Relevant bibliographies by topics / Boccaccio

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Boccaccio'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Boccaccio"

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D’Eugenio, Daniela. "David Lummus, ed., The Decameron Sixth Day in Perspective. Volume Six of the Lectura Boccaccii. Toronto: Toronto University Press, 2021, 289 pp." Mediaevistik 35, no. 1 (January 1, 2022): 503–6. http://dx.doi.org/10.3726/med.2022.01.122.

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Abstract: The combination of innovation and originality that is required to edit a book on Boccaccio’s Decameron, which claims dozens of publications each year, may prove difficult. Yet, The Decameron Sixth Day in Perspective. Volume Six of the Lectura Boccaccii, edited by David Lummus, succeeds in offering new perspectives on one of the most fascinating days of Boccaccio’s collection. This volume, which presents ten essays by renowned Boccaccio scholars from a variety of backgrounds, is part of a long-term project by the University of Toronto Press that includes a 2004 edition of the first day, a 2014 book of the third day, and two 2020 volumes of the fourth and eighth days.
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Kriesel, James C. "Boccaccio and the Early Modern Reception of Tragedy." Renaissance Quarterly 69, no. 2 (2016): 415–48. http://dx.doi.org/10.1086/687606.

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AbstractFourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio’s role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid’s elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures.
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KRIESEL, JAMES C. "THE MARVELOUS BETWEEN DANTE AND BOCCACCIO." Traditio 73 (2018): 213–54. http://dx.doi.org/10.1017/tdo.2018.7.

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In the late Middle Ages, authors of fiction, historical texts, and travel narratives discussed issues related to the places and spaces of marvels. Writers debated whether local, western occurrences could be as wondrous — and thus worthy of being recorded in writing — as foreign, eastern phenomena. This article explores how Boccaccio's engagement with Dante was intertwined with evolving views of the marvelous. It proposes that Boccaccio, following Dante, likened his writings to natural marvels to defend the status of literature, a mode of discourse sometimes considered unnatural or fraudulent. In addition, this research examines how Boccaccio drew on marvels to highlight differences between the properties and ethics of Dante'sComedyand these aspects of hisDecameron. In addressing these topics, Boccaccio was inspired by late medieval Latin historians, who foregrounded the novelty of their texts by self-consciously writing about western marvels. In theDecameron,Boccaccio recalled ideas about local marvels to champion the dignity of his erotic, mundane stories in comparison to Dante's otherworldly, divine poem. Boccaccio thus also reminded readers not only to wonder about future, eternal matters, but to cherish the experiences of this our present life.
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Gordon, Michael Ross. "Cervantes's Camila, an Unorthodox Heiress to the Griselda Legacy." Hispanic Review 92, no. 1 (January 2024): 89–112. http://dx.doi.org/10.1353/hir.2024.a923874.

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Abstract: The aim of this study is to demonstrate how, and to explain why, Camila, the female protagonist of Cervantes's El curioso impertinente , deviates from the lineage of tested wives, of which Boccaccio's Griselda is the matriarch. Cervantes initially follows the Boccaccian template of the patient wife, with his Camila displaying at the outset an unwavering loyalty to her husband Anselmo. Yet she eventually deviates from the Griselda model, first through her acquisition of agency and voice, and then through her adultery, as Cervantes innovatively presents her metamorphosis alongside an emphasis on Anselmo's culpability. This analysis of Cervantes's dialogue with Boccaccio centered on tested wives is incomplete, however, without also recognizing the previously overlooked influence of Petrarch on El curioso impertinente . Although Cervantes was likely familiar with the Griselda of Il Decameron , it was Petrarch's standalone Latin rifacimento of Boccaccio's tale that served as the basis for the popular 16th-century Spanish translations.
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Usher, Jonathan. "Boccaccio on Readers and Reading." Colloquium, no. 9788879166539 (September 2013): 241–60. http://dx.doi.org/10.7359/653-2013-ushe.

