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1
Pasqualinotto, Anna <1996>. "Sannazzaro e Ariosto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21132.
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L'elaborato si propone di analizzare la posizione di Ludovico Ariosto nei confronti del genere pastorale ed in particolare nei confronti del maggior esponente di questo tra Quattrocento e Cinquecento, il napoletano Jacopo Sannazaro. La ricerca sarà condotta principalmente valutando gli inserti bucolici all'interno del Furioso, ma avrà come intento quello di collocare il poeta ferrarese all'interno delle diverse suggestioni letterarie del suo tempo.
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MAGNI, FRANCESCA. "Dossier Ariosto: un'edizione settecentesca dell'Orlando Furioso." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2009. http://hdl.handle.net/2108/1002.
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Questo lavoro si propone di indagare le modalità di lettura e ricezione dell’Orlando Furioso di Ludovico Ariosto nel Cinquecento. Gli interpreti interrogati sono tutti raccolti nella famosa edizione illustrata proposta a Venezia nel 1730 dal tipografo Stefano Orlandini con il titolo: Orlando Furioso di M. Lodovico Ariosto; delle annotazioni de’ piu’ celebri autori che sopra esso hanno scritto, e di altre utili, e vaghe giunte in questa impressione adornato, come nell’indice seguente la prefazione si vede.
Le testimonianze di ricezione coprono poco meno l’arco di un secolo: dai primi documenti importanti come quelli di Lodovico Dolce e Tullio Fausto da Longiano (pubblicati entrambi nel 1542) fino al commento di Alberto Lavezuola, apparso nel 1584, lo stesso anno del Carrafa di Camillo Pellegrino, dialogo che difendeva la Gerusalemme Liberata di Torquato Tasso (uscita nel 1581) a spese del Furioso e infiammava la guerra critica tra tassisti e ariostisti.
Grazie agli sforzi promozionali degli editori il romanzo cavalleresco d’Ariosto fu accolto come il classico della poesia narrativa italiana che fino allora era mancato, l’equivalente mo¬derno dell’epica di Omero e Virgilio.
Dopo la morte d’Ariosto, e nonostante il successo, il poema diventa gradualmente un problema critico e teorico. La diffusione della Poetica di Aristotele contribuisce prepotentemente a riportare in primo piano il problema della codificazione dei generi. Gli interpreti e i lettori del Furioso furono inevitabilmente portati a confrontarsi e misurarsi con le categorie elaborate dai moderni interpreti di Aristotele, le annotazioni dei quali favorirono non poco il passaggio dal romanzo ariostesco al poema tassiano, e cioè da una forma aperta, caratterizzata da un soggetto fantastico, dal gioco con il tempo e lo spazio, ad una forma conclusa e lineare, dominata dall’ordine narrativo e dall’impresa collettiva, orientata ad un unico fine.
La difesa dell’Orlando Furioso e la teorizzazione dei generi sono state accompagnate dal crescente influsso del modello ariostesco sull’epica contemporanea e da un’ampia propaganda editoriale. È stato Lodovico Dolce, con la sua attività di commentatore, a farsi principale paladino dell’Ariosto a fianco di Gabriele Giolito che, a partire dal 1542 e fino agli anni Cinquanta, è stato il più importante editore dell’opera ariostesca. La prima delle pubblicazioni giolitine portò alla fissazione di un formato destinato a divenire standard per le edizioni successive. Tra i paratesti che accompagnarono il Furioso ebbe enorme fortuna la Brieve dimostrazione di Lodovico Dolce annessa a tutte le edizioni giolitine e utilizzata anche da editori concorrenti come Valvassori e Valgrisi. Pubblicato in quasi quaranta edizioni del poema, il commento di Dolce fu il primo e il più fortunato di una serie di paratesti che contribuirono a consolidare la tendenza della critica alla canonizzazione del poema.
Attraverso il confronto delle comparazioni di certi episodi del Furioso con quelli dell’Eneide, Dolce dimostrò l’affinità e la provenienza classica delle ottave ariostesche, ignorando volutamente gli autori imitati da Ariosto, fatta eccezione per Virgilio e Ovidio, quest’ultimo rilanciato proprio in quel periodo come il modello classico più vicino alla forma romanzesca. A sua volta Clemente Valvassori dichiarò, nella dedica del 1553, che Ariosto aveva addirittura superato gli antichi: «In questa nostra lingua Volgare, ha col suo Orlando Furioso rilevata l’Eroica composizione a tanta altezza, a quanta giammai s’alzasse per Virgilio, ed Omero nella loro favella». Il poema non rappresentava soltanto la più alta realizzazione dell’epica moderna, ma, essendo scevro di tutti quegli aspetti appartenenti al mondo pagano propri dei poemi di Omero e Virgilio, era decisamente più edificante. Anche Simon Fórnari nella sua Spositione sopra l’Orlando Furioso si sofferma con particolare insistenza sulla capacità di Ariosto di imitare Omero e Virgilio adattandone la materia alle esigenze diverse del tempo in cui scrive. Attraverso una serrata esemplificazione delle sue tesi, Fórnari può alla fine capovolgere in positivo le accuse dei primi detrattori del Furioso affermando che, come Omero e Virgilio sono stati modelli per l’epica antica, così Ariosto, poeta moderno, ha tutte le carte in regola per essere considerato modello dei poeti che verranno dopo di lui. Analoghe, anche a distanza di molti anni, le argomentazioni di critici che includono il Furioso entro il genere epico, sia che si muovano sulla stessa linea apologetica di Fórnari, come Alberto Lavezuola, sia che tentino, come Orazio Toscanella, di individuare favole morali e significati riposti che garantiscano il riferimento allusivo alla tradizione.Almost immediately upon its publication in the definitive third edition in 1532, Ariosto’s Orlando Furioso became an important site, frequently a hotly contest one, of critical investigation, and it has remarne such throughout most of the history of its reception. It was the first poem in the European literary tradition to sustain an ongoing debate about its canonicity. Early critics such as Giovanni Battista Giraldi Cinzio and his protégé Giovanni Battista Pigna were interested in legitimating Ariosto’s poem through a variety of strategies, including affiliating it to canonical works of antiquity, many of wich had originally influenced Ariosto’s shaping of the Orlando Furioso’s narrative. Legitimating the Orlando Furioso in this way also contributed to the ongoing process in the cinquecento of arguing for the value of the vernacular language in which it was written. The canonization of the Orlando Furioso as a new kind of vernacular classic was simultaneously a victory for the italian language and for Ariosto’s hometown of Ferrara. By the middle of the cinquecento Ariosto was readily referred to as the Ferrarese Homer and often represented in classical profile wearing the laurel crown, a simboli marker that his own poetic excellence had mathced that of the classical touchstones. Even in early descriptions of the poet’s life, biographers emphasized what they perceived to be a Virgilian track to his career in his progress from smaller poetic genres to his larger poem. A crucial point of contention in these first debates on the Orlando Furioso’s status as a vernacular classic was the poem’s narrative design, specifically the extent to which it resembled a classical epic and/or a medieval romance. Bembo had promoted Petrarca and Boccaccio as models for Italian lyric and prose, respectively, but there was no idealized equivalent for narrative poetry in the vernacular. As early as 1540s, Ariosto’s poem was positioned to satisfy the need for such an Italian model. It was in these same years that Italian critical discourse was being shake by the reception of Aristotle’s Poetics and Horace’s Ars poetica, whose strictures of a unified narrative design were contradicted by Ariosto’s poem. Accordingly, the Orlando Furioso landed at the center o fan acromonious debate between neoclassical Aristotelians who found Ariosto’s narrative wanting in epic features and other critical readers who sought to justify the romance qualities of its narrative design. The primary criticism against the poem was that its plot focused on many actions of numerous characters rather than a single unifying action of one heroic character. In addition, many Aristotelians interpreted the intermittent interventions of the narrator into the narrative as a breach of epic decorum. Finally, the poem lacce verisimilitude. Strategie sto efendi the Orlando Furioso against these criticism varied. Some readers emphasized those features of the poem that did indie recall classical epic, for example, its many allusions to Virgil’s Aeneid and the occasional allusion to Homeric poetry. Ariosto’s re cycling of classical similes from Virgil and Homer was a case in point. In this way, these classicizing critics countered that the Orlando Furioso, despite appearances to the contrary, was much more epic than the untutored reader might regognize. An intriguing tactic adepte Lodovico Dolce, among others, was to affiliate the Orlando Furioso with those poems of antiquity that were themselves somewhat less than faithful to the canonical standards of classical epic narrative. Ovid’s Metamorphoses played an important role in this renard. This strategy proved so successful that subsequent Italian translators of Ovid’s poem frequently created the impression in their renderings that the Latin work was a romance-epic poem akin to Ariosto’s. Moreover, Venetian publishers packaged these italianized classics in editions that in many ways looked like the Orlando Furioso in order to capitalize on Ariosto’s poem’s critical fortune. This proved a successful marketing ploy, for readers had begun to expert that literary narratives, even classical ones, should conform to the parameters of Ariosto’s poem. By the second half of the sixteenth century, the Orlando Furioso had become the touchstone of narrative art. In the and, although critics could not always agree on what to call it (epic, romance, romance-epic) and chete or noti t should be canonized a vernacular classic, Orlando Furioso’s popularity surged among general readers.
