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1
Todd, Sarah Jane. "Dream-visions in Boccaccio and Petrarch." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/10026/.
Full textAbstract:
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.
2
Orso, Sergio <1981>. "Tradizione e metrica del Boccaccio lirico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4331.
Full textAbstract:
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.
3
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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4
Polesana, Marta <1984>. "Una lunga fedeltà: Boccaccio interprete di Dante." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4414.
Full textAbstract:
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”.
5
Garane, Abdullahi Garane. "Gli intellettuali fiorentini (1250-1350) : Dante, Petrarca, Boccaccio." Grenoble 3, 1986. http://www.theses.fr/1986GRE39018.
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6
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.
10
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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Di, Franza Concetta. "Procedimenti scolastici e linee di pensiero nell’opera di Giovanni Boccaccio." Doctoral thesis, Universita degli studi di Salerno, 2011. http://hdl.handle.net/10556/1534.
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2009 - 2010The aim of the research is to investigate the consistency and meaning of the logical-dialectical processes emerging in the wider context of rhetorical means in the works of Giovanni Boccaccio. In these works, dialectical schemes sometimes take the more complex structure of quaestio disputata, that is used by the author for narrative, but also for his literary statement. The thesis is divided into three parts. The first part examines the intellectual background of the author. In the cultural context of the late Middle Ages, the quaestio disputata has an important role; by using the disputatio form, a good number of medieval authors show how the disputatio leaves the narrow university milieu, and reaches the literary context. A possible reason for the reception of the quaestio disputata within the literary context can be identified in the rediscovery of the similarities of late medieval dialectic and rhetoric, since both are “sciences of the probable”, and therefore aim at persuading rather than at demonstrating. A second reason can be found in the dramatic nature of philosophical disputatio, a veritable tournament fought with the weapons of the mind. The second part of the paper studies Boccaccio's works, where scholastic language and mental processes are widely diffused, a phenomenon that can be explained by the intermingling of philosophical and literary models. Nevertheless, it should also be noticed that the disputatio adopted by Boccaccio is reinforced by his return to its scholastic sources. Those texts were not unknown to a writer who was in touch with the scholars of the court of King Roberto in Naples, studied canon law, read and loved Dante’s works and was acquainted with Aristotle, Boethius, the Platonic Tradition and Thomas Aquinas. The presence of scholastic language and techniques lead us to evaluate their narrative role in Boccaccio’s literary production, their nature of prospective tools allowing the game of viewpoints. Secondly, the work examines the meaning the dialectic quaestio has in Boccaccio’s writings, where sometimes a quaestio opposing two possible positions has the task of seeking the “truth”. Boccaccian use of disputatio hides a subtle literary strategy that both seems to give the reader the option of choice, and/or the author to take his position and direct the reading. The third part of the thesis focuses on the late works of Boccaccio, such as the Genealogie deorum gentilium. Now the interest of the writer moves to the philosophy and erudition, but in these books we still find the model of quaestio disputata, in a simplified form of the responsio ad obiectiones. Seen as a whole, Boccaccio’s production uses with continuity the scholastic method; the author considers the disputatio a powerful instrument of the search after truth, but adapts it, both in theory and in practice, to the needs of the literature.
IX n.s.
12
Basile, Thiago Villela 1986. "Alusão ao epicurismo na moldura narrativa de o Decameron, de Boccaccio." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269925.
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Orientador: Carlos Eduardo Ornelas BerrielDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Pretendemos, neste trabalho, verificar, no plano ético, a alusão presente em o Decameron, de Giovanni Boccaccio, ao epicurismo. Para isso, apresentamos a filosofia epicurista, especialmente o conceito de prazer e de clinâmen, para estabelecermos as bases necessárias de comparação. Observamos também a história da fortuna crítica de o Decameron, para entendermos o porquê de só recentemente haver um estudo aprofundado da moral do livro, feito por Marco Veglia, em seu La vita lieta. Em seguida, fazemos uma leitura da moldura narrativa do Decameron para demonstrarmos a alusão ao epicurismo, e, por fim, tentamos compreender que efeito isso traria para a releitura dessa obra de Boccaccio
Abstract: The purpose of this work is to present the Decameron through a philosophical perspective, by comparing the Epicurean philosophy and the narrative frame of the text. To achieve this, we present the Epicurean philosophy, especially the concept of pleasure and clinamen, to establish the necessary bases of comparison. We also take into consideration the history of literary criticism of the Decameron, to understand the reason why only recently there is an in-depth study of the book¿s moral, made by Marco Veglia, in his "La vita lieta". Then, we intend to do a reading of the Decameron narrative frame to demonstrate the allusion to Epicureanism, and finally, we try to understand what effect this would bring to the reading of this work of Boccaccio
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
13
Bonetto, Mirian Salvestrin [UNESP]. "O amor sensual e o celibato clerical no Decameron, de Boccaccio." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/149729.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem obrigatoriamente a sexualidade, mas eles não desejam renunciar efetivamente a esse aspecto que é inerente à vida humana.
One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio’s treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle’s rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life.
CAPES: 3300415-3
14
Bonetto, Mirian Salvestrin. "O amor sensual e o celibato clerical no Decameron, de Boccaccio /." São José do Rio Preto, 2017. http://hdl.handle.net/11449/149729.
Full textAbstract:
Orientador: Maria Celeste Tommasello RamosBanca: Cláudia Maria Ceneviva Nigro
Banca: Leandro Passos
Resumo: Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem...
Abstract: One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio's treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle's rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life
Mestre
15
Hoffmann, Björn. "Die pest in der literatur : eine untersuchung von Boccaccio bis Camus /." Aachen : Shaker verl, 2007. http://catalogue.bnf.fr/ark:/12148/cb410451854.
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Colussi, Francesco. "Indagini codicologiche e testuali sui manoscritti trecenteschi del Filostrato di Giovanni Boccaccio." Doctoral thesis, Università Ca' Foscari Venezia, 2003. http://hdl.handle.net/10579/239.
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Dopo la pubblicazione di un'edizione provvisoria del Filostrato di Giovanni
Boccaccio (1313-1375) per cura di Vincenzo Pernicone (Bari 1937), che la accompagnò con
un articolo in rivista contenente le linee generali della ricostruzione stemmatica («Studi di
Filologia Italiana», V, 1938), lo studio della tradizione manoscritta del poema rimase
interrotta.