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Boccaccio’s early work as an entertaining storyteller and his later activity as an encyclopaedist and commentator seem to have little in common. But both depend on a well-developed idea of the relationship between writing and reading. This article looks at the surprisingly consistent and explicit views Boccaccio held about literal and allegorical levels of meaning, and how readers could be assisted to in-terpret text reliably.
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Barbiellini Amidei, Beatrice. "«In pubblico»: tra oralità e scrittura. La «vexata quaestio»: sulla tradizione dell'ottava rima dei cantari "popolari" e del Boccaccio." Carte Romanze. Rivista di Filologia e Linguistica Romanze dalle Origini al Rinascimento 10, no. 2 (December 23, 2022): 231–52. http://dx.doi.org/10.54103/2282-7447/18739.

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Riassunto: Il saggio è un contributo alla vexata quaestio sull'origine dell'ottava rima narrativa. Si riflette su importanti spunti di Surdich e su dati noti per ipotizzare un'imitazione del metro del Cantare di Fiorio da parte del Boccaccio, che utilizza negli stessi anni nel Filocolo lo stesso tema romanzesco del Cantare e nel Filostrato l'ottava narrativa. Le operazioni inverse delle due opere giovanili rispetto al Cantare di Fiorio si aggiungono a molti altri elementi speculari nelle due opere boccacciane. Immaginare che l'autore del Cantare di Fiorio o chi per lui accogliesse il metro di nuova invenzione istantaneamente, adattandolo a esigenze espressive molto dissimili da quelle del Filostrato e calandovi una sintassi semplificata diversissima da quella delle ottave di Boccaccio, significa ritenere possibile un'operazione problematica per un genere tradizionale e conservativo come quello dei cantari. Che al contrario l'appropriazione del metro e di alcuni pochi tratti espressivi del cantare da parte del Boccaccio potesse costare all'autore una fatica modesta lo testimonia tutta o quasi la sua produzione. Come ha sottolineato Balduino nello stabilire la tradizione da cui dipende l'ottava rima cosí come la utilizzano i cantari è cogente l'esigenza di situarla in un contesto culturale "popolare", in cui la forma metrica sia legata all'esecuzione orale, a caratteristiche di generi come il serventese, a una temperie caratteristica e a un repertorio linguistico e formulare secolari. Se è imprescindibile tener conto di precise coordinate socioculturali per interpretare l'opera degli autori come lo sviluppo dei generi e delle forme, nel medioevo in particolare, categorie come popolare e colto non vanno intese in senso assoluto ma andrebbero utilizzate come valori scalari e relativi. Nonostante accostamenti possibili tra l'operato del Boccaccio e i cantari è evidente che i cantari sono da ascrivere un ambito per lo piú semicolto, mentre nelle opere in ottava rima del Certaldese intravediamo un autore che desidera appropriarsi delle tradizioni in cui si imbatte e segnare tali esperienze nobilitandole. Parole chiave: vexata quaestio, ottava rima, cantari, Boccaccio, Filostrato, Filocolo, Cantare di Fiorio e Biancifiore, popolare, colto. Abstract: The essay is a contribution to the vexata quaestio of the origin of ottava rima. Some important ideas of Surdich and known data are discussed to hypothesize Boccaccio's imitation of Cantare di Fiorio's meter. The author used in the same years in the Filocolo the topic of the Cantare and in the Filostrato the ottava rima. The inverse operations with respect to the Cantare di Fiorio are added to many other specular elements in Boccaccio's juvenile works. To imagine that the Cantare di Fiorio's author or someone else could welcome the meter of new invention instantly, adapting it to requirements very different from Filostrato's, with a simplified syntax very different from that of Boccaccio's ottave is very problematic for a conservative and traditional genre like that of cantari. On the contrary, the appropriation of the meter and few expressive features by Boccaccio might've been a modest effort, as his literary production attests. As underlined by Balduino, in establishing the tradition of ottava rima used in the cantari it's imperative to place it in a "popular" context, with a secular repertoire; the metrical form has to be connected to the performance, to genres as serventese. To interpret authors' works and the development of literary genres and forms it's essential to take into account precise socio-cultural coordinates, but we can anyway remember that in the Middle Ages in particular, categories as popular and cultured should be used as scalar and relative values. It's possible to put Boccaccio and the cantari side by side, but these last are to be ascribed most of the times to a semieducated literary field, instead Boccaccio's poems in ottava rima show an author who wishes to appropriate the traditions in which he comes across ennobling them. Keywords: vexata quaestio, ottava rima, cantari, Boccaccio, Filostrato, Filocolo, Cantare di Fiorio e Biancifiore, popular, cultured.
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Eisner, Martin. "A Singular Boccaccio: Defending Poetry in the Decameron and the Genealogie." Quaderni d'italianistica 38, no. 2 (February 4, 2019): 179–99. http://dx.doi.org/10.33137/q.i..v38i2.32236.

