 2 (1990): 183. http://dx.doi.org/10.2307/1771210.

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Murrin, Michael J., and Peter V. Marinelli. "Ariosto and Boiardo: The Origins of "Orlando Furioso"." Italica 66, no. 4 (1989): 466. http://dx.doi.org/10.2307/479266.

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Comensoli, Viviana, and Peter V. Marinelli. "Ariosto and Boiardo. The Origins of Orlando Furioso." Sixteenth Century Journal 19, no. 4 (1988): 662. http://dx.doi.org/10.2307/2540997.

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Marinelli (book author), Peter V., and Antonio Franceschetti (review author). "Ariosto and Boiardo. The Origins of Orlando Furioso." Quaderni d'italianistica 11, no. 2 (1990): 316–20. http://dx.doi.org/10.33137/q.i..v11i2.10591.

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Dissertations / Theses on the topic "Ariosto, Lodovico, Orlando Furioso (Ariosto)"

1

Carosella, Maria A. (Maria Angelica). "Le novelle dell'Orlando furioso : struttura e tradizione." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63248.

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Sandoval, Piña Cristian Fidel. "La fundación de la genealogía de la Casa de Este en Orlando Furioso (1532) de Ludovico Ariosto." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110255.

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura.<br>El Renacimiento Europeo de los siglos XV y XVI se plantea como un vaso comunicante entre dos épocas: culmina los profundos cambios en la percepción y definición del mundo iniciados en el medioevo tardío, para así inaugurar gran parte de las preocupaciones de la modernidad, al punto de llevar a algunos autores a hablar de “primera modernidad” en tal período. Entre los cambios producidos en aquél se encuentra la revaloración del sujeto como entidad individual y libre inserta en la vita

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Teixidó, Vilar Alba. "El Orlando furioso en su contexto filosófico y literario : Pasión, locura e ironia." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/130826.

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La presente tesis defiende una lectura del Orlando furioso de Ludovico Ariosto como un texto eminentemente cómico y ambivalente, en el que confluye la tradición medieval con la renacentista. Una simbiosis que se produce al revisitar desde la parodia los tópicos y motivos de la literatura europea precedente bajo el prisma renovador de una parte del pensamiento humanista. Un humanismo que cuestiona la visión tradicional del hombre como animal racional, revocando la primacía de la razón en favor de la pasión y la insensatez, estableciendo la locura como ley universal que gobierna a los hombres. E

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Condina, Alessandro. "Più donne che cavalieri. Orlando furioso: il poema di Bradamante." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/668503.

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Este trabajo aborda por primera vez de forma sistemática y monográfica el papel desempeñado por los personajes femeninos en el Orlando furioso (1532) de Ludovico Ariosto (1474-1533), evidenciando su carácter profundamente innovador respecto a la tradición, incluida la caballeresca ferraresa, y en buena medida también respecto al contexto cultural de las cortes renacentistas en Italia. Con tal fin se conjuga el enfoque comparatista y de fuentes con el análisis descriptivo e interpretativo para elaborar una tipología de las distintas figuras definiendo sus funciones tanto individualmente como en

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Ohlsson, Lena. "Oggetti e aiutanti magici nell´Orlando Furioso di Ludovico Ariosto." Thesis, Högskolan Dalarna, Italienska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3837.

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Corrêa, Fernanda Zambon Nunes. "Os senhores de seus mundos: um estudo sobre Angélica e o narrador no \"Orlando Furioso\", de Ludovico Ariosto." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-08012015-145543/.

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Durante o Renascimento Italiano, em meio a uma situação de guerras e de incertezas, em uma sociedade cortesã permeada de relações aparentes motivadas por interesses políticos e pessoais, surge o Orlando Furioso, uma novela de cavalaria trabalhada durante quase trinta anos por Ludovico Ariosto, literato da corte de Ferrara que dedica seu poema a Ippolito dEste, seu senhor e mecenas. Embora se trate de uma novela de cavalaria. Ariosto deixa nela marcas que nos ajudam a entender um pouco da sociedade em que autor e obra estavam inseridos, por meio, sobretudo, das reflexões do narrador, o qual se

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Dorigatti, Marco. "The significance of Boiardo in the making of Orlando Furioso : with special reference to the 1516 edition of Aristo's poem." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282063.

