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

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ghirardi, Pedro Garcez. "Notas sobre a questão das rimas na tradução do Orlando Furioso." Cadernos de Literatura em Tradução, no. 7 (November 1, 2006): 241–47. http://dx.doi.org/10.11606/issn.2359-5388.i7p241-247.

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É sabido que traduzir poetas clássicos é defrontar-se muitas vezes com o problema da transposição da rima. Isto é o que ocorre no Orlando Furioso de Ariosto. Construído em oitavas de decassílabos (ou hendecassílabos, pelo cômputo italiano), os versos de cada estrofe do poema se dispõem em rimas alternadas (os seis primeiros) e emparelhadas (os dois últimos).

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12

de Avalle-Arce, Juan Bautista, and Ana Vian Herrero. "Disfraces de Ariosto: "Orlando Furioso" en las narraciones de "El Crotalon."." Hispanic Review 68, no. 2 (2000): 190. http://dx.doi.org/10.2307/474985.

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13

Ascoli, Albert Russell. "Ariosto and the “Fier Pastor”: Form and History in Orlando Furioso." Renaissance Quarterly 54, no. 2 (2001): 487–522. http://dx.doi.org/10.2307/3176785.

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This essay explores the formal means (a variant of the medieval romance technique ofentrelacement) by which Ludovico Ariosto'sOrlando Furiosorepresents and comments on contemporary events, particularly the threats posed by French and Spanish invasions and by the interventionist politics of Popes Julius II and Leo X. Ariosto's treatment of the latter figure exemplifies both the specificity of the interplay between form and history in theFurioso Innamoratoand its innovative character with respect to precursors, notably Boiardo'sOrlando Innamorato. A final section considers the changing significa

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14

Checa, Jorge. "Gracian lector de Ariosto: Huellas del Orlando furioso en el Criticon." Hispania 71, no. 4 (1988): 743. http://dx.doi.org/10.2307/343258.

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15

Bellido Díaz, José Antonio. "Desde Calímaco a Cervantes: una imagen venatoria en contexto amatorio." Anales Cervantinos 40 (December 30, 2008): 133. http://dx.doi.org/10.3989/anacervantinos.2008.007.

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La imagen del cazador que persigue la presa que huye y deja la que atrapa, dentro de un contexto amatorio (el enamorado es el cazador que persigue a la amada huidiza, abandonando a la que ya ha conseguido), se inicia con Calímaco y llega hasta Cervantes, quien la tomaría no de las fuentes clásicas, sino del Orlando Furioso de Ariosto. La imagen adquiere diversas aplicaciones, según los autores que la utilizan.

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16

Sowell, Madison U. "Ariosto and Boiardo: The Origins of Orlando Furioso by Peter V. Marinelli." Rocky Mountain Review 43, no. 1-2 (1989): 104–6. http://dx.doi.org/10.1353/rmr.1989.0007.

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17

Wiggins, Peter Desa. "Spenser's Use of Ariosto: Imitation and Allusion in Book I of the Faerie Queene." Renaissance Quarterly 44, no. 2 (1991): 257–79. http://dx.doi.org/10.2307/2862710.

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Conspicuous irrelevance, the term adopted by Harry Berger to describe certain puzzling moments in the Spenserian narrative, might also serve to describe Spenser's allusions to the Orlando Furioso, which are pervasive and, for the most part, appear indifferent to their source—frequently the most indifferent just when they are the easiest to identify. One thinks, for example, of the Timias and Belphoebe episode of book III, canto v, which disregards the tenor of its source in the Furioso, canto xix, to the point where one wonders why Spenser took the trouble to summon recollections of Angelica a

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18

Refini, Eugenio. "Echoes of Ariadne in the Musical Reception of Ariosto and Tasso." Renaissance Quarterly 73, no. 2 (2020): 527–66. http://dx.doi.org/10.1017/rqx.2020.4.