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This essay reconsiders the conventional division of Boccaccio’s career into two parts that is usually associated with his first meeting with Petrarch. Beginning with two fourteenth-century portraits of Boccaccio, it challenges this traditional account by calling attention to the continuities between the defences of poetry in the Decameron and the Genealogie. It argues that the persistence of Boccaccio’s claims for the freedom and authority of literature constitutes a singular feature of Boccaccio’s thought that unites his works.
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Juliani, Talita Janine. "A “mordida da inveja”: defesa da obra e imagens de autoria ovidiana no De Mulieribus Claris de Giovanni Boccaccio." Nuntius Antiquus 13, no. 1 (August 31, 2017): 85–105. http://dx.doi.org/10.17851/1983-3636.13.1.85-105.

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Neste artigo, propõe-se uma discussão sobre a construção da imagem autoral de Giovanni Boccaccio (1313-1375), dando particular enfoque à relação de tal construção com elementos da representação autoral do poeta romano Ovídio (43 a.C.-17 d.C.). Especificamente, consideraremos especialmente traços da imagem de um autor que defende sua obra da inveja de possíveis críticos. Dentre o corpus boccacciano selecionado, passagens do Decameron (1348-1351) e da obra De Mulieribus Claris (1361-1362) serão cotejadas, com amparo de metodologia intertextual aplicada às letras clássicas, com excertos dos textos ovidianos de Remedia amoris (1 a.C.- 1 d.C.) e Tristia (9-12 d.C.). Como se verá, o confronto entre passagens de textos boccaccianos e ovidianos suscita novas possíveis leituras da obra do autor renascentista, propiciando renovadas reflexões acerca da representação autoral de Boccaccio.
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Rodríguez Mesa, Francisco José. "“Singular decus ytalicum”: la biografia di Giovanna di Napoli nel De mulieribus claris." Estudios Románicos 28 (December 20, 2019): 361–73. http://dx.doi.org/10.6018/er/373771.

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The last of the one hundred and six chapters conforming Boccaccio’s De mulieribus claris is devoted to queen Joanna of Naples. The addition of this life implies a certain degree of anomaly in the tradition of exemplary literature because of two reasons. Firstly, the Angevin sovereign was in her early thirties when the author finished the composition of his collection and, secondly, because the description of the monarch’s life that Boccaccio provides can be said far from objective narration and much closer to a propagandistic portrait of the Neapolitan queen. L’ultimo dei centosei capitoli del De mulieribus claris di Boccaccio è consacrato alla regina Giovanna di Napoli. Quest’inclusione comporta un’anomalia nella topica della letteratura esemplare per due motivi. Per cominciare, la sovrana angioina era poco più che trentenne quando il certaldese finì la stesura della sua silloge e, in secondo luogo, perché la versione della vita della monarca che l’autore fornisce è ben lungi da poter essere considerata una narrazione oggettiva, avvicinandosi molto di più a un ritratto propagandistico della regina partenopea. In questo articolo si analizzano queste particolarità della vita di Giovanna e si indaga nei motivi che potrebbero aver portato Boccaccio a configurare in questo modo il capitolo di chiusura della sua raccolta sulle donne celebri.
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Candido (book author), Igor, and Francesco Ciabattoni (review author). "Boccaccio umanista. Studi su Boccaccio e Apuleio." Quaderni d'italianistica 35, no. 2 (July 22, 2015): 267–70. http://dx.doi.org/10.33137/q.i..v35i2.23624.

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Dissertations / Theses on the topic "Boccaccio"

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Todd, Sarah Jane. "Dream-visions in Boccaccio and Petrarch." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/10026/.