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Taylor, Luke. "Renaissance Error: Digression from Ariosto to Milton." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11089.
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Renaissance Error proposes that the formal key to early modern literature is digression. In the sixteenth and seventeenth centuries, writers compose works that persistently imitate moral and cognitive wandering, often in an attempt to remedy such wandering. Their powerful sense of human error springs from the humanist and reformist view of the Middle Ages as a gigantic detour from classical civilisation and from the apostolic Church. This sense deepens as the intellectual disciplines and religious paths of the Renaissance divide. And it culminates in a radical picture of all human desire, thought, and history as continually digressive from beginning to end.
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Anderson, Zoë. "Nationhood and epic romance : Sidney, Spenser and Ariosto." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10797/.
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Park, Jin-Kyung <1979>. "Il lessico cavalleresco nell'Orlando Furioso di Ludovico Ariosto." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1071.
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La presente tesi si propone di analizzare il lessico cavalleresco presente nell’Orlando furioso di Ariosto. Tenendo presente la struttura dei primi due versi del proemio, il lavoro è stato suddiviso in due parti: «Il lessico del combattimento», in cui vengono analizzati i termini descriventi l’attività bellica del cavaliere, e «Il lessico morale», in cui sono trattati i termini pertinenti all’interiorità dei personaggi. Riguardo al primo tema, particolare attenzione è stata prestata a due fenomeni notevoli presenti nell’opera: una è l’assenza del termine duello, nonostante nell’opera siano descritti numerosi combattimenti singoli; l’altra è la comparsa anacronistica di un’arma da fuoco, che nell’epoca in cui il poema è ambientato non esisteva ancora. Riguardo al secondo tema, dopo aver scelto e riassunto alcuni episodi in cui risultano chiari i profili morali dei personaggi, ho estratto da tali episodi i termini morali, concentrandomi in particolare sulle combinazioni di due (o più) termini e limitandomi alle attestazioni in cui tali combinazioni sono usate in senso strettamente morale. Analizzando le combinazioni in ottica sia formale che semantica, con particolare attenzione ai vari rapporti tra i membri delle varie combinazioni (ad es. sinonimia, antonimia o variazione), ho cercato di capire in quali accezioni il poeta intendeva (o preferiva interpretare) i termini esaminati; per fare ciò, un metodo molto utile è stato anche il paragone degli usi del poeta con quelli degli altri autori.The goal of the present dissertation is to analyze the lexicon of chivalry found in Ariosto’s Orlando furioso. By taking into account the structure of the first two verses of the proem, this work has been subdivided into two parts: «The lexicon of fighting», where the terms relevant to the knight’s warfare are analyzed, and «The lexicon of morals», where I deal with the terms describing the characters’ inner world. About the first topic, special attention has been paid to two noteworthy features of the poem: one is the absence of the term duello, notwithstanding the numerous single combats described in the work; the other is the anachronistic appearance of a firearm, which had not yet been invented at the time in which the poem is set. About the second topic, after selecting and summarizing a few episodes where the characters’ moral profiles emerge clearly, I extracted from these episodes the moral terms, paying special attention to the combinations of two (or more) terms and limiting the scope of my inquiry to the cases in which such combinations are used in a strictly moral sense. By analyzing the combinations both from a formal and a semantic viewpoint, paying special attention to the different types of relationship between the members of the various combinations (e.g. synonymy, antonymy or variation), I tried to work out in what sense the poet understood (or chose to interpret) the terms in question; to achieve this, a very useful method has also been to compare Ariosto’s choices with those of other authors.
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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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Matos, Vasco Manuel Gamito Pereira de. "O andrógino enquanto ideologema da sexualidade: entre Ariosto e Virginia Woolf." Master's thesis, Universidade de Évora, 2004. http://hdl.handle.net/10174/15510.
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O presente exercício comparatista pretende demonstrar a existência de intertextualidade – por via onomasiológica, mas não só – entre os textos de Ludovico Ariosto, Orlando Furioso, e de Virginia Woolf, Orlando. Aquando da demonstração dessa intertextualidade, e porque no texto de Woolf o tema da androginia é evidente, foi necessário recorrer à análise temática assente em investigações na área da semiologia de forma a verificar como a intertextualidade é corroborada ao nível da temática. Documentámos esta parte da nossa análise recorrendo aos textos de Claude Bremond, Thomas G. Pavel, Gerald Prince, Inge Crosman Wimmers e Raymond Trousson, ente outros. Estabelecido este pressuposto, conseguimos demonstrar que mais do que tema, o andrógino erige-se em ambas as obras enquanto ideologema da sexualidade, isto é, enquanto prática significante de uma certa reivindicação do direito à produção textual independentemente do género sexual. A fim de demonstrar como este processo se mantém entre os vários textos que constituem o coreus desta dissertação, assentámos a nossa demonstração da intertextualidade nos conceitos de geno e feno-texto. Para tal, recorremos sobretudo às investigações de Julia Kristeva. Para demonstrarmos como o texto de Ariosto, de 1516, ressurge no texto de Virginia Woolf, de 1928, analisámos ainda duas obras que consideramos fundamentais para o estabelecimento desse percurso intertextual: La Diana, de Jorge de Montemor (1559), e As You Like It (1623), de William Shakespeare. Constatámos, assim, que o ideologema do andrógino se mantém nos quatro textos. Mais, chegámos à conclusão de que é através do texto de Montemor que o texto de Ariosto se manifesta em Shakespeare, passando directamente deste para o texto de Virginia Woolf
/*** Abstract - This comparative exercise intends to demonstrate the existence of intertextuality – under an onomasiologic point of view, among others – between the texts of Ludovico Ariosto, Orlando Furioso, and Virginia Woolf, Orlando. Once in Woolfs text the theme of androgyny is evident, we had to recur to a thematic analysis based on semiotic research in order to establish how intertextuality might be confirmed by thematics. That part of our analysis is documented by making use of texts by Claude Bremond, Thomas G. Pavel, Gerald Prince, Inge Crossman Wimmers and Raymond Trousson, among others. After establishing this pre-assumption we managed to demonstrate that, more than the theme, the androgyne rises as ideologem of sexuality in both works, i.e. as a significant practice of a certain claim for the right of text production regardless of gender. In order to demonstrate how this process maintains itself among the several texts that constitute the corpus of this dissertation, we have based our demonstration of intertextuality on the concepts of geno and fenotext. For this purpose, we called mainly upon the research works by Julia Kristeva. To demonstrate now Ariosto's text (1516) reappears in the text by Virginia Woolf (1928) we have studied two other works that we consider fundamental for the establishment of this intertextual pathway: La Diana, by Jorge de Montemayor (1559), and William Shakespeare's As You Like It (1623). We thus reached the conclusion that the ideologem of the androgyne is present in the four texts. More: we have come to the conclusion that it is via the text by Montemayor that Ariosto's text manifests itself in Shakespeare, passing directly to Virginia Woolf s text.
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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 foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.
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Brochard, Anna Di Blasio. "Le commedie ariostesche nella storia della critica : saggio di bibliografia critica, 1901-1979." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65475.
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Zarpellon, Chiara <1994>. "Il personaggio di Bradamante tra Boiardo e Ariosto. Avventure di una donna guerriero." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14396.