Rispetto ai 48 codici esaminati dal Pernicone, le testimonianze manoscritte del
Filostrato ad oggi conosciute sono 80: a fronte di una tradizione così ampia, la tesi affronta lo
studio codicologico e testuale degli 11 testimoni databili al sec. XIV: Altona, Historische
Bibliothek des Christianeums, R. 71 (Al); Firenze, Biblioteca Nazionale Centrale, II. II. 36
(F); II. II. 37 (F1); II. II. 38 (F2); II. II. 90 (F4); Palatino 354 (F7); Panciatichiano 17 (F13);
Firenze, Biblioteca Riccardiana, 1111 (FR5); Firenze, Biblioteca Medicea Laurenziana,
Pluteo XLI 28 (L1); Roma, Biblioteca Nazionale Centrale «Vittorio Emanuele II», Vittorio
Emanuele 63 (RN); Città del Vaticano, Biblioteca Apostolica Vaticana, Capponiano Latino
135 (Vc); e di due codici del sec. XV: Londra, British Library, Additional Mss. 21246 (Lo);
Monreale, Biblioteca Comunale, XXV. F. 9 (Mr).
Dopo una analisi dello stato della questione (Premessa), che rende conto anche degli
interventi critici seguiti agli studi del Pernicone, segue la descrizione delle 13 testimonianze
accertate (Capitolo I).
Viene quindi proposta un'analisi critica dell'edizione del Pernicone e dei suoi
fondamenti filologici, condotta anche alla luce degli elementi offerti dai manoscritti qui
esaminati (Capitolo II), alcuni dei quali ignoti al filologo novecentesco (Al, Lo, Mr e RN).
Le indicazioni che se ne ricavano evidenziano la debolezza della ricostruzione dell'editore, a
motivo di un approccio metodologico per alcuni aspetti non rigoroso e della lacunosità dei
dati presentati; il Pernicone si dimostra in diversi casi poco fedele alla ricostruzione
genealogica da lui stesso avanzata.
Si offre altresì una proposta di classificazione dei 13 testimoni collazionati (Capitolo
III): i codici Al, L1 e Vc compongono la famiglia a; F, F1, F2, F7, F13, FR5 e RN, pur con
qualche difficoltà, sono inquadrabili in un unico gruppo p; indipendenti tra loro e rispetto alle
due famiglie precedentemente indicate rimangono i codici F4, Lo e Mr. Il controllo delle
testimonianze ha portato all'individuazione di un gruppo di errori ad esse comuni: di qui
l'ipotesi che i 13 codici esaminati abbiano a monte un capostipite comune.
Nei limiti della tradizione accertata, vengono infine avanzate alcune considerazioni
conclusive sulle varianti attestate nei piani alti dello stemma {Conclusioni).
La tesi è accompagnata da due tavole: la prima riproduce lo stemma codicum del
Pernicone, l'altra indica i rapporti genealogici ricostruiti entro la tradizione esaminata.
After the provisional edition of Giovanni Boccaccio's Filostrato edited by Vincenzo
Pernicone (Bari 1937), who wrote also an article with general indications about the tradition
of the poem («Studi di Filologia Italiana», V, 1938), the studies on the manuscript tradition of
the poem were interrupted.
In comparison with the 48 mss. examined by Pernicone, 80 mss. are known today: as
the tradition is so large, the thesis carries out a codicological and textual research into 11 mss.
datable to XIVth Century: Altona, Historische Bibliothek des Christianeums, R. 71 (Al);
Florence, Biblioteca Nazionale Centrale, II. II. 36 (F); II. II. 37 (Fl); II. II. 38 (F2); II. II. 90
(F4); Palatino 354 (F7); Panciatichiano 17 (F13); Florence, Biblioteca Riccardiana, 1111
(FR5); Florence, Biblioteca Medicea Laurenziana, Pluteo XLI 28 (L1); Rome, Biblioteca
Nazionale Centrale «Vittorio Emanuele II», Vittorio Emanuele 63 (RN); Citta del Vaticano,
Biblioteca Apostolica Vaticana, Capponiano Latino 135 (Vc); and into two mss of the XVth
Century: London, British Library, Additional Mss. 21246 (Lo); Monreale, Biblioteca
Comunale, XXV. F. 9 (Mr).
An introductory survey of the question (Premessa), which points out the critical essays about
Pernicone's studies, is followed by the description of the 13 mss. examined (Chapter I).
It follows a critical analysis of the edition by Pernicone and its philological basis, carried out
also in the light of the elements offered by the mss. examined (Chapter II), some of which
unknown by the editor (Al, Lo, Mr e RN): the survey points out the weakness of Pernicone's
reconstruction, because of a methodological approach not to be completely accepted and of an
incompleteness of the elements offered; Pernicone himself is sometimes not faithful to his
genealogical reconstruction.
A proposal to classify the 13 mss. examined is given (Chapter III): Al, L1 e Vc are to be
included in the group a; F, Fl, F2, F7, F13, FR5 and RN, even though with some problems,
are to be included in the group P; F4, Lo e Mr are not related each one with the other two and
with the two groups mentioned above. The exam of the mss. points out a group of mistakes
which is common to each of them: so that it is to be supposed that there should be a common
ancestor.
Keeping within the examined tradition, there are some final remarks on the variants that are
present in the high levels of the stemma (Conclusioni).
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Simionato, Andrea <1984>. "Tra fonti e testo del 'De casibus virorum illustrium' di Giovanni Boccaccio." Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3028.
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Questa ricerca mira a ridimensionare il ruolo assunto dallo zibaldone magliabechiano quale fonte privilegiata del 'De casibus virorum illustrium'.This research aims at reducing the role assumed by the zibaldone magliabechiano as privileged source of the 'De casibus virorum illustrium'.
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Muto, Lisa M. "The parabola of pleasure : a study of the cornice of the Decameron." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74631.
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In this dissertation I examine the narrative parts of the so-called cornice of the Decameron. The core of my interpretation is to be found in Chapter I where I show that the frame story--the novella portante, as it has been called--with its "parabolic" rather than "rectilinear" progression is intended to illustrate the brigade's pursuit of pleasure, without any ulterior motive such as, for instance, the restructuring of the decaying Florentine society. A careful study of the members of the brigade (Chapter II) and of their songs (Chapter III) obviously forms an integral part of any analysis of the frame story. The Appendix deals with the illustrations of the cornice: the rich iconographic tradition of the Decameron, at least before this century, appears to have accorded more significance to the frame story than has literary criticism.