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Dream-visions formed an integral part of literature since the Ancient Greek period, with discussions about their prophetic and revelatory value appearing alongside poetry, prose, and autobiographical accounts of visions. By the Middle Ages the popularity of the oneiric form reached a new height. This thesis examines the presence of dream-visions in three works from the fourteenth century: Boccaccio’s Amorosa visione and Corbaccio, and Petrarch’s Triumphi. It looks specifically at the ways in which the two authors drew upon existing oneiric sources in the composition of their own texts. Chapter 1 contextualises the thesis. It examines the different models of dream-vision texts which would have been available to Boccaccio and Petrarch when composing their oneiric narratives, and looks at the specific terminology used to describe dreams and their varying functions within biblical, fictional, and philosophical writings. This in turn helps to establish a set of conventions for dream-vision literature, which Boccaccio and Petrarch would have been able consciously to employ (or not) within their own texts. Chapter 2 examines the ways in which Boccaccio and Petrarch discuss and use dreams and visions within their non-dream-vision texts. It looks not only at their fictional dream-visions, but also at autobiographical and philosophical works written by the authors on the subject of dreaming, the presence of visions within their respective poems and prose, and discussions within their texts regarding the specific terminology one should use to discuss different types of dream experience. Chapter 3 considers the ways in which Boccaccio experiments with form and structure within the Amorosa visione, and the impact this has upon the resulting dream-vision text. It looks specifically at the use of the spirit-guide motif and Boccaccio’s unusual employment of the framing dream. Similarly, Chapter 4 looks at the various ways Petrarch deviates from the established norms of the dream-vision traditions within his Triumphi by employing multiple and simultaneous visions within a single text. In Chapter 5 Boccaccio’s Corbaccio is examined in the context of various literary traditions. The chapter considers how Boccaccio engages with his predecessors in the creation of his dream-vision text, and the ways in which he combines various literary elements in order to create a work which is both innovative and reliant on the encyclopaedic knowledge of oneiric works he possesses. In the conclusion the findings from each chapter are drawn together to present a view of the Amorosa visione, Triumphi, and Corbaccio as works which are simultaneously rooted in established traditions while at the same time testing the boundaries of the very genres to which they belong.
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Orso, Sergio <1981&gt. "Tradizione e metrica del Boccaccio lirico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4331.

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Si propone un inquadramento storico-culturale della tradizione delle rime del Boccaccio, con particolare riguardo ai due 'rami' principali, quello che passa attraverso la 'Raccolta Aragonese' e quello 'bartoliniano', con l'intento di mettere in rilievo i problemi attributivi che caratterizzano il corpus lirico in esame. Si procede quindi con un'analisi metrica delle rime del Certaldese, tanto in sincronia, secondo le sistemazioni offerte dalle modrene edizioni, quanto in diacronia, attraverso le 'tradizioni' delineate, al fine di mettre in luce dati stilistici così comprovati, ma anche eventuali indizi di apocrifia.
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Lummus, David Geoffrey. "Boccaccio's human mythology : history and the mythic immagination in the Genealogia deorum gentilium of Giovanni Boccaccio /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Polesana, Marta <1984&gt. "Una lunga fedeltà: Boccaccio interprete di Dante." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4414.

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Lungo la sua carriera di letterato e studioso, Boccaccio ha assunto un ruolo importante nell'interpretazione e nella celebrazione di Dante: ha raccolto testi che altrimenti sarebbero andati perduti, si è sottoposto alla fatica di copista ed editore del corpus poetico in volgare, ha innalzato il poeta fiorentino ad auctoritas non solo prendendolo a modello nelle proprie opere ma anche annoverando il suo nome insieme ai classici in una ideale continuità delle lettere, lo ha promosso presso Petrarca e ha celebrato la Commedia quale esempio di poesia conforme alla dottrina cattolica, esponendone i significati letterale e allegorico all'eterogeneo uditorio fiorentino in pubbliche letture. Nelle sue opere dissemina inoltre elogi e commenti sul valore di Dante definito poeta, filosofo, teologo e considerato degno dell'incoronazione con l'alloro. L'opera destinata a consegnare l'immagine dell'esule fiorentino è la biografia, caratterizzata da un intento laudativo e posta ad introduzione delle antologie esemplate nei codici Toledano 104.6 e Chigiano L V 176: il Trattatello in laude di Dante, composto in tre redazioni che testimoniano l'incessante riflessione boccacciana sul maestro che ha praticato la poesia nella forma più nobile. Benché attraverso le riscritture dell'opera l'autore venga influenzato, soprattutto dal discepolato petrarchesco, sul valore del volgare, egli mantiene immutata l'opinione e l'ammirazione verso la sua “prima fax”.
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Garane, Abdullahi Garane. "Gli intellettuali fiorentini (1250-1350) : Dante, Petrarca, Boccaccio." Grenoble 3, 1986. http://www.theses.fr/1986GRE39018.