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Attirando l’attenzione con la sua comparsa estemporanea, foriera di un grande avvenire, il personaggio di Bradamante si offre al pubblico dell’Orlando Innamorato come se fosse già noto. In effetti la giovane-guerriera era già presente in alcuni anonimi cantari italiani, tuttora mancanti di una moderna edizione e dunque letti direttamente sugli incunaboli. Si sono parallelamente indagate la genesi e le caratteristiche di un simile personaggio, a partire dalla classicità e dai miti sulle amazzoni, fino ai più tardi prodotti della poesia cavalleresca francese. Si è poi esaminata la figura dell’eroina nelle ottave di Boiardo, dove occupa uno spazio ben più ampio della mera dimensione bellica (come il confronto indiretto con Marfisa, l’altra bellatrix virgo del poema, sembra suggerire) essendo infatti destinata al ruolo di mitica progenitrice della casata estense, aspetto largamente sviluppato nell’opera di Ariosto. Il personaggio continua a vivere anche dopo la morte di Boiardo, il cui incompiuto Orlando Innamorato fu sottoposto a diverse continuazioni: tra le tante si è scelto di prendere in esame la Gionta di Nicolò degli Agostini e il Mambriano del Cieco da Ferrara. Dal confronto tra tali testi emerge una diversa evoluzione del personaggio: appiattito e riassunto in topoi nel primo caso; più dinamico, volubile e per questo forse più lontano dall’idea originaria nel secondo. Infine, l’attenzione si focalizza sul testo che porta Bradamante all’apice del suo splendore e che intrinsecamente contiene la ragione della sua creazione poetica, e cioè sull’Orlando Furioso, in cui la donna assume una rilevanza tale da renderla eterna nella memoria letteraria.
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Giammei, Alessandro. "La fortuna di Ariosto nella cultura letteraria e visuale del primo Novecento italiano." Doctoral thesis, Scuola Normale Superiore, 2015. http://hdl.handle.net/11384/86099.
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From the introduction: Trent’anni fa, Renzo Cremante osservava che «il capitolo della fortuna dell’Ariosto nella letteratura
del Novecento, da Italo Svevo a Italo Calvino, è ancora quasi tutto da scrivere». È forse illegittimo,
per giustificare una ricerca che ambisce ad affrontare organicamente per la prima volta un problema
non secondario nella storia della cultura italiana, partire da una citazione del genere, proveniente da
una parentesi a sua volta relegata in una nota a piè di pagina. D’altronde, uno spoglio aggiornato
della bibliografia dedicata al ruolo giocato da Ariosto nel nostro Novecento (e non solo dal punto di
vista strettamente letterario) conferma che, se un simile «capitolo» ha ragione di esistere, il grande
libro della fortuna del Furioso e del suo autore nel corso dell’ultimo mezzo millennio ne ha lasciate
bianche quasi tutte le pagine. Gli studi sulla questione legati allo scorso secolo infatti, anche ampliando
l’orizzonte alla fortuna visuale e culturale in genere, si affastellano sostanzialmente al di
qua del primo Italo e al di là del secondo, come se gli anni che separano il cosiddetto Decadentismo
dalla Postmodernità — gli anni, in estrema sintesi, delle prime avanguardie, del ritorno all’ordine,
delle due grandi guerre e del fascismo — fossero anni secondari, se non irrilevanti nell’ampia storia
di un problema che ha lasciato tracce quasi in ogni tempo e in ogni cultura del moderno Occidente,
dalla rapida canonizzazione già cinquecentesca fino al postremo omaggio che Google ha tributato
ad Ariosto quest’anno. Il presente lavoro prende le mosse dal desiderio di capire innanzitutto se il
capitolo fantasma di questa straordinaria vicenda di influenze e appropriazioni, riusi e rinegoziazioni è abbastanza ampio e articolato da meritare di essere scritto. In tal caso, ci si dovrà di conseguenza
domandare in che modo sia legato ai suoi omologhi più antichi e più recenti, e perché ne siano
sfuggiti così a lungo l’interesse e l’importanza. [...]
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CAMPEGGIANI, IDA. "L’ultimo Ariosto : problemi testuali e interpretativi tra Satire, Cinque canti e terzo Furioso." Doctoral thesis, Scuola Normale Superiore, 2015. http://hdl.handle.net/11384/109624.
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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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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 formalisée par les Progymnasmata à travers l’exercice descriptif de la Topothesia, à savoir la description des lieux imaginaires. À partir du constat d’une matrice commune entre les deux disciplines, notre étude se focalise sur l’analyse de la description architecturale dans le Roland furieux de Ludovico Ariosto. Nous nous penchons spécialement sur l’ultime rédaction du poème, advenue à Ferrare en 1532. Ici, les constructions architecturales apparaissent en grand nombre. L’ekphrasis exhibe d’un côté la volonté d’élaboration fantaisiste des édifices de la Renaissance. De l’autre coté, l’édification représente le fruit original de l’imagination du poète. Par le biais de l’architecture, le Roland furieux montre sa profonde liaison avec la cour de la famille des Este, pour qui beaucoup de descriptions sont dédiées. De plus, l’architecture s’étale dans le texte en tant que mise en abyme du récit, métaphore qui joue en tant que miroir de l’histoire du Roland furieuxThis dissertation investigates the relationships between architecture and literature. Its aim is to understand in which way literature describes and represents architecture. After an examination of the similitude between these two disciplines, an analysis is made on the rhetoric of the architectural description. The manners of the “ut architectura poesis” are represented by the concepts ekphrasis, descriptio, enargeia, evidentia, amplificatio and digressio. Architectural description was formalised in poetry through the Progymnasmata, ancient Greek rhetoric exercises for the orator. Here, the representation of imaginary places is called Topothesia. Once the link between the two arts is explained, the dissertation focalises on the analysis of the architectural description in the Orlando furioso (the “Orlando enraged”) by Ludovico Ariosto. We consider especially the last redaction of the manuscript which took place in Ferrara in 1532. In the poem appear many architectural buildings. Few of them emulate the architectural mania of the Renaissance nor the typical buildings of the period. Others represent the original fantasy of the poet. Through architecture, the Orlando furioso reveals a deep relation with the court of Ferrara and the Este’s family. Many architectural descriptions are dedicated to the court and work in praise of their power. Moreover, and on a deeper level, architecture operates as a mise en abyme of the story, a metaphor which plays like a mirror with the plot of the Orlando furioso
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Reid, Joshua S. "Review of The World Beyond Europe in the Romance Epics of Boiardo and Ariosto." Digital Commons @ East Tennessee State University, 2014. https://doi.org/10.1086/678866.
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Giovine, Sara. "Così vien poetando l'Ariosto. Strutture sintattiche e strategie retoriche nell'Orlando Furioso di Ludovico Ariosto." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3425856.
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The essay intends to propose a systematic survey of the most important syntactical structures and rhetorical phenomena of Ludovico Ariosto's Orlando Furioso. The study, conducted on a sample of sixteen canti, corresponding to about one third of the poem, analyses in its first part Ariosto's use of the phrasal components (such as article, pronoun, adjective, adverb, preposition, conjunction and verb) and investigates some grammatical aspects of the syntax of the period, such as the alternative use of indicative and conjunctive in subordinate clauses and the construction of the if clause. In the second part it illustrates the different ways of construction of complex sentence, in relation with the ottava's structure and rhythm, as well as with the different narrative situations, analyzing its development along the horizontal line and its articulation on the vertical one. The last part is finally occupied by the study of some rhetorical phenomena more closely associated with the syntactical and rhythmical structure of the ottava, especially the words' order, the various forms of symmetry, parallelism and lexical accumulation, and the use of enjambements, classified according to the syntactical nature of the elements involved and the position into the ottava.Il contributo intende proporre un'indagine sistematica delle principali strutture sintattiche e di alcuni fenomeni retorici dell'Orlando Furioso di Ludovico Ariosto. Lo studio, condotto su un campione esemplificativo di sedici canti, corrispondente a circa un terzo del poema, nella sua prima parte approfondisce l'utilizzo ariostesco dei costituenti della frase semplice (quali articolo, pronome, aggettivo, avverbio, preposizione, congiunzione e verbo), e indaga alcuni aspetti della sintassi del periodo di natura più propriamente grammaticale, quali l'utilizzo alternativo di indicativo e congiuntivo nelle dipendenti e la costruzione del periodo ipotetico; mentre nella seconda illustra le principali modalità di costruzione del periodo complesso, messe in relazione con la struttura e il ritmo dell'ottava, oltre che con le differenti situazioni narrative dell'opera, analizzandone lo sviluppo lungo la linea orizzontale e l'articolazione sull'asse verticale. L'ultima parte è infine riservata allo studio dei fenomeni retorici più strettamente connessi alla costruzione sintattico-ritmica dell'ottava, riguardanti in particolare l'ordine delle parole, le varie forme di simmetria, parallelismo e accumulazione lessicale, e l'impiego dell'inarcatura, classificati in base alla natura sintattica dei sintagmi coinvolti e alla collocazione all'interno dell'organismo metrico
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Downey, Charles Townsend. "Musical-dramatic productions derived from Ariosto and Tasso in the city of Paris, 1600-1800 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40041223r.