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PASCALE, MIRIAM. "Parole e figure della passione. Fonti, temi e lessico dell'affettività nel Decameron." Doctoral thesis, Università degli studi della Basilicata, 2022. http://hdl.handle.net/11563/158046.
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My research focuses on the literary representation of passions in the Decameron, with particular reference to compassion and envy. Boccaccio’s depiction of these emotional states has been investigated not only in its rhetorical-formal aspects, but also in terms of the philosophical and literary sources to which the author may have drawn. This pair of passions was selected on the basis of two criteria. In the first place, I have tried to give priority to those emotive impulses that are narrative relevant, that is, they play a leading role in the diegetic construction of the plot. Among these, those passions with a certain consistency in the metatextual dimension of the novel book have been selected, as keys to interpretation of the text theoretically involved in the author’s interventions. The emotional states subject to this study, in fact, are not only widely represented within the novellas, but also play a central role in metatextual areas of the Decameron, such as the Proemio and the Introduction to the Fourth Day. In this perspective, considerations of compassion and envy can be taken as a vehicle for Boccaccio’s reflection on his work and his own literary work.
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Stevens, Christopher C. "Readings in Boccaccio : the early visualisations of the Filostrato and the Ninfale fiesolano." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367358.
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Forey, Austin Charles. "Reading through Boccaccio : a study of narrative practice and interpretation in the Decameron." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253965.
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Ronchetti, Alessia. "'La donna è mobile'? : on authority and female movability in Boccaccio and Chaucer." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708410.
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Hoffmann, Björn [Verfasser]. "Die Pest in der Literatur : Eine Untersuchung von Boccaccio bis Camus / Björn Hoffmann." Aachen : Shaker, 2007. http://d-nb.info/1166508080/34.
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Banella, Laura. "Fortuna e tradizione di un'edizione d'autore: Boccaccio e la "Vita nuova" di Dante." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424042.
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The dissertation is an interdisciplinary study of the reception of Giovanni Boccaccio's edition of Dante's Vita nuova, which Boccaccio transcribed in two manuscripts (Toledo, Biblioteca Capitolare, ms. 104.6, cc. 29r-46v; BAV, ms. Chigiano L V 176, cc. 13r-28v). The goal has been to accomplish a study in material philology that not only tells the story of a manuscript tradition, but also analyzes the visual poetics of every extant copy. I have also explored more general questions regarding the relationship between history of literature, history of tradition and textual criticism, while also offering critical insights on Dante's Vita nuova itself. My study began with the detailed analysis of the two transcripts by Boccaccio in order to determine how he interpreted Dante's work and to understand the relation between text, genre and mise en page. I then examined the large group of the Vita nuova's codices descripti arising from the two transcripts by Boccaccio, to determine how such a complex edition was later received and acknowledged by readers and scribes. The other great goal has been trying to define how Boccaccio's influence related to Dante's reception from XIVth to XVIth century, and its impact on the dissemination of Dante's work in Italian culture. I also studied the textual relationships between Boccaccio's copies, challenging Guglielmo Gorni's claims that Boccaccio's two witnesses could be collateral.La tesi è uno studio interdisciplinare della ricezione dell'edizione di Giovanni Boccaccio della Vita nuova di Dante, che il Certaldese copiò almeno due volte (Toledo, Biblioteca Capitolare, ms. 104.6, cc. 29r-46v; BAV, ms. Chigiano L V 176, cc. 13r-28v). Si tratta di uno studio di filologia materiale che, analizzando la poetica visuale insita in ogni copia, ha l'obiettivo di trovare una risposta ad alcuni interrogativi più generali riguardanti le relazioni tra storia della letteratura, storia della tradizione e critica del testo, dando anche qualche conoscenza critica in più sul prosimetro stesso. La tesi si compone di cinque capitoli. Vi è uno studio preliminare della tradizione testuale del prosimetro dantesco, in cui si discute l'ipotesi di Guglielmo Gorni per cui, a differenza di quanto sostenuto dal Barbi, i due codici boccacciani sarebbero collaterali, arrivando alla conclusione che non si può parlare di collateralità, ma che è possibile avanzare l'ipotesi che vi sia stata contaminazione tra le molteplici copie della Vita nuova presenti sullo scrittoio del Boccaccio. Anche in conseguenza di ciò, si propone inoltre una modifica dello stemma che vede lo spostamento del ms. K2 a un livello stemmatico più alto. Vi sono poi quattro sezioni dedicate allo studio puntuale della tradizione derivata dai mss. del Certaldese: il cap. II propone un'analisi dettagliata delle due trascrizioni della Vita nuova di mano del Boccaccio; nel cap. III è stato comparato l'operato editoriale del Certaldese con i testimoni antichi del prosimetro posti sullo stesso livello stemmatico; infine, nel cap. IV sono stati esaminati tutti i codices descripti derivanti dalle due copie boccacciane del "libello". Il cap. V è poi dedicato a un'analisi critica delle questioni e dei problemi emersi nello studio della tradizione, tra cui: la figura dell'editore in epoca medievale, il raggio d'influenza della testa di serie e la possibilità o meno di imporre alla tradizione un determinato allestimento del testo, la diffusione dell'edizione del Boccaccio e in particolare il rapporto dei letterati con essa dal Trecento al Cinquecento. Nell'Appendice si fornisce una sintetica scheda descrittiva di ogni manoscritto e la trascrizione diplomatica del testo della Vita nuova nei due mss. del Boccaccio.
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Santangelo, Enrico. "Reading and Writing, Writing through Reading : A study on Imitatio in Petrarch and Boccaccio." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504808.