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Gupta, Pritika. "Lo scontro delle tre realtà nel Decameron, la peste, la brigata e le novelle la corruzione morale rappresentata dalla peste e trovata nelle novelle contro l'ambiente morale della brigata /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3705.

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Genswein, Eberle Claudia. "La funzione narrativa del cibo nel "Decameron" /." Zürich : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000278465.

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Blandeau, Agnès. "Pasolini, Chaucer and Boccaccio : two medieval texts and their translation to film /." Jefferson, NC [u.a.] : McFarland, 2006. http://www.loc.gov/catdir/toc/ecip0610/2006009591.html.

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Asay, Timothy. "The Phenomenology of Frames in Chaucer, Dante and Boccaccio." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18728.

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When an author produces a frame narrative, she simultaneously makes language both a represented object and a representing agent; when we imagine framed speech, we imagine both the scene its words represent and a mouth that speaks those words. Framed language is thus perfectly mimetic: the words we imagine being spoken within the fictional world are the same we use to effect that fiction's representation. Since its first function is to represent itself, the framed word acts both to push us out of the frame into our own temporality and to draw us into fictional times and spaces. This dissertation explores how first Dante and subsequently his successors, Boccaccio and Chaucer, deploy this structural feature of frames to engage difficult philosophical and theological disputes of their age. In the Divine Comedy, framed language allows Dante to approach the perfect presence of God without transgressing into a spatial conception of the divine. Intensifying Dante's procedure in his House of Fame, Chaucer forecloses the possibility of representation; he transforms every speech act into an image of its utterer rather than its referent, thus violently thrusting us back into the time we pass as we read. Boccaccio--first in his Ameto then in the Decameron--eschews this framed temporality in favor of the temporality of the fetish: while his narratives threaten to dissolve into their basic linguistic matters, the erotic energy of the people that populate those narratives forces them to cohere as fully imagined spaces and times. Finally the Chaucer who writes the Canterbury Tales fuses his initial reading of Dante with Boccaccio's response to it; he constructs the Canterbury pilgrims as grotesques who each open up a limited angle of vision on the time and space they collectively inhabit. These angles overlap and stutter over one another, unsettling the easy assignations of identity any given pilgrim would enforce on a tale or agent within the narrative. In doing so, Chaucer makes the temporality within his Tales strange and poignant in a way that fully mimics our own experience of extra-narrative time.
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Morosini, Roberta. "Per "difetto rintegrare";. : una lettura del Filocolo di Giovanni Boccaccio." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0021/NQ44523.pdf.

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Books on the topic "Boccaccio"

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Tanzi, Marco. Boccaccio Boccaccino. Soncino, CR: Edizioni dei Soncino, 1991.

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Frosini, Giovanna, ed. Intorno a Boccaccio / Boccaccio e dintorni 2020. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-510-3.

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Intorno a Boccaccio/Boccaccio e dintorni 2020 collects the Proceedings of the Seminar that took place in Certaldo Alta on 10-11 September 2020, in one of the short intervals that the pandemic has left open to face-to-face meetings. The Seminar, now in its seventh edition, is configured not only as one of the main activities of the Ente Giovanni Boccaccio, but as an international event, whose importance is confirmed by the continuous increase in citations in the scientific bibliography. The 2020 edition also qualifies for the relief and variety of the topics covered, for the merging and intertwining of historical-literary, philological, linguistic skills, which lead to reflect on important topics of Boccaccio's culture and sources and on his works, not without forgetting, in this centenary year 2021, the vital and fundamental relationship with Dante.
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Iocca, Irene. Boccaccio. Roma: Carocci editore, 2021.

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Frosini, Giovanna, and Stefano Zamponi, eds. Intorno a Boccaccio/Boccaccio e dintorni. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-797-5.