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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 coloca como personagem pertencente a uma sociedade historicamente determinada. Essa mistura espácio-temporal acaba concedendo um caráter paródico ao texto ariostesco. Diante disso, nosso estudo tem como objetivo analisar o comportamento contraditório da voz narrativa (que ora se mostra onisciente, ora se compara aos cavaleiros carolíngios errantes) e da principal personagem feminina do Furioso, Angélica, buscando relacionar tal comportamento com o meio social em que se dá a composição da obra e ao qual o próprio narrador demonstra pertencerDuring Italian Renaissance, in the midst of a war situation and uncertainties, in a courtesan society permeated with apparent relationships motivated by political and personal interests comes Orlando Furioso, a novel of chivalry worked for nearly thirty years for Ludovico Ariosto, literati at the court of Ferrara, who dedicates his poem to Ippolito dEste, his master and patron. Despite being a novel of chivalry, Ariosto leaves marks on it that help us understand a little of the society in which author and work were inserted through mainly reflections of the narrator which arises as historically determined character; this spatiotemporal mixture just granted a parodic character to the text of Ariosto. Before that, our study aims to analyze the ambiguous behavior of narrative voice (that either shows itself omniscient, or compares itself to Carolingian knights errant) and the main female character of the Furioso, Angelica, seeking to relate such behavior to the social environment in which it gives the composition of the work to which the narrator demonstrates belong
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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.Les éditeurs ont, en effet, consacré une attention particulière aux éléments paratextuels qui contribuent à faire du Roland furieux un ouvrage exemplaire du point de vue de la langue, du style, de la rhétorique et de l’éthique, en favorisant la canonisation du poème. Cette canonisation est par ailleurs passée par l’un des débats les plus acharnés de l’histoire littéraire italienne dans la seconde moitié du XVIe siècle. C’est par une nouvelle analyse des principaux traités de poétique et rhétorique du XVIe siècle que nous avons pu constater que les tenants de ce débat, les « classicistes » et les « modernistes », ont mis au cœur de leur diatribe la capacité de l’Arioste de rendre sous forme visuelle un concept, tout en associant cette puissance visuelle de l’écriture de l’auteur au discours moral du poème et à sa capacité de « delectare » pour pouvoir mieux « docere ». Ces résultats ont été également confirmés par deux lectures importantes du Roland furieux, faites par Campanella et Montaigne, qui nous offrent leur interprétation à la fois « visuelle » et « morale ».Nous avons aussi vérifié l'influence des éditions italiennes sur d’autres éditions réalisées au-delà des frontières de la péninsule. En suivant les étapes de la circulation du Roland furieux en France, en langue italienne, mais aussi en langue étrangère, nous avons pu trouver une confirmation de l’importance de facteurs paratextuels sur la diffusion et la réception de l’œuvre. En partant d’une approche textuelle (les éditions) et formelle (le paratexte) et en passant par une étude interprétative (l’analyse de la valeur « visuelle » et « morale » des éléments paratextuels), nous avons ainsi abouti à la constatation que, par le biais des éditions successives, le Roland furieux devient peu à peu un récipient de préceptes moraux et de fragments iconiques, fait de matériaux de récupération lui donnant une nouvelle cohérence tant au niveau rhétorique qu’artistique et éthiqueIn this doctoral thesis, consideration is given to Orlando Furioso and his visual and moral interpretations of the 16th century by examining the many editions of the period, whose rich paratext, images, allegorie, argomenti, has had a great impact on their ‘moralised’ reception et on the circulation of the work.By analysing the interaction of the paratextual elements, attention has been given to the concept of ‘depicted vice’, that is to say images of dwarfs, giants and animals charged with an important moral role and having a strong visual impact. Indeed, the editors have given special attention to all the paratextual elements qui make Orlando Furioso an exemplary work from the perspective of its language, style, rhetoric and ethics and these have contributed to the canonisation of the poem.Moreover, this canonisation went through one of the fiercest debates in Italian literary history in the second half of the 16th century. Through a new analysis of the principal treatises of the 16th century on poetry and rhetoric, it was possible to see that those involved in this debate, the ‘classicists’ and the ‘modernists’, have put at the heart of their diatribe Ariosto’s ability to bring a concept into a visual form, whilst at the same time associating this visual power of author’s writings with the moral discussion of the poem and its ability to ‘delectare’ in order to ‘docere’ better.These results have also been confirmed by two of the most important interpretations of Orlando Furioso by Campanella and Montaigne, whose interpretations are both ‘visual’ and ‘moral’.The influence of the Italian editions on other editions published beyond the peninsula’s border has also been verified. By following the phases in the circulation of the Italian version of Orlando Furioso in France, but also in a foreign language, it has been possible to confirm the importance of paratextual factors on the circulation and the reception of the work. Starting from a textual (the editions) and formal (the paratext) approach and moving through an interpretative study (the analysis of the "visual" and "moral" value of the paratextual elements), it is concluded that, through successive editions, Orlando Furioso gradually becomes a repository of moral guidance and iconic fragments – raw materials, giving it a new coherence in rhetoric, art and ethics
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Sartor, Marco <1997>. "«Or che la terra di bei fiori è piena». Saggio sui capitoli ternari di Ludovico Ariosto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15555.
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Oggetto precipuo di questo studio è l’analisi dei ventisette capitoli ternari che figurano nelle moderne edizioni delle Rime di Ludovico Ariosto. Dopo un breve inquadramento storico-culturale, si traccia lo stato dell’arte dei principali studi critici e filologici sulla produzione lirica dell’umanista. Una nuova scoperta testimoniale è alla base in questo senso di alcune osservazioni di Cesare Bozzetti, dalle quali ha preso avvio – secondo le puntualizzazioni di Zanato e Comboni – un più ampio discorso vòlto a dimostrare l’esistenza di una silloge di componimenti ariosteschi caratterizzata da un impianto macro-testuale. A ciò si accludono alcune considerazioni metriche sulla diffusione della terza rima nel secondo Quattrocento, in ambito emiliano-ferrarese, congiunte a riflessioni sul classicismo dell’Ariosto lirico. Seguono tre capitoli ove si passano in rassegna i componimenti in terza rima d’indole encomiastica, quelli di carattere amoroso selezionati dall’autore per l’allestimento di un suo libro di rime, e quelli giovanili, stilisticamente protesi verso il gusto “tardo-gotico” della lirica cortigiana. Accanto al petrarchismo e alle influenze delle coeve espressioni liriche latine e volgari dei verseggiatori di corte, una direttrice fondamentale dell’indagine è la ricerca di elementi riconducibili a una poetica classicista e umanistica, come gli echi virgiliani, ovidiani e degli erotici ed elegiaci latini, che tanto spazio occuparono nella formazione dell’autore.
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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.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 activa. Con ello, el trabajo de letrados laicos en el período aumentó notablemente, producto de las nuevas formas de instrucción pero sobre todo por la revaloración de las fuentes latinas. A partir de ello, los autores incorporaron nuevos modos de expresión y releyeron los tópicos latinos según las necesidades de los nuevos tiempos, generando un nuevo imaginario. Nuestro Seminario tomó los conceptos de Locura y Carnaval como acercamiento a esta nueva concepción, pues son precisamente aquéllos los que instauran un campo de acción para las innovaciones formales y conceptuales que propiciaron este cambio en la actitud del hombre del Renacimiento en sus expresiones culturales.
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Almeida, Leandro Antonio de. "Dos sertões desconhecidos às cidades corrompidas: um estudo sobre a obra de João de Minas (1929-1936)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08072008-142247/.
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O objetivo desta dissertação é entender as modificações temáticas ocorridas na obra literária de João de Minas (pseudônimo do jornalista Ariosto Palombo, 1896-1984), autor de 12 livros entre 1929 e 1936. O principal caminho utilizado é a analise temática de suas narrativas, bus-cando-se como o escritor configura o \"mundo da obra\" literária, revelador das escolhas e te-mas significativos para o escritor no período estudado. Diversas mudanças temáticas em sua literatura estão relacionadas ao impacto exercido na vida do autor pelo movimento de outubro de 1930. Em função de seus antigos vínculos com o Partido Republicano Paulista, o evento gerou em João de Minas um sentimento de deslocamento social, que o levou, de 34 em diante, a tratar de forma mais crítica da história, da sociedade e da política de seu tempo. Tal percep-ção reverberou no seu fazer literário: deixou de se preocupar com uma a realidade distante e desconhecida do sertão ou de defender o regime oligárquico vigente até 1930, mas passou a refletir distanciada e ironicamente sobre as mazelas e convenções da vida urbana. Descolado do PRP, João de Minas se sentiu livre para representar o que via como o obsceno da vida polí-tica e da vida social das grandes cidades.The main goal of this dissertation is to understand the changing of themes in João de Minas\' literary work (pseudonym of the journalist Ariosto Palombo, 1896-1984), author of 12 books published in 1929-1936. The methodology used was to analyze the themes of his stories, searching how the writer configured the literary \"world of the work\", that show us the choices and the main themes used by the writer in that time. Several changes in the themes of his literary work concern the impact which the \"1930\'s Revolution\" had in his life. For João de Minas, due to his ancient links with Paulista Republican Party, the \"revolution\" brought a feeling of a social displacement that lead him, since 1934, to treat critically of history, society and politics of his time. That feeling affected the author\'s literature: he stopped writing about a far and unknown reality of wilderness or support oligarchic established regime, which lasted until 1930, and began to reflect distant and ironically about customs and problems of urban life. Unattached to PRP, João de Minas was free to draw what he saw as the obscene in political and social life of the great cities.
