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Journal articles on the topic 'Ariosto'

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Published: 4 June 2021
Last updated: 1 June 2024

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1

Mandelstam, Osip. "Ariosto." Index on Censorship 26, no. 5 (September 1997): 106–8. http://dx.doi.org/10.1080/03064229708536228.

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2

Andreev, Mikhail L. "Ariosto and Tasso in the New Russian Translations." Studia Litterarum 9, no. 1 (2024): 366–79. http://dx.doi.org/10.22455/2500-4247-2024-9-1-366-379.

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The article examines the new translations of the two major literary monuments of the Italian Renaissance — poems The Frenzy of Orlando (“Orlando furioso”) by Ludovico Ariosto and Jerusalem Delivered (“Gerusalemme liberata”) by Torquato Tasso. Ariosto’s translation does not meet any of the criteria for a quality translation: not only the criterion of style unity but even the criterion of linguistic correctness. The translator Tasso, having set himself the goal of conveying, first of all, the original poetry, takes systematic and unacceptable semantic and figurative liberties when working with a poem classified as a literary canon.
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3

Dalmas, Davide. "Ariosto apocalittico." Italique, no. XXI (November 1, 2018): 29–58. http://dx.doi.org/10.4000/italique.616.

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4

Sitterson, Joseph C. "Allusive and Elusive Meanings: Reading Ariosto's Vergilian Ending." Renaissance Quarterly 45, no. 1 (1992): 1–19. http://dx.doi.org/10.2307/2862829.

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Whatever the poem's ambiguities, the Orlando Furioso's ending has always seemed allusively unproblematic: in the words of Ariosto's sixteenth-century English translator, Sir John Harington, “in the death of Rodomont, to shew himself a perfect imitator of Virgill, [Ariosto] endeth just as Virgil ends his Aeneads with the death of Turnus.”He sank his blade in fury in Turnus’ chest.Then all the body slackened in death's chill,And with a groan for that indignityHis spirit fled into the gloom below.(Aeneid 12. 950-52)
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5

Carthy, Ita Mac. "Ariosto the Traveller." Modern Language Review 102, no. 2 (April 1, 2007): 397. http://dx.doi.org/10.2307/20467285.

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6

Carthy, Ita Mac. "Ariosto the Traveller." Modern Language Review 102, no. 2 (2007): 397–409. http://dx.doi.org/10.1353/mlr.2007.0021.

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7

Ceserani, Remo. "ARIOSTO IN AMERICA." Forum Italicum: A Journal of Italian Studies 19, no. 2 (September 1985): 322–32. http://dx.doi.org/10.1177/001458588501900208.

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8

Ross, Charles. "Ariosto In Prose." Prose Studies 29, no. 3 (December 2007): 336–46. http://dx.doi.org/10.1080/01440350701679164.

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9

Beecher (book editor), Donald, Massimo Ciavolella (book editor), Roberto Fedi (book editor), and Monica Calabritto (review author). "Ariosto Today. Contemporary Perspectives." Quaderni d'italianistica 24, no. 2 (June 1, 2003): 112–14. http://dx.doi.org/10.33137/q.i..v24i2.9226.

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10

De Capitani, Patrizia. "Giuseppe Sangirardi, Ludovico Ariosto." Italies, no. 12 (December 1, 2008): 509–13. http://dx.doi.org/10.4000/italies.4223.

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11

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

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12

Carroll, Linda L., and Marianne Shapiro. "The Poetics of Ariosto." South Central Review 6, no. 4 (1989): 109. http://dx.doi.org/10.2307/3189670.

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13

Carthy, Ita Mac. "Ariosto the Lunar Traveller." Modern Language Review 104, no. 1 (2009): 71–82. http://dx.doi.org/10.1353/mlr.2009.0376.

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14

Ascoli, Albert Russell, and Marianne Shapiro. "The Poetics of Ariosto." Comparative Literature 43, no. 4 (1991): 387. http://dx.doi.org/10.2307/1770382.

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15

PRIOR, ROGER. "SHAKESPEARE'S DEBT TO ARIOSTO." Notes and Queries 48, no. 3 (September 1, 2001): 289–92. http://dx.doi.org/10.1093/nq/48-3-289.

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16

PRIOR, ROGER. "SHAKESPEARE'S DEBT TO ARIOSTO." Notes and Queries 48, no. 3 (2001): 289–92. http://dx.doi.org/10.1093/nq/48.3.289.