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Il volume Intorno a Boccaccio / Boccaccio e dintorni nasce dal seminario internazionale tenutosi a Certaldo il 25 giugno 2014, ideale prosecuzione dell’intensa attività di studio che ha caratterizzato il centenario della nascita di Boccaccio, che ha visto protagonisti molti giovani studiosi. Il volume raccoglie contributi di giovani e giovanissimi, alcuni alla loro prima pubblicazione, con l’intento di dare spazio a nuove ricerche in corso. I temi affrontati, attenti anche alla cultura latina e greca di Boccaccio, toccano aspetti di linguistica italiana e lessicografia, la tradizione testuale delle opere latine e volgari, i commenti a Boccaccio, l’universo geografico entro cui si colloca il Decameron.
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Italy) Intorno a Boccaccio/Boccaccio e dintorni (Conference) (2014 Certaldo. Intorno a Boccaccio: Boccaccio e dintorni. Firenze, Italy: Firenze University Press, 2015.

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Giovanni, Boccaccio. Giovanni Boccaccio. Roma: Istituto poligrafico e Zecca dello Stato, 1995.

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Giovanni, Boccaccio. Giovanni Boccaccio. Firenze: Le Monnier Università, 2013.

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Giovanni, Boccaccio. Giovanni Boccaccio. Roma: Istituto poligrafico e Zecca dello Stato, 1995.

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Frosini, Giovanna, ed. Intorno a Boccaccio / Boccaccio e dintorni 2019. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.

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The volume Intorno a Boccaccio / Boccaccio and surroundings 2019 was born from the international study seminar that took place in Certaldo Alta, in the House of Giovanni Boccaccio, on 12 and 13 September 2019. The Seminar, now in its sixth edition, is proposed as one of the most solid and significant appointments in the activity of the Giovanni Boccaccio National Organization, and as one of the events that best characterizes its mission. Created to give a voice particularly to young scholars, over the years it has become an important appointment for presenting and discussing research in progress or just concluded, and always open to future developments. With this volume, which includes essays particularly focused on philological, literary, historical-linguistic and lexicographic aspects, a series led by an authoritative Scientific Committee is inaugurated.
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Zamponi, Stefano, ed. Intorno a Boccaccio / Boccaccio e dintorni 2015. Florence: Firenze University Press, 2016. http://dx.doi.org/10.36253/978-88-6453-338-4.

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Il volume Intorno a Boccaccio /Boccaccio e dintorni 2015 nasce dal seminario internazionale che si è tenuto a Certaldo il 9 settembre 2015, seconda realizzazione di un’iniziativa alla quale l’Ente Nazionale Giovanni Boccaccio ha deciso di conferire una periodicità annuale. Lo scopo di questi seminari, rivolti in primo luogo a giovani studiosi, è di raccogliere e sviluppare le prospettive di lavoro emerse con il centenario del 2013 e di offrire un luogo di discussione a nuove ricerche in corso. I temi trattati nel corso del seminario, attenti al Boccaccio latino e volgare, affrontano (con più ampia attenzione per il Decameron) aspetti di tradizione e critica testuale, storia della lingua, critica letteraria e storia della miniatura.
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Book chapters on the topic "Boccaccio"

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Russo, Camilla, and Giulio Vaccaro. "L’Urbano. Origine e fortuna di una novella pseudo-boccaccesca." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 181–205. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.11.

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The paper pursues an investigation on an apocryphal text still underinvestigated by scholars: the Urbano, falsely attributed to Boccaccio. The first part focuses on its fortune in the Boccaccio’s canon, from the first edition of the Vocabolario della Crusca to the Boccaccio’s complete works edited in the Ottocento; furthermore, are pointed out its connections with the Libellus de Constantino Magno eiusque matre Helena, the main source of the plot, and with other genealogical medieval tales, such as the Libro imperiale and the Manfredo. The second part focuses on the manuscript tradition of the text, in order to demonstrate as its circulation in Quattrocento’s miscellaneous manuscripts of rhetorical texts in the vernacular, containing several texts by Boccaccio, has probably influenced the spurious attribution.
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De Cesare, Chiara. "Le biografie dei classici nelle glosse di Boccaccio al IV Canto dell’Inferno tra il Liber de dictis philosophorum antiquorum e altre sillogi di vite dei filosofi antichi." In Intorno a Boccaccio / Boccaccio e dintorni 2020, 139–56. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-510-3.09.