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This doctoral thesis may be read in two different ways: on the one hand it aims at breaking the ground on Petrarch's and Boccaccio's reading of certain authors such as Dante, Homer and other Classics, through a systematic search for borrowings and interdiscursive themes often proving to be real intertexts (never investigated as such before), consciously or unconsciously exploited in several works ofPetrarch (Latin poetic and prose letters, BllColicll11l carmen, De vita solitaria, Trillinphi, RVF), and Boccaccio (Decameron, some early works. of the Neapolitan period, Genea/ogie deOrll11l gentili1l11l). On the other hand, I hope this work will prove to be of some use for a better understanding of the main literary techniques of imitatio in the Italian Trecento as a whole. Besides a micro-diachronic structure, consisting of Petrarch, Boccaccio and those authors who have been more frequently used by them, I also tried to shape my research on a macro-diachronic structure, intended to show under which circumstances (cultural, social, literary, psychological) Petrarch's and Boccaccio's prose and poetry witnessed a change in the imitative technique applied to the models, namely Dante for Petrarch and the Classics for Boccaccio. Whilst Petrarch developed a competitive approach to his model, starting from absorption and sharing of style and values and ending with emulation superseding that style and those values in the pursuit of poetic fame; Boccaccio, eminently concentrating on literary imitation, in the end overcame his earlier juxtapositional technique in favour of a complete and mature ars contaminandi. This changing attitude of the two authors has been documented through the analysis of a limited number of works of Petrarch and Boccaccio, showing to what extent their readings influenced their writings through the contrivance of two personal techniques of imitatio; emu/atio and ars contaminandi. Through a comparative reading of the texts, I conduct an intertextual (and interdiscursive) analysis of themes, vocabulary and style of the quoted passages, systematically pointing out and explaining all significant references to classical and medieval authors.
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Juliani, Talita Janine 1985. "Sobre as Mulheres Famosas (1361-1362) de Boccaccio = tradução parcial, estudo introdutório e notas." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270798.
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Orientador: Isabella Tardin CardosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Nossa pesquisa apresenta uma tradução parcial do De Claris Mulieribus, catálogo de biografias femininas escrito por Giovanni Boccaccio entre 1361-1362. A tradução, que é a primeira da obra no Brasil, compreende Dedicatória, Proêmio e as 40 primeiras biografias constantes da obra, e é acompanhada de um estudo introdutório, composto por três capítulos. O primeiro capítulo visa oferecer breves dados a respeito da formação do autor certaldense e do ambiente cultural de seus leitores coevos - com destaque à sua relação com a literatura greco-romana, bem como um panorama de sua produção, tanto vernácula quanto latina. No segundo capítulo, por sua vez, buscamos localizar a obra em apreço dentre as produções latinas boccaccianas, e discorrer sobre sua estrutura e composição. Por fim, no Capítulo III, guiando-nos por metodologia intertextual, dedicamo-nos brevemente à relação do texto da obra De Claris com outros textos. Nesse âmbito, como amostra da riqueza de sentidos, uma análise de biografias boccaccianas (Tisbe XIII, e Medeia XVII) será elaborada a partir de sua relação com excertos de Ovídio
Abstract: Our research presents a partial translation of De Claris Mulieribus, a collection of female biographies written by Giovanni Boccaccio between 1361-1362. The present translation, which is the very first one of its kind in Brazil, comprises Dedication, Preface and the first 40 biographies contained in his work, and it is followed by an introductory study composed of three chapters. The first chapter aims to provide concise data regarding the formation of the Italian author from Certaldo and the cultural environment of his coeval readers, focusing on his relation with the Greco-Roman literature, as well as an overview of his production, both vernacular and Latin. In the second chapter, we intended to position the work in appreciation within Boccaccian's Latin productions, and also to consider its structure and composition. Finally, in Chapter III, guided by intertextual methodology, we had briefly dedicated ourselves to the relation of the text of De Claris work with other texts. In this scope, as an illustration of the richness of meanings, an analysis of the Boccaccio's biographies (Thisbe XIII and Medea XVII) will be elaborated from its relation with excerpts from Ovid
Mestrado
Linguistica
Mestre em Linguística
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Medeiros, Constantino Luz de. "Friedrich Schlegel: \"Relato sobre as obras poéticas de Giovanni Boccaccio\". Tradução e estudo preliminar." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26032012-105715/.
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A presente dissertação tem como objetivo principal a tradução e o estudo da Charakteristik, caracterização, escrita por Friedrich Schlegel sobre Giovanni Boccaccio, chamada Nachricht von den poetischen Werken des Johannes Boccaccio, Relato sobre as obras poéticas de Giovanni Boccaccio, de 1801, bem como o estabelecimento de sua importância para a teoria da forma narrativa breve denominada Novelle. O estudo preliminar que antecede o trabalho é dividido em duas partes, nas quais buscamos entender a importância da teoria crítica de Friedrich Schlegel, iluminar as peculiaridades da caracterização traduzida, e descrever os principais procedimentos do crítico e filósofo alemão. No estudo também procuramos analisar as teorias sobre a novela do período conhecido como primeiro romantismo alemão, tentando definir a contribuição de Friedrich Schlegel para estas teorias, e esclarecer certos aspectos de sua recepção por parte da crítica literária ocidental. A principal hipótese que formulamos é a de que a caracterização de Schlegel é um exemplo de hermenêutica literária capaz de mesclar a análise filosófica, filológica e poética em uma abordagem histórica. Desta forma, os elementos extrínsecos e intrínsecos da obra literária seriam vistos como um todo orgânico. Esta obra de arte crítica, como Schlegel costumava definir sua Charakteristik, representaria tanto o sensus spiritualis, como o sensus literalis, contemplando, em sua letra e em seu espírito, a tendência [Tendenz] da obra, que seria o resultado da análise crítica progressiva, divinatória e universal do fenômeno literário.The main purpose of this dissertation is the translation and study of the Charakteristik characterization, written by Friedrich Schlegel about Giovanni Boccaccio, called Nachricht von den poetischen Werken des Johannes Boccaccio, Note on the poetic works of Giovanni Boccaccio, from 1801, as well as to establish its importance for the theory of the short prose narrative called Novelle. The preliminary study prior to the translation has been separated in two parts, in which we aim at understanding the importance of Friedrich Schlegels critical theory, highlight the peculiarities of the translated characterization, and describe the main procedures of the German critic. At the study we also seek to analyze the theories about the novelle from the period known as the early German romanticism, trying to define the contribution of Friedrich Schlegel for these theories, and clarify certain aspects of his reception by the Western literary criticism. The main hypothesis we formulate is that Schlegels characterization is an example of literary hermeneutics, capable of mixing a philosophical, philological and poetic analyze within a historical approach. This way, the intrinsic and extrinsic factors of the literary artwork would be seen as an organic whole. This critical artwork, as Schlegel used to define his Charakteristik, would stand for the sensus spiritualis as well as for the sensus literalis, contemplating, in its letter and spirit, the tendency [Tendenz] of the work, which would be the result of a progressive, divinatory and universal critical analyze of literary phenomenon.