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Becker, Nikolaus [Verfasser]. "Die Ritterepik von Boiardo, Ariosto und Tasso im Spiegel von Geschichtlichkeit und Gegenwart: Faktizität, Fiktionalisierung, Historiographie / Nikolaus Becker." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1176707426/34.
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Italiano, Chiara. "Peregrinazioni eroiche. Giorgio e il drago: fondazioni mitiche ed epici sviluppi." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86112.
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Eouzan, Fanny. "Le fou et la magicienne : Réécritures de l'Arioste à l'opéra (1625-1796)." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3031/document.
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Le Roland furieux constitue un réservoir d'intrigues inépuisable pour l'opéra baroque. Nous prenons en compte un corpus de quatre-vingts livrets mais aussi pièces de théâtre et ballets, résumés dans l'Annexe et analysés au fil d'une réflexion qui vise à dégager des grandes lignes d'histoire de l'opéra pouvant justifier la disparition des personnages, qui coïncide avec le passage du texte source au second plan après le XVIIIe siècle. Le point de vue adopté dans la première partie nous permet de mettre en lumière la circulation des sujets et de démêler les différents filtres de réécritures intermédiaires en fonction des influences littéraires, mais aussi politiques et matérielles. La plasticité de l'Arioste qui le rend adaptable à tous les contextes, entraîne également une fortune sérieuse aussi bien qu'une fortune comique. Les épisodes de l'épopée privilégiés à l'opéra, au-delà des différences entre contextes de création et genres, sont ceux qui mettent en scène l'excès et le désir. Les deux personnages qui cristallisent ces thématiques suivent, dans l'histoire des réécritures opératiques, deux trajectoires inversées. Roland ébranle les conventions génériques et perd dans ses plus belles réalisations l'essentiel de sa charge comique tandis qu'Alcine, se fondant dans tous les genres, de sérieuse, devient comiqueAriosto's Orlando furioso offers a countless multitude of plots for the baroque opera. Our corpus is composed of eighty librettos and also of some dramatic plays and ballets, presented in the appendix. This thesis intends to consider why Ariosto's heroes disappeared from European scenes, while they lost their aura, by taking in account the main lines of operatic history. Firstly, we would like to accent the circulation of the plots between cultural areas and to analyze the different literary, political and factual influences that can alter the original text. Then, our purpose is to examine the ariostan plasticity, which suits to all the contexts and explains the ambivalent generic posterity of the epic romance on operatic stages, either comic or serious. Finally, we want to highlight that the most adapted episodes are related to excess and desire. The both characters, that carry these themes, meet an opposite fate. Orlando's most achieved treatments subvert more and more the generic conventions, by reducing his comic aspect, whereas Alcina loses her serious nature and becomes a comic figure
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Caneparo, Federica. "L'Orlando furioso nei cicli dipinti del Cinquecento." Doctoral thesis, Scuola Normale Superiore, 2012. http://hdl.handle.net/11384/86075.
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Bertling, Rebekka. "Das Arioso und das ariose Accompagnato im Vokalwerk Johann Sebastian Bachs /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355394673.
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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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Reid, Joshua S. "The Gender Dynamics of Ariosto’s Tales of Women in Elizabethan England." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3166.
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The most popular cantos from the Orlando Furioso in Elizabethan England center on the (in)fi delity of women. Cantos 5, 28, and 43 were appropriated, translated, or adapted in the following works: Peter Beverly’s Historie of Ariodanto and Jenevra, Sir John Harington’s Orlando Furioso in English Heroical Verse, Thomas Lodge’s Catharos, “The Squire of Dames’s Tale” in Edmund Spenser’s Faerie Queene, Robert Greene’s The Historie of Orlando Furioso, Robert Tofte’s Two Tales, translated out of Ariosto, and William Shakespeare’s Much Ado About Nothing. No other cantos from the Orlando Furioso received this amount of literary attention in England, and this paper will explore why these writers were fi xated on these particular episodes, and how they transferred the embedded gender dynamics of these tales from the context of the Este court to their target culture.
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Di, Benedetto Maddalena. "Nature et poétique en mouvement. Italo Calvino, lecteur de Lucrèce, de l'Arioste et de Giordano Bruno." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080132.
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L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte »The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining
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Almeida, Leandro Antonio de. "As mil faces de João de Minas: a construção do escritor e a repercussão de seus livros no campo literário brasileiro (1927-1989)." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25022013-145906/.
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O objetivo desta tese é analisar a construção da imagem de escritor e a recepção dos livros de João de Minas, pseudônimo de Ariosto Palombo (1896-1984), no campo literário brasileiro entre 1927 e 1989. Foi realizada uma pesquisa documental em livros, jornais e revistas para localizar textos de sua autoria e opinativos sobre sua pessoa e suas obras. A análise das atividades do escritor mineiro é focada em três momentos: jornalista governista (1927-1930), que publicou textos sobre os sertões brasileiros e artigos de defesa das oligarquias encabeçadas pelo Partido Republicano Paulista; um escritor popular (1934-1937), atuante nos gêneros aventuras, sentimental-sexual e policial, bastante difundidos à época; e profeta (1935- 1969), criador de uma eclética religião que misturava kardecismo, catolicismo, protestantismo, umbanda e esoterismo. As opiniões sobre João de Minas e seus livros mudaram conforme se intensificou a orientação popular de suas atividades: tornou-se famoso por ser reconhecido como talento literário promissor por escritores membros da Academia Brasileira de Letras em 1929; foi criticado pela agressiva autopromoção e pelo mau gosto da linguagem de seus livros voltados ao grande público; e sua guinada à religião ressaltou entre os intelectuais e escritores uma imagem de oportunista e arrivista sobre João de Minas, que levou seu nome a ser apagado das enciclopédias e histórias literárias nacionais. Orientador: Elias Thomé SalibaThe aim of this thesis is to analyze the construction of writer image and reception of João de Minas books, pseudonym of Ariosto Palombo (1896-1984), in the Brazilian literary field between 1927 and 1989. We conducted documentary research in books, newspapers and magazines to locate texts of his own and opinions about his person and his works. The analysis of the writer activities is focused on three moments: loyalist journalist (1927-1930), who published texts about brazilian wilderness and articles in defense of the oligarchies headed by Paulista Republican Party; a popular writer (1934-1937), active in pulp fiction like adventure novel, women and erotic fiction, and detective stories, quite widespread at that time; and prophet (1935-1969), creator of an eclectic religion that blended kardecism, Catholicism, Protestantism, umbanda and esotericism. Opinions about João de Minas and his books had changed as the popular direction of his activities was intensified: in 1929, he became famous for being recognized as promising literary talent by writers members of the Brazilian Academy of Letters; after 1934 was criticized by aggressive self-promotion and bad taste language of his books focused on general public; and his turn to religion stressed among intellectuals and writers an image of opportunist and upstart about João de Minas, that took his name to be erased from national literary histories and encyclopedias.
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Ranjbar, Mostafa [Verfasser], Hans-Jürgen [Akademischer Betreuer] Hardtke, Steffen [Akademischer Betreuer] Marburg, and Jorge Ariosto [Akademischer Betreuer] Bretanha. "A Comparative Study on Optimization in Structural Acoustics / Mostafa Ranjbar. Gutachter: Hans-Jürgen Hardtke ; Steffen Marburg ; Ariosto Bretanha Jorge. Betreuer: Hans-Jürgen Hardtke." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://d-nb.info/1019002018/34.
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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. Este debate se materializa en el polémico tema renacentista de la “saggezza-follia”, del que el Furioso participa, como se argumentará, ofreciendo una apología del animal pasional.