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17

Giammei, Alessandro. "Ariosto, the Great Metaphysician." MLN 132, no. 1 (2017): 135–62. http://dx.doi.org/10.1353/mln.2017.0007.

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18

Chiampi, James T., and Marianne Shapiro. "The Poetics of Ariosto." Italica 67, no. 4 (1990): 517. http://dx.doi.org/10.2307/479101.

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19

Casanova, Elena. "Reason in Madness: Ariosto’s Ambiguous Irony between Truth and Morality." Comitatus: A Journal of Medieval and Renaissance Studies 54, no. 1 (2023): 95–121. http://dx.doi.org/10.1353/cjm.2023.a912673.

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Abstract: Irony has always been a central focus of Ariosto scholarship: in particular, the interrelation between the endless flux of words and adventures that fill the Furioso , and the binary oppositions at the base of the poem has been considered a key ironic feature. Ariosto’s demiurgical distance is however not a sign of indifference: I argue that, while Ariosto’s irony transmits an estrangement from the traditional chivalric values, the author’s trust in the affirmative power of language and in its didactic function lies at the root of the Furioso ’s moral irony. Irony is, in fact, a vehicle for Ariosto’s ethical stance, but also a warning against the hypocrisy of courtly norms. First, I analyze the moral function of the Furioso ’s ironic narrator and Ariosto’s intimate relation to his audience, which thrives on complexity, difference, and multiplicity. I then look at the role that contradictions and (mis)quotations play within the poem’s ironic structure. Finally, I investigate how the Satire might represent the outer threshold of Ariosto’s irony. In fact, if in the Furioso Ariosto’s escapism could take shape thanks to the fantastic element, the Satire ’s ironic movement is revealed under a new, “barer” guise that walks a thin line between irony and moral satire.
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20

Rezzonico, Silvia. "Un «tipo nuovo di mediazione» tra pubblico e classici: Calvino e la riscrittura dell’Orlando Furioso." ENTHYMEMA, no. 31 (February 2, 2023): 192–215. http://dx.doi.org/10.54103/2037-2426/18527.

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Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, quando fu pubblicato nel 1970, fu presentato come una «guida alla lettura» del poema. Il presente contributo si propone di superare questa etichetta e di dimostrare non solo che la riscrittura calviniana dell’Orlando Furioso, sebbene nata in funzione del poema di Ariosto, è un’opera letteraria autonoma, ma anche che tale considerazione è la chiave per comprenderne il successo quale strumento di divulgazione. Calvino e la casa editrice Einaudi identificarono nella riscrittura da parte di un autore contemporaneo un «tipo nuovo di mediazione» tra pubblico e classici: una narrazione originale, senza attitudine pedagogica verso i lettori, in dialogo con il poema di Ariosto. L’analisi dell’opera sarà condotta attraverso la ricostruzione della sua genesi, le osservazioni sullo stile e le modalità di riscrittura, la disamina delle relazioni del testo con la produzione calviniana coeva, in particolare quella di argomento ariostesco.
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21

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

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AbstractThe epic poem of Ludovico Ariosto, Orlando Furioso (1516–1532), one of the most influential texts of Renaissance writing, shows not only a precise cognition of early modern cartographic knowledge, as Alexandre Doroszlaï has illustrated it in Ptolemée et l’hippogriffe (1998), but also performs a complex transmedial translation of cartographic depictions. The journeys around the globe of the Christian paladins Ruggiero and Astolfo narrated by Ariosto are, in fact, performative negotiations between literary and cartographic processes. Riding the Hippograph, the hybrid vehicle par excellence, Ruggiero and Astolfo fly over the Earth as if they were flying over a map. Their journeys do not merely transmedially translate the course to the West pursued by Early Modern Europe. Rather, by translating the map Ariosto performs a new geopoetics that turns away from the symbolic dominance of the East (or “Ent-Ostung”, as Peter Sloterdijk has usefully called it) and offers us one of the first poetic versions of modern globalization.
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22

Brenna, Francesco. "Fellini’s negative art: Petrarch and Ariosto in Il Casanova." Forum Italicum: A Journal of Italian Studies 54, no. 2 (December 11, 2019): 636–57. http://dx.doi.org/10.1177/0014585819893252.