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The contribution intends to relate the biographies of the philosophers and auctores contained in the glosses to canto IV of Dante’s Inferno to some possible sources consulted by Boccaccio. The study takes into account three possible competing sources: Giovanni Gallico’s Compendiloquium, which Boccaccio read in the Riccardian codex 1230 - postillated by him in one place -, the Liber de vita et moribus philosophorum by pseudo-Walter Burley and the Liber de dictis philosophorum antiquorum according to Boccaccio’s Laurentian Zibaldone. This text, previously considered of minor importance than the other biographical syllogies, will be given a prominent role, especially in correspondence with eight biographies in which it seems to have provided Boccaccio with ideas for the elaboration of the work.
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Fritz, Eleonora. "Il lessico del magistero nelle prose erudite di Giovanni Boccaccio." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 9–21. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.01.

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The contribution aims to illustrate the results of the research conducted on the lexicon of the Petrarch-Boccaccio magisterium relationship. The research also made use of the comparison between Boccaccio's various masters: Petrarch on the one hand, Andalò del Negro and Leonzio Pilato on the other. The results of the research have shown the substantial difference of the Petrarchian magisterium compared to that of Leonzio or Andalò. Petrarch is a supreme teacher unlike the other two, considered by Boccaccio to be technical masters. Boccaccio in fact systematically attributes to Petrarch the noun preceptor, a very generic name: he is considered not only a teacher of literature but also of life. Boccaccio also expects from him a teaching that will lead him to an ethical conversion, as evidenced by the insistent presence of the lexicon pertaining to the moral sphere attributed to him.
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Palma, Flavia. "Il Boccaccio di Baldassar Castiglione: la duplice immagine del Certaldese nelle pagine del Cortegiano." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 231–45. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.14.

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Giovanni Boccaccio is quoted several times in Castiglione’s Cortegiano, but all these mentions are inserted in two specific contexts: on the one hand, the debate on literary language, developed in the letter of dedication to don Michel De Silva and in the first book; on the other hand, the definition of the joke in book II. Starting from these premises, this essay analyses the meanings of Boccaccio’s presence in the Cortegiano. It shows that Castiglione’s treatise provides two different and concurrent representations of the author of the Decameron: a positive one, connected to the ‘questione della lingua’, that offers Boccaccio as a promoter of the usage (‘uso’); a critical one, deriving from the theory of the ‘facezia’, that makes Boccaccio a challenging and challenged model.
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Giglio, Lorenzo. "Ancora su Boccaccio copista di Dante: (almeno) tre ‘redazioni’ della Vita nuova." In Intorno a Boccaccio / Boccaccio e dintorni 2020, 23–38. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-510-3.03.

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The paper studies the editorial practice of Boccaccio in his copies of Dante’s Vita Nuova, through a textual comparison between the two preserved transcriptions and the ones that are only hypothetically referable to his work, thanks to an examination of the varia lectio. What emerged for Vita Nuova from a new comprehensive collatio of the most important witnesses of Boccaccio’s manuscript tradition, put together with what is known about the other Dante’s works copied by Boccaccio himself (lyrics and Commedia), seem to converge in the hypothesis, already suggested by Michele Barbi, that around the interpositus b3 it is quite recognizable a third “authorial edition”, originally conceived like the other two, and perhaps currently surviving in the manuscript Riccardiano 1035.
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Ciccone, Lisa. "«Ut testatur Ovidius»: Boccaccio lettore dei commenti alle Metamorfosi." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 77–91. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.05.

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The article investigates the relationship between Boccaccio's Genealogie and the exegesis of Ovid's Metamorphoses. For each character included in his genealogy, Boccaccio reports first of all the contents of the myth related to it and then the different literal and allegorical interpretations. The main sources are, besides Ovid, Paolo da Perugia and a mysterious Theodontius, who can be identified with a commentary on the Metamorphoses produced in the 11th or 12th century. The article aims to demonstrate that Boccaccio follows the method used by medieval exegetes of the Metamorphoses: rejecting the pagan contents of the myth, the commentators offered an allegorical and moralising interpretation, in fact rewriting the Metamorphoses as a 'medieval' work.
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Baldi, Ester. "Indagini sulla poesia del giovane Boccaccio: il segno di Dante nelle terzine della Caccia di Diana." In Intorno a Boccaccio / Boccaccio e dintorni 2020, 9–21. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-510-3.02.