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Kocher, Ursula. "Boccaccio und die deutsche Novellistik : Formen der Transposition italienischer "novelle" im 15. und 16. Jahrhundert /." Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb409327540.
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Martin, Dominique <1990>. "Boccaccio, i poeti, le favole antiche e la tradizione cristiana. Lattanzio e Agostino nelle <>." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5491.
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Hempelmann, Christian F. "Incongruity and Resolution of Humorous Narratives – Linguistic Humor Theory and the Medieval Bawdry of Rabelais, Boccaccio, and Chaucer." Youngstown State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ysu999635318.
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Panfili, Roberta <1991>. "Un autore allo specchio: i protagonisti maschili delle storie d'amore del giovane Boccaccio. (Elegia di Costanza, Filostrato, Filocolo, Teseida)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7990.
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Diniz, Christiane Maria de Sena. "Um estudo comparado entre Giovanni Boccaccio e Machado de Assis: a caracterização de Peronella e Sinhá Rita à luz da tipologia lukacsiana da personagem." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6210.
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La presente investigación tiene el objetivo de realizar una análisis comparativa entre las personajes Peronella y Sinhá Rita, heroinas, respectivamente, del segundo cuento de la séptima jornada del Decameron, de Giovanni Boccaccio, y del cuento O caso da vara, de Machado de Assis. Nos basamos en la tipología del personaje propuesta por George Lukacs en la obra La teoría del romance, tentaremos demonstrar que las dos personajes corresponden al tercero tipo de personaje: lo de la madurez. Además, buscaremos identificar los elementos que caracterizan el anima y el mundo exterior de estas personajes y, en consecuencia, el conflicto que ellas vivencían y la manera encontrada para su adaptación a las adversidades del mundo.
A presente pesquisa tem a finalidade de realizar uma análise comparada entre as personagens Peronella e Sinhá Rita, heroínas, respectivamente, do segundo conto da sétima jornada do Decameron, de Giovanni Boccaccio, e do conto O caso da vara, de Machado de Assis. Baseando-nos na tipologia da personagem proposta por Georg Lukács na obra A teoria do romance, tentamos demonstrar que a caracterização das duas personagens corresponde ao terceiro tipo de personagem lukacsiano: o da maturidade. Além disso, procuramos identificar os elementos que caracterizam a alma e o mundo exterior destas personagens e, consequentemente, o conflito que elas vivenciam e a maneira que elas encontram para se adaptarem às adversidades do mundo.
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PEDRETTI, PAOLO. "LETTERATURA E CULTURA A MILANO NEL PRIMO TRENTENNIO DELL' ' 800: GIAN GIACOMO TRIVULZIO EDITORE E BIBLIOFILO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1400.
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La tesi delinea la figura di Gian Giacomo Trivulzio (Milano, 1774-1831), bibliofilo, editore, intellettuale. La prima parte è dedicata a una ricostruzione sistematica della biografia, la seconda si concentra sui principali interessi culturali di Trivulzio, in particolare: l’amore per Parini, la produzione poetica originale (con una breve storia dell’Accademia degli Inesperti), l’attività collezionistico-editoriale legata ai novellieri italiani, gli studi critici e testuali condotti o promossi su una parte dell’opera di Boccaccio. Infine, il progetto di un’antologia della poesia italiana dalle origini a Poliziano e le proposte di emendazione del Convivio, della Vita nuova e delle Rime di Dante testimoniano gli sviluppi più maturi di quella che si può a buon diritto definire filologia trivulziana.The thesis is about Gian Giacomo Trivulzio (Milan, 1774-1831), bibliophile, editor and intellectual. The first part is a Trivulzio’s systematic biography, the second one focuses on his main cultural interests, particularly: his love for Parini, his original poetic production (with a short history of the “Accademia degli Inesperti”), his collectible and editorial activity linked to the Italian novelists, his critical and textual studies on Boccaccio’s works. Finally, the project concerning an anthology of the Italian poetry from its beginning to Poliziano and the proposals for a recovery of Dante’s Convivio, Vita nuova and Rime textify the most mature developments of what can rightly be defined Trivulziana philology.
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PEDRETTI, PAOLO. "LETTERATURA E CULTURA A MILANO NEL PRIMO TRENTENNIO DELL' ' 800: GIAN GIACOMO TRIVULZIO EDITORE E BIBLIOFILO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1400.
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La tesi delinea la figura di Gian Giacomo Trivulzio (Milano, 1774-1831), bibliofilo, editore, intellettuale. La prima parte è dedicata a una ricostruzione sistematica della biografia, la seconda si concentra sui principali interessi culturali di Trivulzio, in particolare: l’amore per Parini, la produzione poetica originale (con una breve storia dell’Accademia degli Inesperti), l’attività collezionistico-editoriale legata ai novellieri italiani, gli studi critici e testuali condotti o promossi su una parte dell’opera di Boccaccio. Infine, il progetto di un’antologia della poesia italiana dalle origini a Poliziano e le proposte di emendazione del Convivio, della Vita nuova e delle Rime di Dante testimoniano gli sviluppi più maturi di quella che si può a buon diritto definire filologia trivulziana.The thesis is about Gian Giacomo Trivulzio (Milan, 1774-1831), bibliophile, editor and intellectual. The first part is a Trivulzio’s systematic biography, the second one focuses on his main cultural interests, particularly: his love for Parini, his original poetic production (with a short history of the “Accademia degli Inesperti”), his collectible and editorial activity linked to the Italian novelists, his critical and textual studies on Boccaccio’s works. Finally, the project concerning an anthology of the Italian poetry from its beginning to Poliziano and the proposals for a recovery of Dante’s Convivio, Vita nuova and Rime textify the most mature developments of what can rightly be defined Trivulziana philology.
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CAMASSA, LELIO. "Dio, l'oscurità e il talento. Le novelle di 'cose catoliche' del Decameron." Doctoral thesis, Università degli studi della Basilicata, 2021. http://hdl.handle.net/11563/149767.
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La tesi analizza le novelle di 'cose catoliche' del Decameron (I 1, I 2, I 3, II 1, II 2, III 1), in cui Boccaccio dipana una riflessione coerente e sistematica di carattere teologico nella veste di sei storie comiche. Il costante dialogo con la Bibbia, i Padri della Chiesa e le auctoritates boccacciane, volgari e latine, si intreccia con le principali questioni al centro del dibattito teologico dell'epoca, come l'intervento di Dio ad extra. Il lavoro, oltre a indagare questi aspetti, fornisce anche un contributo filologico relativo a due novelle: la II 1, per la quale si porta alla luce una possibile fonte della novella, e la II 2, a proposito della quale si trascrive la leggenda di san Giuliano redatta da Boccaccio in uno zibaldone.