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This article discusses Fulvio Testi's libretto “L'isola di Alcina” (1626), based on Ariosto's “Orlando furioso.” After considering its significance to the cultural politics of the Este and the author's preoccupations with poetical and political lineage, the essay focuses on the sorceress Alcina's lament in act 4 and its afterlife in the Baroque cantata repertoire. Echoes from Claudio Monteverdi and Ottavio Rinuccini's “Arianna” as well as the memory of the sorceress Armida from Torquato Tasso's “Gerusalemme liberata” are crucial to the gradual reshaping that, across poetry and music, transform

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19

Ugolini, Paola. "Self-Portraits of a Truthful Liar: Satire, Truth-Telling, and Courtliness in Ludovico Ariosto’s Satire and Orlando Furioso." Renaissance and Reformation 40, no. 1 (2017): 141–60. http://dx.doi.org/10.33137/rr.v40i1.28451.

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Composed during the most difficult years of Ludovico Ariosto’s relationship with the Este court, the Satire are known for presenting a picture of their author as a simple, quiet-loving man, and also as a man who can speak only the truth. However, the self-portrait offered by the Satire of the author as a man incapable of lying stands in direct contrast to the depiction presented by St. John in canto 35 of the Orlando Furioso of all writers (and thus, implicitly, of Ariosto) as liars. This article investigates the relationship between such contrasting self-portraits of Ariosto, aiming to overco

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20

Jossa, Stefano. "Ariosto Redivivus in 2016: A Year of Centenary Celebration and Critical Reassessment of Orlando furioso." Italianist 38, no. 1 (2018): 134–49. http://dx.doi.org/10.1080/02614340.2017.1402609.

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21

Prosenc Šegula, Irena. "Intento de una definición genérica del poema renacentista italiano a la luz de las reflexiones teóricas de Ortega y Gasset, Lúkacs y Bajtin." Verba Hispanica 12, no. 1 (2004): 51–57. http://dx.doi.org/10.4312/vh.12.1.51-57.

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La definición genérica de la novela o de lo novelesco es problemática tal cual, sin reparar ya en la forma histórica de la novela a la cual queremos aplicarla. Este artículo propone una contribución a la definición genérica del poema renacentista italiano de los finales del siglo XV y del siglo XVI, a base de las reflexiones de José Ortega y Gasset, Georg Lukács y Mijail Bajtin sobre la novela. La investigación se refiere a las tres obras más importantes de la épica italiana renacentista: Orlando enamorado (Orlando innamorato) de Matteo Maria Boiardo de finales del siglo XV, Orlando furioso de

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22

Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe 1 (May 28, 2021): 59. http://dx.doi.org/10.12688/openreseurope.13663.1.

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To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante’s Divina Commedia and Ariosto’s Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the

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23

Longhitano Piazza, Sabina. "Un estudio preliminar sobre las fuentes del episodio de la locura de Orlando en el marco de la poética ariostesca y de la cultura humanista y renacentista." Anuario de Letras Modernas 17 (October 30, 2013): 15–31. http://dx.doi.org/10.22201/ffyl.01860526p.2012.17.597.

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Establecer y analizar cómo los autores utilizan sus fuentes textuales es siempre un asunto complejo. Esto vale en general para cualquier escritor europeo, especialmente los anteriores al Romanticismo, donde la relación entre un autor y sus fuentes textuales cambió para siempre, al sustituir las nociones clásicas y humanistas de imitación y emulación con la de la originalidad como el criterio estético fundamental. Y vale a fortiori para los autores del Renacimiento, educados según el modelo humanista, que marcó una nueva relación con la antigüedad clásica, con un enfoque crítico y filológico qu

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24

OVERELL, M. A. "Vergerio's Anti-Nicodemite Propaganda and England, 1547–1558." Journal of Ecclesiastical History 51, no. 2 (2000): 296–318. http://dx.doi.org/10.1017/s0022046900004267.

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Deceit is normally held in low esteem; pointing as it does to an evil disposition; there are, nonetheless, countless instances when it has reaped obvious benefits and deflected all manner of harm and ill report and mortal perils. For our conversation is not always with friends in this earthly life: Ariosto, Orlando Furioso, canto 4, iA common response to the enforcement of religious conformity in the sixteenth century was deceit, either by silence or dissimulation. Contemporaries called people who chose this evasion Nicodemites, after Nicodemus who came to Christ by night. The propaganda campa

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25

Jordan, Constance. "Peter V. Marinelli. Ariosto and Boiardo: The Origins of Orlando Furioso. Columbia, Missouri: University of Missouri Press, 1987. vi + 247 pp. $31.00." Renaissance Quarterly 42, no. 2 (1989): 334–37. http://dx.doi.org/10.2307/2861646.