Comenzando con el análisis de la dialéctica del deseo y prosiguiendo con el análisis de la locura de Orlando (a nivel textual y a nivel conceptual), la investigación demuestra cómo los conceptos de locura e ironía (constituyentes explícito e implícito del título del poema) son el eje vertebrador del clásico, determinando tanto su estilo, como su estructura y su contenido. Esta constatación nos lleva a identificar el tono irónico de la obra –la llamada ironía ariostesca (presente a un doble nivel: conceptual o estructural y literario o estilístico)– como el rasgo esencial del texto, donde reside su identidad. Una ironía que resulta inseparable de la locura en tanto que trama principal de la obra y novedad temática introducida por Ariosto, con sorna, en la materia caballeresca. En último término, la investigación nos conduce a tomar este tono irónico como la legítima clave interpretativa del Furioso, rehusando una lectura épica o solemne del poema, la cual ha sido sostenida, no obstante, por una parte significativa de la crítica.This doctoral dissertation presents an interpretation of Ludovico Ariosto’s Orlando furioso as an eminently comic and ambivalent text, in which the Medieval and the Renaissance traditions merge. That is, Ariosto parodies the topics and stereotypes from the preceding European literature, according to the ideas defended by the most progressive humanists, who do not support the traditional vision of the human being conceived as the animal rationalis anymore. In this respect, these humanist thinkers and artists put an end to the judgement’s primacy in order to defend passion and irrationality, at the same time they establish madness as the universal law that rules the human world. This discussion takes its proper form in the contentious Renaissance matter “saggezza-follia”, in which the Furioso takes part by presenting an apology of the passional animal. By analyzing on one hand, the Dialectic of Desire and Orlando’s frenzy on the other, this research demonstrates that madness and irony (the two concepts that explicitly and implicitly form the title) are the axis of the poem, which determines not only its form but also its structure and content. The final aim seeks the ironic tone on the poem, the widely known ironia ariostesca (in his double dimension: conceptual or structural and literary or stylistic), as the main feature and the interpretative key of the whole text. This irony can not be disjointed from madness, conceived as the main plot and the novelty introduced with humour by Ariosto on the chivalry genre. This argument allows us to refuse an epic or solemn interpretation of the Orlando furioso, defended however by a significant part of experts and critics.
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Di, Benedetto Maddalena. "Nature et poétique en mouvement. Italo Calvino, lecteur de Lucrèce, de l'Arioste et de Giordano Bruno." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080132.
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L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte »The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining
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Maus, de Rolley Thibaut. "Elévations. Écritures du voyage aérien à la Renaissance." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040305.
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Du Roland furieux de l’Arioste (1516-1532) au Songe de Kepler (1634), cette thèse propose une étude des récits de voyages aériens dans la fiction narrative de la Renaissance (romans, poèmes épiques, satires) ainsi que des discours théoriques abordant la question du vol et de l’élévation (démonologie, cosmographie, astronomie, discours sur la possibilité du vol humain ou le vol des oiseaux, etc.). Trois principaux objets sont mis en valeur : les voyages célestes écrits dans la lignée de récits comme le Songe de Scipion de Cicéron ou l’Icaroménippe de Lucien de Samosate ; les voyages aériens de la fiction chevaleresque ; le motif du transport diabolique. L’étude montre ainsi l’importance prise par l’imaginaire du vol à la Renaissance, à la croisée de la fiction et des discours savants, et dessine une « pré-histoire » des fictions d’envol avant les récits de Godwin (The Man in the Moone, 1638) et de Cyrano de Bergerac (Etats et Empires de la Lune et du Soleil, 1657 et 1662). Au cœur de cette rêverie se loge tout à la fois le désir de prendre la mesure du monde et les inquiétudes suscitées par ce même désirFrom Ariosto’s Orlando furioso (1516-1532) to Kepler’s Somnium (1634), this thesis offers a study of aerial and celestial voyages in Renaissance narrative fiction (romances, epic poems, satires) as well as of learned treatises related to the question of flying (demonology, cosmography, astronomy, learned discourses on human and bird flight, etc.). It focuses on three main subjects: cosmic voyages in the tradition of Cicero’s Dream of Scipio or Lucian of Samosata’s Icaromenippus; aerial voyages in chivalric romance; diabolical transvection (eg. fly to the sabbath). It thus shows the extent to which flight captured the Renaissance imagination, at the cross-roads between fiction and learned discourse, and it traces a « pre-history » of fictional flying before Godwin’s Man in the Moone (1638) or Cyrano de Bergerac’s Etats et Empires de la Lune et du Soleil (1657 and 1662). At the heart of this fantasy lies a desire to measure the world from above – together with the anxieties produced by the same desire
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Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.
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The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
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DURETTO, IDA. "Memoria, imitazione e la costruzione del canone poetico tra Sette e Ottocento." Doctoral thesis, Scuola Normale Superiore, 2020. http://hdl.handle.net/11384/90710.
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RÓZSA, RÉKA. "La commedia di origine classica dopo il Concilio di Trento. Il caso delle commedie di Luigi Groto il Cieco di Adria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/239.
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Il presente studio ha posto come obiettivo di delineare gli sviluppi della commedia plautino-terenziana nel periodo post-tridentino esaminando le commedie di Luigi Groto il Cieco di Adria (1541-1585). Il periodo di primo Cinquecento vide il «recupero» e la «reinvenzione» della commedia che partì dal modello plautino, adattando ai bisogni del tempo e del pubblico del Rinascimento. All'inizio del Cinquecento prevalse la commedia «motoria» di Plauto basata sull'intreccio, sulle beffe e sull'azione. quando la struttura della commedia iniziò a irrigidirsi, il modello pralutino venne approfondito usando elementi della «stataria», di modello terenziano, basata sullo studio dei caratteri. Tale cambiamento avvenne anche all'interno di alcuni letterati del secolo, Angelo Beolco e Pietro Aretino, entrambi fondamentali per la presente analisi.
Le tre commedie in questione, composte da Luigi Groto sono molto diverse tra di loro. Ogni capitolo del presente studio analizzerà una sola commedia e ciascuna da un solo punto di vista. Il primo capitolo avrà come oggetto la proposta linguistica del Groto presentata nella sua prima commedia, intitolata La Emilia, opera di stampo chiaramente ariostesco. Nel secondo capitolo potremo conoscere il quadro offerto dal confronto di diverse concezioni della donna. Nella seconda commedia del Groto, intitolata Il Thesoro, infatti, saranno confrontate una vasta gamma di personaggi femminili, tra cui la più trasgressiva, Licinia, la giovane malmaritata. Questa commedia, chiaramente, è di stampo aretinesco. Il terzo capitolo esaminerà la struttura «hedonistica» de La Alteria, una metacommedia per eccellenza di stampo formalmente terenziano, ma con influssi dei tre maestri: Ariosto, Beolco e Aretino.The aim of the present study is to define the development of the comedy of Plauto-Terencian origin after the Council of Trent. It will examine the comedies of Luigi Groto, comparing them with other comedies of the Sixteenth Century. There was a reinvention of the comedy based on the Plautian model in the first half of the Cinquecento. The model (called motoria), which was full of effects and lively with action, was adapted to the needs of the era and the public taste. Subsequently this model was enriched by patterns of the Terencian comedy called stataria. The stataria, differently from the motoria, gave more room to characters and to reflections of the comedy itself. Some playwrights, i.e. Angelo Beolco and Pietro Aretino, both fundamental for the study, followed this development in their plays. The three comedies that we are going to analyse, differ from each other. Every chapter is going to examine only one comedy and only from one point of view. In the first chapter, we are going to analyse the language of comedy that Groto proposed in the La Emilia (1579). This play is based on Ludovico Aroisto's elaboration of Plautus. In the second chapter, we are going to look at different perceptions of female characters in the Il Thesoro (1583), Groto's second comedy. We will see how the change in the importance of women on stage modified the other characters. In the last chapter we are going to interpret how the La Alteria (1587), based on Terence and Aretino, became a pure metacomedy, and how its hedonistic structure was influenced by Ariosto, Aretino and Beolco.
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RÓZSA, RÉKA. "La commedia di origine classica dopo il Concilio di Trento. Il caso delle commedie di Luigi Groto il Cieco di Adria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/239.
Full textAbstract:
Il presente studio ha posto come obiettivo di delineare gli sviluppi della commedia plautino-terenziana nel periodo post-tridentino esaminando le commedie di Luigi Groto il Cieco di Adria (1541-1585). Il periodo di primo Cinquecento vide il «recupero» e la «reinvenzione» della commedia che partì dal modello plautino, adattando ai bisogni del tempo e del pubblico del Rinascimento. All'inizio del Cinquecento prevalse la commedia «motoria» di Plauto basata sull'intreccio, sulle beffe e sull'azione. quando la struttura della commedia iniziò a irrigidirsi, il modello pralutino venne approfondito usando elementi della «stataria», di modello terenziano, basata sullo studio dei caratteri. Tale cambiamento avvenne anche all'interno di alcuni letterati del secolo, Angelo Beolco e Pietro Aretino, entrambi fondamentali per la presente analisi.