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This article examines Fellini’s use of Petrarch and Ariosto in Il Casanova. The author argues that they exemplify two different artistic conceptions: Petrarch incarnates an art that is solipsistic, perfect, self-enclosed, intellectual, and all serious; Ariosto an art that is open, collaborative, imperfect, and anti-intellectual, and that allows irony. Casanova, in the scenes when he recites lines from these two poets, subscribes to the Petrarchan type and misinterprets the Ariostean. Fellini, on the contrary, critiques the Petrarchan type by associating it with the de-humanizing intercourse of Casanova with a mechanical doll and by hinting at incest; he then embraces the Ariostean type by ridiculing Casanova’s misinterpretation of Ariosto through an Ariostean kind of irony. I demonstrate that this reflects Fellini’s artistic vision as it emerges from his interviews and other works. I conclude that Fellini makes the film Casanova the pars destruens of his art, and that the character Casanova is Fellini’s artistic negative.
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23

Hart (book author), Thomas R., and Antonio Franceschetti (review author). "Cervantes and Ariosto: Renewing Fiction." Quaderni d'italianistica 14, no. 2 (October 1, 1993): 317–19. http://dx.doi.org/10.33137/q.i..v14i2.10219.

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24

Pierce, Frank, and Thomas R. Hart. "Cervantes and Ariosto: Renewing Fiction." Modern Language Review 87, no. 1 (January 1992): 232. http://dx.doi.org/10.2307/3732392.

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25

Mancing, Howard, and Thomas Hart. "Cervantes and Ariosto: Renewing Fiction." Hispanic Review 61, no. 4 (1993): 556. http://dx.doi.org/10.2307/474269.

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26

Forcione, Alban, and Thomas R. Hart. "Cervantes and Ariosto: Renewing Fiction." Comparative Literature 42, no. 1 (1990): 84. http://dx.doi.org/10.2307/1770317.

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27

Eschrich, Gabriella Scarlatta, and Valeria Finucci. "Renaissance Transactions, Ariosto and Tasso." Sixteenth Century Journal 32, no. 1 (2001): 182. http://dx.doi.org/10.2307/2671423.

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28

Janes, Regina. "Ariosto and Gay: Bouncing Heads." ELH 70, no. 2 (2003): 447–63. http://dx.doi.org/10.1353/elh.2003.0018.

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29

MacPhail, Eric. "Ariosto and the Prophetic Moment." MLN 116, no. 1 (2001): 30–53. http://dx.doi.org/10.1353/mln.2001.0005.

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30

Looney, Dennis, Thomas R. Hart, and Mario Santoro. "Cervantes and Ariosto: Renewing Fiction." Italica 68, no. 4 (1991): 498. http://dx.doi.org/10.2307/479347.

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31

Terpening, Ronnie H., and Julia M. Kisacky. "Magic in Boiardo and Ariosto." Italica 78, no. 1 (2001): 103. http://dx.doi.org/10.2307/480228.

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32

Terpening, Ronnie H., and Valeria Finucci. "Renaissance Transactions: Ariosto and Tasso." Italica 76, no. 4 (1999): 527. http://dx.doi.org/10.2307/480265.

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33

Hutton, Lewis J., and Thomas R. Hart. "Cervantes and Ariosto, Renewing Fiction." Sixteenth Century Journal 21, no. 3 (1990): 496. http://dx.doi.org/10.2307/2540295.

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34

Castro Díaz, Antonio. "Ana Vian Herrero, Disfraces de Ariosto ("Orlando furioso" en las narraciones de "El Crotalón"). University of Manchester, Manchester, 1998; 111 pp. (Manchester Spanish and Portuguese Studies, 7)." Nueva Revista de Filología Hispánica (NRFH) 47, no. 1 (January 5, 2017): 168–71. http://dx.doi.org/10.24201/nrfh.v47i1.2091.

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35

Ugolini, Paola. "Self-Portraits of a Truthful Liar: Satire, Truth-Telling, and Courtliness in Ludovico Ariosto’s Satire and Orlando Furioso." Renaissance and Reformation 40, no. 1 (July 21, 2017): 141–60. http://dx.doi.org/10.33137/rr.v40i1.28451.