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Pavlova, Maria. "'Il fior de Pagania' : Saracens and their world in Boiardo and Ariosto." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ef19b552-3215-436c-8744-e91f6fe5f2cf.

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This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the forei

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Modano, Stefania. "La ricezione dell’Ariosto “visualizzato” tra letteratura delle immagini e filosofia morale." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0205/document.

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Dans notre thèse de doctorat, nous nous sommes occupée des interprétations visuelles et morales du Roland furieux au XVIe siècle, en prenant en considération les nombreuses éditions de l’époque, dont le riche paratexte (images, allégories, arguments) a eu un impact considérable sur leur réception « moralisée » et sur la circulation de l’ouvrage. En analysant l’interaction des éléments paratextuels, nous nous sommes concentrée principalement sur le concept de « vice peint », c’est à dire d’images des nains, de géants et d’animaux chargés d’un rôle moral important et ayant un fort impact visuel.

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Spiechowicz, Pauline. "« Ut Architectura poesïs » : la description architecturale dans le Roland furieux de Ludovico Ariosto (1532)." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4026.

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La thèse enquête les relations entre l’architecture et la littérature, et spécifiquement de quelle manière la littérature décrit et représente l’art de bâtir. Après avoir dressé la liste des similitudes et des points de contact entre les deux disciplines, il s’avère nécessaire l’analyse rhétorique des moyens dont se sert la poésie pour parler d’architecture. Passant en revue les termes d’ekphrasis, de descriptio, d’enargeia, d’évidence descriptive, d’hypotypose, d’amplification et de digression, le profond ancrage de l’édification dans l’art poétique devient manifeste. L’architecture est forma

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Books on the topic "Ariosto, Lodovico, Orlando Furioso (Ariosto)"

1

Javitch, Daniel. Proclaiming a classic: The canonization of Orlando furioso. Princeton University Press, 1991.

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Figures in Ariosto's tapestry: Character and design in the Orlando furioso. Johns Hopkins University Press, 1986.

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3

Sir John Harington. Twayne, 1985.

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Calvino, Italo. Orlando furioso di Ludovico Ariosto. Mondadori, 1995.

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5

Marinelli, Peter V. Ariosto and Boiardo: The origins of Orlando furioso. University of Missouri Press, 1987.

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6

J, José Blanco. Esquema narrativo del Orlando furioso de Ludovico Ariosto. Video Carta, 2008.

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7

Herrero, Ana Vian. Disfraces de Ariosto: (Orlando Furioso en las narraciones de El Crotalón). Dept. of Spanish and Portuguese, University of Manchester, 1998.

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8

Le donne al potere e altre interpretazioni: Boccaccio e Ariosto. P. Manni, 2011.

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9

1474-1533, Ariosto Lodovico, ed. Ludovico Ariosto: 90 Kupferstiche des 18. Jahrhunderts zu Orlando furioso - Der rasende Roland aus der Sammlung Ulrich Wilke, Hude. Verlag Make a Book, 2013.

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10

The Orlando legend in nineteenth-century French literature. Peter Lang, 1996.

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Book chapters on the topic "Ariosto, Lodovico, Orlando Furioso (Ariosto)"

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Kremers, Dieter. "Ariosto, Ludovico: Orlando furioso." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2448-1.

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Mac Carthy, Ita. "Grace and Ingratitude." In The Grace of the Italian Renaissance. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0006.

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This chapter examines Ludovico Ariosto's Orlando furioso (1532) as an outstanding example of literary grace. It follows the judgement of sixteenth-century literary commentator and polygraph Lodovico Dolce. The chapter first mines Dolce's many commentaries, paratextual notes, appreciations, and treatises on poetics and aesthetics for a sense of just what he meant when he declared Ariosto the Renaissance poet of grace. Next, the chapter looks to Ariosto himself and focuses both on the poet's writing and on the emblems and images he used to embellish successive editions of his poem. In this encounter between grace in word and image, it offers an understanding of how Ariosto anticipated Dolce's reading while varying the terms of that reception.