Le tre commedie in questione, composte da Luigi Groto sono molto diverse tra di loro. Ogni capitolo del presente studio analizzerà una sola commedia e ciascuna da un solo punto di vista. Il primo capitolo avrà come oggetto la proposta linguistica del Groto presentata nella sua prima commedia, intitolata La Emilia, opera di stampo chiaramente ariostesco. Nel secondo capitolo potremo conoscere il quadro offerto dal confronto di diverse concezioni della donna. Nella seconda commedia del Groto, intitolata Il Thesoro, infatti, saranno confrontate una vasta gamma di personaggi femminili, tra cui la più trasgressiva, Licinia, la giovane malmaritata. Questa commedia, chiaramente, è di stampo aretinesco. Il terzo capitolo esaminerà la struttura «hedonistica» de La Alteria, una metacommedia per eccellenza di stampo formalmente terenziano, ma con influssi dei tre maestri: Ariosto, Beolco e Aretino.The aim of the present study is to define the development of the comedy of Plauto-Terencian origin after the Council of Trent. It will examine the comedies of Luigi Groto, comparing them with other comedies of the Sixteenth Century. There was a reinvention of the comedy based on the Plautian model in the first half of the Cinquecento. The model (called motoria), which was full of effects and lively with action, was adapted to the needs of the era and the public taste. Subsequently this model was enriched by patterns of the Terencian comedy called stataria. The stataria, differently from the motoria, gave more room to characters and to reflections of the comedy itself. Some playwrights, i.e. Angelo Beolco and Pietro Aretino, both fundamental for the study, followed this development in their plays. The three comedies that we are going to analyse, differ from each other. Every chapter is going to examine only one comedy and only from one point of view. In the first chapter, we are going to analyse the language of comedy that Groto proposed in the La Emilia (1579). This play is based on Ludovico Aroisto's elaboration of Plautus. In the second chapter, we are going to look at different perceptions of female characters in the Il Thesoro (1583), Groto's second comedy. We will see how the change in the importance of women on stage modified the other characters. In the last chapter we are going to interpret how the La Alteria (1587), based on Terence and Aretino, became a pure metacomedy, and how its hedonistic structure was influenced by Ariosto, Aretino and Beolco.
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Favaro, Maiko. "Alla prova della realtà : l’eroe rinascimentale tra epica e storia." Doctoral thesis, Scuola Normale Superiore, 2014. http://hdl.handle.net/11384/86098.
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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 su interacción recíproca y respecto al conjunto de la trama. Desde este último punto de vista se demuestra también el papel de auténtica protagonista desempeñado por Bradamante, la figura femenina a la que el poema de Ariosto dedica no solo más espacio, sino también una mayor continuidad en la acción, y a la que asigna una riqueza superior de intervenciones en el plano privado y público. La tesis se estructura en tres partes, precedidas por una introducción metodológica que plantea el problema y delinea el status quaestionis, que muestra el carácter parcial de los estudios realizados sobre el tema hasta el momento. En la primera parte se analiza la presencia de los personajes femeninos en la tradición épica occidental – desde los poemas homéricos hasta la Chanson de geste, pasando por la Eneida y la Tebaida – y en las principales obras que mantienen una relación de intertextualidad con el Furioso, como las Metamorfosis y las Heroidas de Ovidio; paralelamente se toman en consideración algunos lugares fundamentales de la representación femenina en otros géneros y épocas de la literatura occidental, para llegar, a través de la poesía provenzal y las obras de Dante, Petrarca y Boccaccio, a la querelle des femmes, que especialmente desde la segunda mitad del siglo XV involucró a intelectuales y escritores. Este recorrido permite delinear los precedentes y el contexto cutural del que partió Ariosto, eligiendo una vía eminentemente original. La segunda parte está dedicada al análisis detallado de los personajes femeninos del poema, vistos individualmente y clasificados en grupos y subgrupos temáticos: en cada uno de los cuales se ponen de manifiesto tipologías, relaciones intertextuales y características siguiendo un orden que culmina con las figuras más significativas: las de Angelica y Bradamante. Por último, en la tercera parte se estudian las funciones de los distintos personajes dentro de los episodios en los que intervienen, teniendo en cuenta su relación con otras figuras – masculinas y femeninas – y la perspectiva de la trama en su conjunto así como del telos del poema. Un espacio se dedica asimismo a las figuras femeninas históricas citadadas en el Furioso y a las damas de corte que configuran el público elegido por el poeta para su obra. En las conclusiones se evidencia, en fin, la complejidad de la óptica ariostesca sobre la mujer, encaminada a desenmascarar cualquier postura unívoca y cualquier prejuicio, mostrando las dos caras de los falsos contrarios (de aquí también la presencia subterránea de duplicaciones y figuras desdobladas). Los resultados de este análisis hacen aflorar, pues, aspectos hasta ahora descuidados de la obra maestra del Renacimiento literario italiano y despejan el campo de los intentos de encuadrar a Ariosto en los estrechos márgenes de la filoginia o la misoginia.This dissertation studies, for the first time in a systematic and monographic way, the role of female characters in Ludovico Ariosto’s Orlando Furioso (1532), highlighting its extremely innovative characteristics compared to tradition, included the chivalric tradition of Ferrara, and in part also compared to the cultural context of the Italian courts of Renaissance. The fundamental role of Bradamante, to whom Ariosto reserves a more constant presence and richer interventions both on private and on public level, is proved as well. The dissertation is divided in three parts, each preceded by a methodological introduction delineating the status quaestionis, from which the incomplete nature of the existing studies on the subject emerges. The first part of the work analyses the presence of female characters in the Western epic tradition and in the main works which are in a relationship of intertextuality with the Furioso. Simultaneously, some fundamental passages of the representation of women in Western literature are retraced up to the fifteenth/sixteenth century querelle des femmes. This path allows to delineate the precedents and the cultural context from which Ariosto moved. The second part of the dissertation is dedicated to a detailed analysis of the female characters of the poem, which are classified in groups and subgroups: for each of them the typologies, the relationship of intertextuality and the characteristics are analysed. Finally, in the third part, the functions of the different characters in the single episodes are faced, in relation with the other – male and female – figures both from the plot perspective and in the epic telos of the poem. The conclusions underline the complexity of Ariosto’s approach, aimed at unmasking every univocal position and every prejudice, and to show the two sides of false opposites (from which duplications and double figures originate). The results of this analysis show hitherto neglected aspects of the masterpiece of Italian literary Renaissance and clear the air of any attempt to enlist Ariosto among the misogynists or the philogynists.
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Doroszlaï, Alexandre. "La Géographie de l'Arioste soumise à l'épreuve des cartes /." [Paris] : A. Doroszlaï, 1993. http://catalogue.bnf.fr/ark:/12148/cb40578429j.
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Di, Lena Giulio. "La mort dans le Roland furieux de Ludovic Arioste : vers l'unité narrative ?" Grenoble 3, 1997. http://www.theses.fr/1997GRE39029.
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Dans cette etude,le poeme est principalement - mais non uniquement - aborde dans une perspective narratologique. A travers une serie d'analyses approfondies, nous nous sommes attache a definir le role que la mort (ou le recit de mort) est amenee a jouer sur et dans le dispositif narratif du recit. Ainsi avons-nous pu mettre en relief la fonction structurante de la mort qui scande la narration du roland furieux d'une facon signifiante. Ce faisant, la mort nous est apparue comme l'un des facteurs d'importance qui contribuent a inflechir le mouvement interne du poeme : soumis a un certain nombre de forces centrifuges au depart, ce mouvement subit progressivement une variation centripete pour aboutir, en fin de compte, a l'unite narrative. Aussi, le fait de nous interesser a l'etude de la mort dans le roland furieux nous a-t-il permis d'apporter quelques elements de reponse au probleme de l'unite narrative, deja souleve par la critique des la premiere edition du chef-d'oeuvre de l'ariosteIn this work, the poem is mainly - but not only - approached from a narratologic point of view. Trough a series of detalled analysies, we've tried to explain what part death (or the narration of death) is induced to play upon and in the narrative mechanism. Thus we've been able to point out the structuring function of death, which marks the orlando furioso's narration in a meaningful way. In so dooing, death appears to us as one of the main factors which play a great part in orienting the internal movement of the poem: subject of a number of centrifugal strengthes in the beginning, this movement experiences a centripetal variation to come in the end at narrative unity. Therefore, our interest in studying death in the orlando furioso has allowed us to give a few elements of answer to the narrative unity problem, which was already raised by criticism on the first ariosto's chef-d'oeuvre edition
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Osols-Wehden, Irmgard. "Pilgerfahrt und Narrenreise : der Einfluss der Dichtungen Dantes und Ariosts auf den frühromantischen Roman in Deutschland /." Hildesheim : Weidmann, 1998. http://catalogue.bnf.fr/ark:/12148/cb39922092j.