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Composed during the most difficult years of Ludovico Ariosto’s relationship with the Este court, the Satire are known for presenting a picture of their author as a simple, quiet-loving man, and also as a man who can speak only the truth. However, the self-portrait offered by the Satire of the author as a man incapable of lying stands in direct contrast to the depiction presented by St. John in canto 35 of the Orlando Furioso of all writers (and thus, implicitly, of Ariosto) as liars. This article investigates the relationship between such contrasting self-portraits of Ariosto, aiming to overcome the traditional opposition of satire as the mode for honest speech—and for a truthful portrayal of the author’s self—and epic as the mode for courtly flattering. Composée pendant les années les plus difficiles de sa relation avec la cour d’Este, les Satires de l’Arioste sont connues pour la représentation qu’elles donnent de leur auteur comme un homme simple aimant la tranquillité et ne disant jamais rien que la vérité. Toutefois, cette représentation de l’auteur comme un homme incapable de mentir contredit directement la représentation des écrivains (incluant implicitement l’Arioste lui-même comme menteurs, avancée par saint Jean dans le chant 35 de son Orlando Furioso.) Cet article examine donc les relations qu’entretiennent les différents autoportraits qu’offre l’Arioste et cherche à dépasser l’opposition traditionnelle entre la satire comme forme du discours honnête — qui comprend l’autoportrait honnête de l’auteur —, et le discours épique comme mode de flatterie de cour.
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36

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

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37

Pallone, Rocco. "Mario Santoro. Ariosto e il Rinascimento." Forum Italicum: A Journal of Italian Studies 24, no. 2 (September 1990): 287–89. http://dx.doi.org/10.1177/001458589002400220.

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38

Ricci, Roberta. "Renaissance Transactions. Ariosto and Tasso (review)." MLN 115, no. 1 (2000): 145–50. http://dx.doi.org/10.1353/mln.2000.0007.

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39

Bigazzi, Roberto. "Boccaccio, Ariosto, and the European Novel." Mediaevalia 34, no. 11 (2013): 155–68. http://dx.doi.org/10.1353/mdi.2013.0000.

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40

Rodrigues, Ernesto. "“O meu amigo Ariosto” em Fastigínia." Estudos Italianos em Portugal, no. 3 (2008): 45–55. http://dx.doi.org/10.14195/0870-8584_3_4.

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41

Corsaro, Antonio, and Walter Moretti. "Ariosto narratore e la sua scuola." Italica 72, no. 2 (1995): 232. http://dx.doi.org/10.2307/480164.

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42

Wataghin, Lucia. "Note sulla storia della ricezione della poesia italiana in Brasile." Revista de Italianística, no. 14 (December 30, 2006): 177. http://dx.doi.org/10.11606/issn.2238-8281.v0i14p177-187.

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43

Teixeira da Silva, Geise Kelly. "A recepção de Ludovico Ariosto e Torquato Tasso na épica feminina portuguesa: as epopeias de Soror Maria de Mesquita Pimentel." Revista de Escritoras Ibéricas 9 (January 5, 2022): 215–40. http://dx.doi.org/10.5944/rei.vol.9.2021.30522.

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O presente artigo tem como objetivo avaliar a dívida que a poesia épica conventual feminina portuguesa contrai em relação a poesia épica produzida em Itália, nomeadamente com os poemas de Ludovico Ariosto e de Torquato Tasso. Nesse sentido, pretende-se demonstrar como os poemas épico-bíblicos de Soror Maria de Mesquita Pimentel, isto é, o Memorial da Infância de Cristo (1639), o Memorial dos Milagres de Cristo (editado em 2014) e o Memorial da Paixão de Cristo (inédito), reflete e dialoga com o Orlando Furioso e a Gerusalemme Liberata. Conclui-se que os poemas de Soror Mesquita Pimentel estabelecem com estes poemas italianos relações intertextuais que corroboram o quão fecunda foi a fortuna de Ariosto e Tasso em Portugal, a ponto de serem conhecidos entre os muros da clausura feminina.
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44

Skowron, Maja. "Orland szalony jako poemat o kobietach. Analiza postaci na tle tradycji epickiej: Angelika, Marfiza i Bradamanta." Terminus 25, no. 2 (67) (2023): 139–68. http://dx.doi.org/10.4467/20843844te.23.009.18197.