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Javitch, Daniel. "The Advertising of Fictionality in Orlando furioso." In Ariosto Today, edited by Don Beecher, Massimo Ciavolella, and Roberto Fedi. University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442670983-008.

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McCue, Maureen. "Authorizing Ariosto." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0011.

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The nineteenth century in Britain saw a massive growth in both literacy rates and the popularity of Italian culture. Readers consumed Italian culture through popular periodicals, while British writers identified with Dante, Boccaccio and Tasso. However, the reception of Ariosto was more problematic. While the digressive style and content of Orlando Furioso offered literary freedom to the Pisa Circle of writers, including Lord Byron, the Shelleys and the radical essayist Leigh Hunt, more conservative writers celebrated Ariosto’s embodiment of the chivalric tradition. By exploring the ways in which Ariosto is constructed in both the Pisa Circle’s short-lived periodical The Liberal and Blackwood’s Edinburgh Magazine, this essay argues that Ariosto became a vehicle through which to claim cultural authority for radical and conservative writers alike.

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Gregory, Tobias. "Milton and Ariosto." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0006.

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How did Milton read Ariosto? The standard account holds that he admired Orlando Furioso in his youth and dismissed it in his maturity, rejecting chivalric romance in Paradise Lost as ‘the skill of artifice or office mean’. This essay revisits the question. It finds a stronger and more positive connection between the Furioso and Paradise Lost in the two poems’ expansive sense of space, and in several prominent Ariostan allusions in Milton’s epic.

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Franceschetti, Antonio. "The Orlando innamorato and the Genesis of the Furioso." In Ariosto Today, edited by Don Beecher, Massimo Ciavolella, and Roberto Fedi. University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442670983-004.

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Bernardi, Sandro. "From Poem to Theatre to Cinema: Luca Ronconi’s Orlando furioso." In Ariosto Today, edited by Don Beecher, Massimo Ciavolella, and Roberto Fedi. University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442670983-012.

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"Chapter Ten. Ariosto, Orlando Furioso (1532)." In The Romance Epics of Boiardo, Ariosto, and Tasso. University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442682245-013.

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Oliver, Susan. "Walter Scott and Ariosto’s Orlando Furioso." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0010.

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Walter Scott proclaimed Ariosto his favourite Romance poet and Orlando Furioso his preferred epic. Byron subsequently called him the Ariosto of the North, and Ariosto the southern Scott. For Scott, the power of words to ‘make a ladye seem a knight’ or transform a sheeling into a palace associates Scottish folk culture with necromantic tales from medieval Italy and France. His life’s work shows the influence of the Italian Renaissance epic tradition to which the Furioso belongs. Scott’s collected ballads, narrative poetry, and novels demonstrate a complex response to Ariosto’s signature techniques of imitatio and entrelacement. His interest in oral literary history also connects him to improvisatori traditions. Scott’s interest in Ariosto extended beyond his writing career. Reading Orlando became a self-prescribed palliative for ‘mental and bodily fever’. The prospect of an ‘Orlando cure’ for frenzy is intriguing. This chapter explores the connections between Scott and Ariosto’s Furioso.

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McLaughlin, Martin. "The Furioso in Translation." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0013.

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The year 1974, the 500th anniversary of Ariosto’s birth, inaugurated an unprecedented upsurge of interest in the Orlando Furioso both in Italy and in English-speaking countries. In the UK Peter Brand published the first post-war English monograph on the poet. The same year also saw the publication of Guido Waldman’s prose translation of the poem for Oxford University Press, while Barbara Reynolds’ two-volume verse translation for Penguin appeared in 1973 and 1977. This chapter asks what sort of Furioso do British readers encounter in these two twentieth-century translations? There is as yet no substantial comparison of these two versions, so this essay attempts to fill that gap by sampling the renderings of some problematic erotic episodes from Ariosto’s epic. What emerges is a range of translation errors, omissions and euphemisms but also some intelligent, felicitous solutions that combine intertextual allusions to British culture, the British imaginary and its literary traditions.

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