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Anderson, E. M. "Of Ariosto's legacy in seventeenth century Italian musical drama." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595511.
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This study offers a critical assessment of musical drama based on the Orlando furioso of Ludovico Ariosto from the beginning of the genre to the end of the seventeenth century, and supplies a companion volume containing transcriptions of nearly all of the relevant poetic texts. The Introduction provides an outline of the history of the Orlando furioso in music in the madrigal through 1632, an assessment of monody and the Camérata, a survey of Seicento Ariosto reception studies, a reflection on modern Italianist scholarship and music, the main elements of the publication history of the Orlando furioso in the Seicento, remarks on the influence of the pastoral drama in the period, a consideration of the literary critical reception of the poem in Seicento commentaries, the method by which texts inspired by the Orlando furioso were identified and selected, and a detailed presentation of the three historical periods around which the central chapters of the thesis are organised. The introduction ends by summarising the central thrust of the thesis, namely that poetry deriving from the Orlando furioso plays a more significant role in the history of Seicento musical drama than previously suggested, and that important differences among the texts of Ariosto-inspired musical dramas in point of narrative structure, visual poetics, language and style (especially meter and syntax) invite a three-part reading of Ariostean musical drama in the period of 1600-1699. Chapter II presents a reading of the exciting variety of Ariostean musical-dramatic texts (libretti and manuscripts) in the early period (1609-1699) and links narrative reform and the emergence of the aria da capo in the period to a prevailing Arcadian poetics of clarity and an increasing demand for tuneful diletto. The Conclusion suggests this new history of Ariosto in musical drama has significant implications for future Tasso musical reception studies.
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Hartley, Susan Lesley. "A poetics of weaving in Dante's Commedia and Ariosto's Orlando furioso." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.723431.
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Donnelly, Daniel. "The Madrigal as literary criticism: Veronese settings of Ariosto's «Orlando furioso»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32563.
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This thesis describes the importance of the amateur academy as a centre for the consumption of both literary and musical works in cinquecento Italy. By occupying a middle space between the public and private spheres, the cultural environment of the academy lends itself particularly well to the practice of analytical "readings" of texts through music. In their musical lezioni of selections from Ariosto's chivalric epic Orlando furioso, Jachet de Berchem, Vincenzo Ruffo, and Jan Nasco show themselves to be concerned with many of the same issues as contemporary literary critics (the explication of imagery and metaphor), but at the same time they also create complex emotional and psychological readings of the subjectivities of the poem's central characters in a manner that lay outside the scope of the writings of Ariosto's contemporary commentators. The association of all three composers and their music with the Accademia Filarmonica di Verona thus suggests that composers indeed had an important rôle to play in academic discussions of literary æsthetics, and that the madrigal can be seen as a form of literary criticism that preserves some aspects of academic discourse that have otherwise been lost. My analysis, in turn, represents a new way to interpret madrigals and draw meaning from them in the context of this discourse.Cette thèse décrit l'importance des académies amateures en tant que lieu de consommation d'œuvres musicales et littéraires dans l'Italie du cinquecento. En se positionnant entre les sphères publiques et privées, l'environnement culturel des académies fut très propice à la « lecture » analytique de textes par la musique. Lors de lezioni musicales d'extraits de l'épopée chevaleresque Orlando furioso d'Arioste, Jachet de Berchem, Vincenzo Ruffo et Jan Nasco se montrèrent sensibles aux mêmes problèmes que les critiques littéraires contemporains (l'interprétation d'images et de métaphores), mais en même temps, ils ont également créé des interprétations émotionnelles et psychologiques complexes des subjectivités des personnages principaux d'une manière qui va au-delà de celle des critiques contemporains sur les écrits d'Arioste. L'association de ces trois compositeurs et leur musique avec l'Accademia Filarmonica di Verona suggère donc que les compositeurs eurent un rôle important à jouer lors de discussions académiques sur l'esthétique littéraire, et que le madrigal peut être vu comme une forme de critique littéraire préservant certains aspects du discours académique, autrement perdu. Mon analyse représente donc une nouvelle façon d'interpréter les madrigaux et interprète leur signification via le contexte de ce discours.
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Nienaber, Joseph Wolfe Jessica. "Romance and pleasure Ariostan discourses from Torquato Tasso and Miguel de Cervantes /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,213.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature." Discipline: Comparative Literature; Department/School: Comparative Literature.
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Deutsch, Catherine. "Ariosità et artificiosità dans les madrigaux de Giovanni de Macque (1581-1597)." Paris 4, 2007. http://www.theses.fr/2007PA040278.
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La thèse se propose d'examiner la période centrale de la production madrigalesque du compositeur franco flamand Giovanni de Macque, en prenant en considération cinq ouvrages publiés par l'auteur entre 1581 et 1597. L'analyse du corpus y est envisagée par le biais de deux notions en usage dans la littérature musicale de l'époque et utilisées par Macque lui-même dans l'une de ses lettres de dédicace : l'ariosità et l'artificiosità. Cette perspective analytique consent ainsi d'interroger un aspect particulièrement significatif du répertoire vocal profane italien des deux dernières décennies du Cinquecento : la fusion de la simplicité et du savant, de la légèreté et de la complexité, le mélange des genres et des registres stylistiques. La thèse est articulée selon un parcours chronologique, qui met en évidence les différentes phases du développement stylistique de Macque pendant la période considérée. Après une introduction contextualisante, chaque partie prend en examen les trois paramètres d'écriture suivants : les choix poétiques, le recours à certaines techniques musicales déterminées et enfin, la représentation musicale du texte poétique. L'édition et la traduction des textes poétiques mis en musique, la transcription de deux recueils du corpus ainsi que la traduction de la correspondance du compositeur font l'objet d'un tome d'annexesThe thesis investigates the central period of the madrigalian output of Franco-Flemish composer Giovanni de Macque by considering five works published by de Macque between 1581 and 1597. The analysis of this corpus is based on two notions that were current in musical literature of the era and used by Macque himself in a dedicatory letter : ariosità and artificiosità. This analytical approach highlights one of the most significant aspects of profane vocal music in late Italian Cinquecento : the merging of simplicity and erudition, of lightness and complexity, of genres and stylistic registers. The thesis follows a chronological division which underlines the different phases of Macque's stylistic evolution during the period under consideration. After a contextualizing introduction, each section explores the three following issues: poetic choices, recourse to determinate musical techniques, and musical representation of the poetic text. The edition and the French translation of the poetic texts, the transcription of two books of the corpus and the translation of the composer's correspondence are located in the appendix
La tesi verte sull'analisi del periodo centrale della produzione madrigalistica del compositore franco fiammingo Giovanni de Macque, prendendo in considerazione cinque stampe, pubblicate tra il 1581 e il 1597. Il corpus viene valutato attraverso due nozioni utilizzate nella letteratura e nella trattistica musicale coeva, e dallo stesso Macque in una sua lettera dedicatoria : l'ariosità e l'artificiosità. Questa prospettiva analitica consente di esaminare un aspetto particolarmente significativo del repertorio vocale profano italiano degli ultimi decenni del Cinquecento : l'avvicinamento della scrittura sapiente alla leggerezza, l'accostamento della complessità alla semplicità, nonché la mescolanza di generi e di registri stilistici. La tesi segue un percorso cronologico che vuole individuare le fasi successive dello sviluppo stilistico di Macque durante il periodo preso in considerazione. Un'introduzione apre ogni singola parte con lo scopo di contestualizzare l'opera. L'analisi si concentra poi su tre parametri fondamentali della scrittura madrigalistica : le scelte poetiche, il ricorso a determinate tecniche compositive, ed infine la rappresentazione musicale del testo poetico. I testi poetici e la loro traduzione in francese, la trascrizione del Secondo libro de madrigali a cinque voci e del Terzo libro de madrigali a cinque voci, e la corrispondenza del compositore tradotta in francese sono riuniti in un volume di appendici
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Garrido, Jean-Pierre Janvier. "L'aventure carnavalisée dans les poèmes chevaleresques de Pulci, Boiardo, et l'Arioste : thèse pour le doctorat /." [S. l.] : [s. n.], 1994. http://catalogue.bnf.fr/ark:/12148/cb357701000.
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