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Andrade, Ana Carolina Negrão Berlini de [UNESP]. "Trans-formações (a) temporais em Il Decameron: de Pasolini a Boccacio." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99091.
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O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio
The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction
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Catalano, Sara. "La Comedia delle Ninfe fiorentine. Revisione dell'edizione e commento." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA008.
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La thèse se propose, dans une première partie, d’analyser et d'actualiser la tradition manuscrite de la Comedia delle Ninfe Fiorentine, œuvre de jeunesse de Giovanni Boccaccio, composée immédiatement après le retour à Florence de la cour angevine de Naples.L'édition actuelle de Comedia delle Ninfe, est due à Antonio Enzo Quaglio et remonte à 1963. Elle fournit, comme il était d'usage à l'époque, une description brève et peu précise des témoins interrogés. Les manuscrits sont donc classés selon un critère socioculturel (copie a prezzo et copie per passione), datant des codex au quart de siècle. Quand cela est possible, un profil biographique des copistes est fourni. Le travail est complété par les fiches de chacun des témoins individuels acceptés dans le corpus.La deuxième partie de la thèse est un travail de commentaire d’historie littéraire divisé par thèmes. La composition de la Comedia delle Ninfe est liée à l'expérience biographique de son auteur et au développement de son expérience littéraire.L’histoire du dédicataire de l’œuvre, Niccolò di Bartolo del Buono, nous permet de fournir des repères chronologiques pour chacune des deux rédactions de la Comedia.La proposition de mettre en relation Caccia di Diana, Comedia et Amorosa Visione nous donne l’occasion de comparer trois œuvres de Boccaccio, en considérant l’utilisation du capitolo ternario comme premier dénominateur commun.Le chapitre sur le prosimètre donne un aperçu des sources possibles auxquelles Boccaccio peut, ou ne peut pas, faire référence pour cette forme particulière (prose et vers).Enfin, l'analyse de la production bucolique de Boccace et de son évolution amène à considérer le Comedia comme une première œuvre de ce genre avec l’utilisation du vulgaireThe aim of this thesis is to analyze and updating the manuscript tradition of the Comedia delle Ninfe Fiorentine, written by a young Giovanni Boccaccio in Florence, as he came back there from Naples. The current edition by Antonio Enzo Quaglio (1963) only provides, as was customary at the time, a brief and inaccurate description of the witnesses surveyed. For that reason, in this work manuscripts have been dated a divided into a prezzo and per passion copies. Where possible, a biographical profile of the copyists have been included. Moreover, each copy has its own detection form.The second part of the thesis consists of a historic-literary commentary: the Comedia delle Ninfe is has been interpreted on the basis of the biography of the author and of his literary production. The two draftings of the Comedia have been also dated according to the biography of Niccolò di Bartolo del Buono, to whom this opera was dedicated. Besides, the Comedia has been compared to the Caccia di Diana and the Amorosa Visione, on the basis of the use of the capitolo ternario. A chapter on the prosimetrum provides some hypoteses on the literary sources Boccaccio may have, or may not, referred to. At last, by analysing the bucolic literary works by Boccaccio, the Comedia can be considered the first example in this genre, regarding the use of the vernacular
La tesi si propone, nella prima parte, di analizzare, aggiornandola, la tradizione manoscritta della Comedia delle Ninfe Fiorentine, opera della giovinezza di Giovanni Boccaccio, composta subito dopo il ritorno del Certaldese a Firenze dalla corte angioina di Napoli. L’edizione esistente della Comedia delle Ninfe, datata 1963 per la cura di Antonio Enzo Quaglio, fornisce, come d’uso all’epoca, una descrizione sommaria e poco accurata dei testimoni censiti. Si classificano quindi i manoscritti secondo un criterio socioculturale (copia a prezzo e copia per passione), datando i codici al quarto di secolo. Si fornisce, ove possibile, un profilo biografico dei copisti. Il lavoro è completato dalle schede di rilevamento dei singoli testimoni accolti nel corpus, redatte secondo un criterio stabilito a priori.La seconda parte della tesi è un lavoro di commento letterario suddiviso per tematiche. La composizione della Comedia delle Ninfe viene messa in relazione con l’esperienza biografica del suo autore e con il dipanarsi della sua esperienza letteraria. La vicenda del dedicatario dell’opera, Niccolò di Bartolo del Buono, permette di collocare con riferimenti cronologici l’identificazione delle due redazioni della Comedia.Occasione di confrontare tre opere del Boccaccio è la proposta di mettere in relazione Caccia di Diana , Comedia e Amorosa Visione considerando come primo denominatore comune l’utilizzo del capitolo ternario.Il capitolo sul prosimetro fornisce una rassegna sulle possibili fonti alle quali Boccaccio può, o non può, aver fatto riferimento nella composizione dell’opera con questa particolare forma.Infine l’analisi della produzione bucolica del Boccaccio, e della sua evoluzione, propone di considerare la Comedia come un’opera prima in questo genere per l’utilizzo del volgare
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FORDRED, BENEDETTA. "Les « erreurs » de Boccace : les bévues de copiste, les fautes de l’auteur, la variété de la langue du Trecento." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/942087.
Full textAbstract:
The present work aims to describe the evolution of Boccaccio’s “mistakes” from 16th century
on through the use of different approaches (namely historical, ecdotic, linguistic, and stylistic).
The dissertation starts with a chapter divided in three sections: the first two sections deal with
the perception of Boccaccio’s model in the linguistic controversy characterizing the 16th
century. The third section analyses how the syntax of the Decameron came to be considered
incorrect by scholars of the time.
I will concentrate on the commentaries by Ruscelli, Borghini, Salviati and Beni. The second
chapter is about the manuscript tradition of the Decameron and on the most recent ecdotic
theories formulated by modern philologists on the issue. In the third chapter I focus on such
linguistic phenomena as the repetition of “che”, para-hypotaxis, “che” followed by the
infinitive, and the coordination between dependent clauses with both finite and nonfinite verbs.