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26

Carocci, Anna. "Christian Rivoletti, Ariosto e l’ironia della finzione. La ricezione letteraria e figurativa dell’«Orlando furioso» in Francia, Germania e Italia, Venezia, Marsilio, 2014, 480 p." Zeitschrift für romanische Philologie 134, no. 1 (2018): 319–22. http://dx.doi.org/10.1515/zrp-2018-0020.

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27

Bartoli, Lorenzo. "L'Ariosto in Spagna: A proposto di un recente volume di A. Vian Herrero (Difraces de Ariosto. Orlando Furioso en las narraciones de El Crótalon, Manchester UP, 1998." Quaderni d'italianistica 20, no. 1-2 (1999): 211–15. http://dx.doi.org/10.33137/q.i..v20i1-2.9447.

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28

Looney, Dennis. "Ludovico Ariosto. Orlando furioso: secondo la princeps del 1516. Ed Marco Dorigatti. Florence : Leo S. Olschki, 2006. clxxxii + 1072 pp. + 1 color pl. index. append. illus. tbls. €88. ISBN: 978-88-222-5576-1." Renaissance Quarterly 60, no. 4 (2007): 1313–15. http://dx.doi.org/10.1353/ren.2007.0424.

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29

Morini, Massimiliano. "Orlando Furioso: A New Verse Translation. By David R. Slavitt. Pp. xiv + 672. Cambridge, MA: Belknap Press, 2009, 2011. Hb. $42, Pb. $18.95.Translating Women in Early Modern England: Gender in the Elizabethan Versions of Boiardo, Ariosto and Tasso. By Selene Scarsi. Pp. x + 207. Farnham: Ashgate, 2010. Hb. £55.‘My Muse will have a story to paint’: Selected Prose of Ludovico Ariosto. Translated with an introduction by Dennis Looney. Pp. xiii + 328. University of Toronto Press, 2010. Hb. CA$65." Translation and Literature 21, no. 1 (2012): 107–15. http://dx.doi.org/10.3366/tal.2012.0055.

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30

Ruggiero, Raffaele. "Cornelia Klettke und Georg Maag (Hrsg.): Trugbildnerisches Labyrinth / Kaleidoskopartige Effekte. Neurezeptionen des ‘Orlando furioso’ von Ariosto." Archiv für das Studium der neueren Sprachen und Literaturen, no. 1 (April 1, 2008). http://dx.doi.org/10.37307/j.1866-5381.2008.01.44.

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31

Toro, Felipe, and Pablo Chiuminatto. "La vida secreta de un pintor neoclásico: Roger y Angélica en Balneario de Adolfo Couve." Cuadernos de Literatura 21, no. 42 (2017). http://dx.doi.org/10.11144/javeriana.cl21-42.vspr.

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<p>Por medio de la lectura de <em>Balneario </em>de Adolfo Couve —relato breve que aborda las fantasías eróticas de Angélica Bow, vieja aristócrata que anhela el encuentro con jóvenes de clases bajas en un balneario popular de Chile—, intentamos despejar la referencia de la poética de Couve a la escuela neoclásica, y en especial su apelación a la herencia pictórica de Jean Auguste Dominique Ingres. Así, proponemos que en <em>Balneario </em>Couve reescribe la famosa pintura de Ingres <em>Roger liberando a Angélica</em> —a su vez basada en el canto X del

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32

"Recent Trends in Ariosto Criticism: Intricati rami e aer foscoAriosto's Bitter Harmony: Crisis and Evasion in the Italian Renaissance. Albert Russell Ascoli, AriostoAriosto and Boiardo: The Origins of "Orlando Furioso". Peter V. MarinelliThe Poetics of Ariosto. Marianne Shapiro." Modern Philology 88, no. 2 (1990): 153–65. http://dx.doi.org/10.1086/391842.

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