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Orlando furioso by Ludovico Ariosto as a Poem on Women. Angelica, Marfisa, Bradamante and their heroic epic representation: The article concerns Ludovico Ariosto’s Orlando Furioso, and its interpretation according to which it may be read as a poem about women who break the traditional male monopoly on heroism in the epic literature. The author aims to prove Ariosto’s innovative approach by analyzing Orlando Furioso’s protagonists. Hence the paper is mainly dedicated to three of Ariosto’s characters – Angelica, Marfisa and Bradamante. Those women are presented in a comparative perspective against their traditional prototypes with particular reference to those moments in the poem that render visible Ariosto’s novelty in creating his protagonists. Angelica, Marfisa and Bradamante, especially in contrast with the poem’s male cavalieri seem to be more in line with the canonical representations of heroism. In the first part of the study, the author presents Ariosto’s Angelica, often interpreted as a mere capricious object of man’s desire. Nevertheless, the character appears as self-aware and confident, striving to make her own decision when it comes to choosing the partner for life. The second part of the article is dedicated to Ariosto’s most canonical virago – Marfisa. Undefeated in the battlefield till the end of the poem, she often breaks her stereotypical comical image and consciously resigns from love. The last part of the study concentrates on Bradamante, who combines both amori and armi: the Christian knight, future founder of the Este noble family despite being in constant pursuit of her lover Ruggero, not sacrificing her passion for chivalry. According to the author of the article, Bradamante should be perceived as the central character of Orlando Furioso, as she carries the main idea of Ariosto’s masterpiece.
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45

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

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To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante’s Divina Commedia and Ariosto’s Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante’s meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.
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46

Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe 1 (February 23, 2023): 59. http://dx.doi.org/10.12688/openreseurope.13663.2.

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To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante’s Divina Commedia and Ariosto’s Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante’s meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.
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47

Rivoletti, Christian. "Ariosto e Dante. Sulla funzione modellizzante di alcuni aspetti narrativi e realistici della “Commedia”." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 1 (June 30, 2023): 103–36. http://dx.doi.org/10.54103/2724-3346/20494.

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Indagini ormai “classiche” (Segre, Blasucci, Ossola) e importanti studi successivi (Zatti, Jossa, Geyer, Stierle e altri) hanno mostrato la pervasività dell’influsso della Commedia sul Furioso, sia a livello linguistico, stilistico e metrico, sia in ambito tematico, sia, infine, nell’ottica di una contrapposizione (spesso declinata in chiave parodica) di “ideologie” divergenti. A fronte della ricchezza di aspetti sinora analizzati, possiamo chiederci oggi se per Ariosto la Commedia abbia rappresentato un modello anche sul piano delle strutture narrative e del sistema dei rapporti tra il testo e la realtà extra-testuale. Mettendo in evidenza per la prima volta la presenza e la funzione delle riprese dantesche nei proemi dei primi canti del Furioso, il contributo mostra come Ariosto si appropri di precise strategie narrative della Commedia e costruisca così nuove dinamiche strutturali che presiedono alla narrazione in prima persona e ai riferimenti alla realtà contemporanea.
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48

Marnoto, Rita. "Frontiers Between Earth and the Moon: Ariosto and Galileo." Biblos 1 (2003): 61–85. http://dx.doi.org/10.14195/0870-4112_1_4.

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49

Ottria, Ilaria. "In dialogo con il “Furioso”. Il proemio delle “Trasformationi” di Lodovico Dolce tra imitazione e variazione." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 1 (June 30, 2023): 197–222. http://dx.doi.org/10.54103/2724-3346/20498.

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Nel XVI secolo le Metamorfosi di Ovidio sono oggetto di un alto numero di traduzioni e rifacimenti, che si applicano a singoli libri o all’intera opera; pertanto, i grandi poemi cavallereschi di Boiardo e Ariosto vengono assunti come modello al fine di riproporre il poema latino in una prospettiva gradita all’orizzonte di attesa del pubblico italiano rinascimentale. A partire da tale presupposto, il presente contributo intende concentrarsi sul proemio delle Trasformationi di Lodovico Dolce, pubblicate in editio princeps nel 1553 a Venezia presso la tipografia Giolito, per mettere in luce il recupero di aspetti che rimandano esplicitamente alla coeva narrativa cavalleresca, in particolare al Furioso. Dolce imita Ariosto, ma al tempo stesso, come è prevedibile, introduce alcune variazioni. Ci si soffermerà inoltre su certe differenze nelle ottave proemiali che emergono da un confronto tra la princeps del 1553 e un’edizione successiva, pubblicata nel 1568 a Venezia da Francesco Sansovino.
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50

McFarland, Douglas, Ludovico Ariosto, Alexander Sheers, and David Quint. "Cinque Canti/Five Cantos by Ludovico Ariosto." Sixteenth Century Journal 28, no. 1 (1997): 333. http://dx.doi.org/10.2307/2543319.

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