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The aim of this research is to demonstrate the convergences between the rhymes of Dante's Commedia and Boccaccio's Caccia di Diana. The analysis developed on the rhymes has allowed us to understand that Boccaccio's work presents 44.6% of rhymes derived from the Comedia. The author, however, does not only retrieve rhymes from Dante, but he also uses contexts, images and syntagmas present in the three canticles. Caccia di Diana is the first work in tercets after the Commedia and the vulgarization of De Consolatione Philosophiae executed by Alberto Della Piagentina, so it is extremely interesting to note how the young Boccaccio approaches the Dantean model to begin composing in verse.
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Pascale, Miriam. "Ira e compassione. Fonti aristotelico-tomiste di Decameron VIII 7." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 115–28. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.07.

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This essay aims to examine the philosophic sources behind the representation of passions in Boccaccio’s tale of the scholar and the widow (Decameron VIII 7). If the definition of anger is attributable to Aristotle’s Nicomachean Ethics, I believe that it is possible to assume that the description of compassion, only mentioned in the moral treatise, derives instead from the Aristotle’s Rhetoric, where compassion is seen as a passion opposed to a kind of wrath, that is, indignation. The paper also investigates Boccaccio’s reception of the Latin translation of Aristotle’ Rhetoric. Did Boccaccio have direct knowledge of the Aristotelian text? Or had it been mediated to him by Thomas Aquinas’ Summa Theologiae?
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Canneti, Caterina. "Boccaccio, il Decameron e la Crusca: le fonti spogliate dagli Accademici." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 247–70. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.13.

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This survey concerns the lexicographic presence of Giovanni Boccaccio’s Decameron in the Vocabolario of the Accademici della Crusca (from the first to the fourth edition). Boccaccio is the author that counts 15.600 occurrences (considering also his others literary works) already in the first edition. This is a significant situation about Decameron, because we know that a lot of its passages went through modifications and censorship: all of these interventions on Boccaccio’s text would have had some influence on the quotations into the Vocabolario. Starting from the declarations of the Accademici, the study wants to investigate about the employment of Decameron’s sources during the works for the Vocabolario, involving editions, manuscripts and Accademici’s autograph papers.
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Ceccarelli, Chiara. "Boccaccio erudito e il prologo del De viris illustribus petrarchesco." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 149–63. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.09.

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Giovanni Boccaccio used prologues and epilogues of his Latin works to discuss relevant topics such as the finding of reliable sources or the dissamination of the knowledge. Francesco Petrarca faced the same issues when he wrote his scholarly and historical works. This paper aims at enlightening the intertextuality between prologues and epilogues of Boccaccio’s Genealogia and De montibus and the prologue of Petrarca’s De viris illustribus, showing that the formers were probably inspired by the latter.
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Conference papers on the topic "Boccaccio"

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Oliveira, Flávio Rodrigues de. "Uma Leitura do século XIV por meio da Literatura: uma análise da primeira novela da primeira jornada da obra O Decameron de Boccaccio." In V Congresso Internacional de História. Programa de Pós-Graduação em História e Departamento de História - Universidade Estadual de Maringá - UEM, 2011. http://dx.doi.org/10.4025/5cih.pphuem.2221.

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Cooper, A., Maria Antoniak, Christopher De Sa, Marilyn Migiel, and David Mimno. "‘Tecnologica cosa’: Modeling Storyteller Personalities in Boccaccio’s ‘Decameron’." In Proceedings of the 5th Joint SIGHUM Workshop on Computational Linguistics for Cultural Heritage, Social Sciences, Humanities and Literature. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.latechclfl-1.17.

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Reports on the topic "Boccaccio"

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Napp, Anke. Boccaccio. Technische Universität Dresden, Forschungsstelle für Vergleichende Ordensgeschichte (FOVOG - Dresden), 2022. http://dx.doi.org/10.25368/2022.512.

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