In this part of my dissertation, I make use of a comparative method, bringing together Old
Italian and Old French. In the last chapter I intend to reflect on the presence (and absence) of
these linguistic phenomena in the Decameron, in order to understand Boccaccio’s writing
choices, and taking into account other elements such as elocution and the different diegetic
levels acting in the novellas.Ce travail vise à tracer l’évolution de la question des « erreurs » de Boccace, du XVIe siècle jusqu’à nos jours, selon différentes approches : historique, ecdotique, linguistique et stylistique. Le travail se compose d’un premier chapitre divisé en trois sous-parties. Les deux premières sont consacrées à la perception du modèle de Boccace pendant les querelles linguistiques du XVIe siècle. La troisième vise à réfléchir sur la façon dont les lettrés de l’époque ont associé la définition d’« erreurs » à la syntaxe du Décaméron. Nous nous attarderons sur les commentaires de Ruscelli, Borghini, Salviati et Beni. Le deuxième chapitre porte sur la tradition manuscrite du Décaméron et sur les propositions ecdotiques les plus récentes émises par les philologues modernes. Le troisième chapitre est entièrement consacré à la description des phénomènes de répétition de « che », du « che » suivi d’un infinitif, de la parahypotaxe et de la coordination entre subordonnées aux modes personnels et impersonnels, selon une approche comparative en italien ancien et ancien français. Le dernier chapitre se propose de réfléchir sur la présence (et l’absence) de ces constructions syntaxiques dans le Décaméron, afin de comprendre les choix de Boccace écrivain, selon les contextes d’élocution et les niveaux diégétiques des nouvelles.
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Enochson, Elisabeth. "Boccaccios berättelser om Dido." Thesis, Stockholms universitet, Avdelningen för klassiska språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-98464.
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Nayrand, Bérangère. "Sources et ressources de la mise en images du Décaméron dans un ensemble de manuscrits enluminés italiens et français (XIVe et XVe siècles)." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30071.
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Le corpus, qui regroupe seize manuscrits italiens et français (avec la traduction de Laurent de Premierfait), permet d’élaborer une étude sur les rapports entre une œuvre littéraire, foisonnante et complexe comme le Décaméron, et les nombreuses illustrations que ces ouvrages contiennent. Pour être efficace et effective, l’image a besoin de se fonder sur le texte de Boccace. Cependant, les illustrateurs doivent aussi contenter leurs commanditaires et se conformer à leurs volontés, quitte à s’éloigner de l’œuvre originelle.La présente recherche se centre ainsi sur le passage du texte à l’image — en s’intéressant particulièrement à la littérarité de l’illustration, souvent fondée sur les potentialités visuelles du texte. Les manuscrits enluminés sont systématiquement replacés dans leur contexte culturel, social et historique, compte tenu du rôle joué par le lecteur/commanditaire, essentiel pour la compréhension de chaque miniature.Cette étude s’efforce ainsi d’analyser les ressources dont disposent les enlumineurs. Elle met en lumière l’incroyable adaptabilité dont font preuve ces artistes à part entière pour illustrer le texte qui constitue leur principale sourceThe corpus consisting of 16 manuscripts (with the translation by Laurent de Premierfait) allows us to elaborate a study on the relationship between a piece of literature as abundant and complex as the Decameron, and the numerous illustrations that these works contain. To be efficient and effective, an image needs to be based on Boccaccio’s text. However illustrations must also satisfy their commissioner and comply with their wishes, even away from the original work.This research focuses as well on how to move from text to image — with particular attention on the literariness of illustration, often based on visual potential of the text. The illuminated manuscripts are systematically placed in their cultural, social and historical background, taking into account the essential role played by the reader and commissioner to understand each miniature.This study thus attempts to analyse the illuminators’ ressources. It highlights the incredible adaptability shown by these artists in their own right to illustrate the texte as their main source
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Bizzarini, Marco. "Griselda e Atalia: exempla femminili di vizi e virtù nel teatro musicale di Apostolo Zeno." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425035.
Full textAbstract:
This dissertation studies two libretti of Apostolo Zeno: the opera «Griselda» (Venice, 1701) and the oratorio «Joaz» (Vienna, 1726) along with the music composed by Albinoni, Predieri, Giovanni Maria Bononcini, Orlandini, Alessandro Scarlatti, Francesco Bartolomeo Conti, Vivaldi, Caldara and Benedetto Marcello. A systematic examination of libretti, scores, textual revisions, contemporary chronicles and documents sheds new light on the genesis of these works, among which Vivaldi's «Griselda», based on Goldoni's revision, presents a special interest. Moreover, the thesis reconsiders Zeno's libretto reform in the light of his unpublished correspondence, so far neglected by musicological studies. These documents reveal for the first time Zeno's opinions on composers such as Albinoni, Porta, Orlandini, Carapella, Caldara, Fux, and librettists such as Noris, Silvani, Salvi, Frigimelica Roberti, Conti, Rolli, Stampiglia and Metastasio.
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Rickel, Rachel D. "The Black Death and Giovanni Bocaccio's The Decameron's Portrayal of Merchant Mentality." Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1467369515.
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Muslim, Zahim Mohammed. "Lessing und der Islam." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16147.
Full textAbstract:
„Lessing und der Islam“ beschäftigt sich unparteiisch mit Lessings Auseinandersetzung mit dem Islam. Die Arbeit setzt sich das Ziel, den Leser und den Literaturkennern sowie der deutschen Bibliothek der Germanistik etwas von Lessings Auseinandersetzung mit dem Islam in die Hand zu geben, die bis heute als großes Modell für die interkulturelle und interreligiöse Menschheitstoleranzdebatte im Gedächtnis der deutschen Literatur vorhanden ist. Im ersten Teil widmet sich die vorliegende Arbeit den historisch-traditionellen literarischen Hintergründen und Vorkenntnissen Lessings zur islamischen Kultur, und deren Wirkung auf die deutsche Aufklärung im 18. Jahrhundert. In den nächsten Teilen (2-6) beschäftigt sich die Arbeit mit dem Islam in Lessings Werk und den historischen Texten von Voltaire und Marin. Sie konzentriert sich z. B. auf die dramatischen Schaffen und philosophisch-theologischen Schriften dieses deutschen Aufklärers über den Islam wie „Rettung des Hieronymus Cardanus“(1754), „Fatime“- Trauerspiel (1759) und „Nathan der Weise“ (1759) usw. Am Ende wird das Treffen der Religionsvertreter von - Judentum, Christentum und Islam - in „Nathan“ mit der erforderlichen, interkulturellen und interreligiösen Toleranzdebatte als aktuelle Weltfrage verbunden, die als Resultat für diese wissenschafts-literarische Darstellung von Lessings Auseinandersetzung mit dem Islam betrachtet werden kann.„Lessing and Islam“ deals impartially with Lessings discussion with Islam. The work aims to itself to give the reader and the literature experts as well as the German library of the German studies to somewhat of Lessings discussion with Islam in the hand which exists till this day as a big model for the intercultural and interreligious human tolerance debate in memory of the German literature. In the first part the present work devotes itself to the historical-traditional literary backgrounds and foreknowledge Lessings to the Islamic culture, and their effect on the German clarification in the 18th century. In the next parts (2-6) the work deals with Islam in Lessings to work and the historical texts of Voltaire and Marine. She concentrates, e.g., upon the dramatic creating and philosophical-theological writings of this German reconnaissance plane about Islam like „Rescue Hieronymus Cardanus“(1754), "Fatime" (1759) and „Nathan of the manner“ (1779) etc. At the end is connected the meeting of the religious representatives from - Judaism, Christianity and Islam - in "Nathan" with the necessary, intercultural and interreligious tolerance debate as a topical world question which can be looked as a result for this science-literary representation of Lessings discussion with Islam.
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Schwall-Hoummady, Christine. "Bilderzählung im 15. Jahrundert : Boccaccios Decamerone im Frankreich /." Frankfurt am Main ; Berlin ; Bern ; New York ; Paris ; Wien : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb38849934n.
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Lapa, Agata [Verfasser], Aldo [Akademischer Betreuer] Boccaccini, Aldo [Gutachter] Boccaccini, Ifty [Gutachter] Ahmed, and Uwe [Gutachter] Gbureck. "Bioactive Phosphate Glasses / Agata Lapa ; Gutachter: Aldo Boccaccini, Ifty Ahmed, Uwe Gbureck ; Betreuer: Aldo Boccaccini." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2019. http://d-nb.info/1204637679/34.
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Guiga, Ahlem. "Étude comparative, diachronique et synchronique du futur en italien, napolitain et français." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3117.
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Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futurOur research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression
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Maqbool, Muhammad [Verfasser], Aldo R. [Akademischer Betreuer] Boccaccini, Aldo R. [Gutachter] Boccaccini, and Uwe [Gutachter] Gbureck. "Substituted hydroxyapatites for antibacterial applications / Muhammad Maqbool ; Gutachter: Aldo R. Boccaccini, Uwe Gbureck ; Betreuer: Aldo R. Boccaccini." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2021. http://d-nb.info/1236755022/34.
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Jakobs, Béatrice [Verfasser]. "Rhetorik des Lachens und Diätetik in Boccaccios »Decameron«. / Béatrice Jakobs." Berlin : Duncker & Humblot, 2016. http://d-nb.info/1238353703/34.
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Sotgiu, Antonio. "Le Décaméron de Boccace au prisme des « théories du roman »." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA140.
Full textAbstract:
Ce travail se compose de deux parties. La première décrit et évalue, dans les premiers deux chapitres, l’interprétation du Décaméron de Boccace dans les travaux de Schlegel, Hegel, Lukács, Bakhtine et Auerbach. Ensuite, à partir de cette opération de comparaison, un troisième chapitre analyse des nouvelles perspectives interprétatives et historiques sur le roman, et pose les bases herméneutiques pour une nouvelle lecture du Décaméron.La deuxième partie aborde, dans un premier chapitre, la réécriture boccacienne de l’épisode de Paolo et Francesca de la Commedia de Dante (Enfer V). Dans le cadre de ce même chapitre, on analyse la théorie de la « fable » développée par Boccace dans les Genealogie deorum gentilium en montrant surtout les aspects liés aux d’allégorie, de connaissance et de consolation. À cela fait suite une analyse de la structure narrative du Filocolo et une hypothèse sur la fonction de l’épisode des « Questioni d’amore » dans l’économie globale de l’œuvre. Le deuxième chapitre propose une lecture du Décaméron qui prend appui sur la notion de « compassion » et qui offre une analyse du récit-porteur à partir d’instances éthiques et philosophiques. Les sous-chapitres centraux explorent les modalités de mise en jeu des croyances. Le chapitre se termine par une analyse de la notion de « fortune », sa théorisation et sa représentation dans le Décaméron. Le troisième chapitre est consacré à l’interprétation individuelle d’un groupe de cinq nouvelles (IV, 4 ; V, 1 ; II, 7 ; II, 9 ; X, 10)This work is composed of two parts. In the first one, I critically analyze how Boccaccio was read by the main theorists of the novel (Schlegel, Hegel, Lukács, Bakhtine, Auerbach); once described individually, these authors are later confronted with each other. A third chapter deals with new perspectives in the theory of the novel, which provide the foundation for a new interpretation of Boccaccio’s Decameron.The second part is devoted to Boccaccio’s works in themselves. First, I analyze Boccaccio’s rewriting of the dantean episode of Paolo and Francesca (Inf. V). In the same chapter I also discuss Boccaccio’s theory of the fabula as it is developed in his Genealogie deorum gentilium, by focusing on crucial issues such as allegory, knowledge and consolation. I conclude the chapter with an inquiry on the Filocolo’s narrative framework; particular attention is devoted to the episode of the «Questioni d’amore» and to its functions in the economy of the whole work. The second chapter puts forward a new reading of the Decameron, based on the notion of ‘compassion’; I analyze the Decameron’s narrative framework on the ground of philosophical and ethical categories. I also explore how the beliefs’ device is shaped by Boccaccio; the chapter ends with an enquiry around the concept of fortune, its theorization and representation in the Decameron. The third and final chapter is devoted to the individual interpretation of five novellas (IV, 4; V, 1; II, 7; II, 9; X, 10)
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Harrison, H. "Gender, language and authorship in Boccaccio's Decameron." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603776.
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Women and their position in society are placed at the forefront of Giovanni Boccaccio’s Decameron, from the dedication of the work to women in love. While some scholars have focused on the narrators of the brigata, and others have studied individual novelle, the aim of this thesis is to present a global view of the issues and concerns debated by the author regarding female use of language. The thesis consists of five chapters; ‘Gender, Language and Authorship’ positions my work in relation to the wider field of Boccaccio studies. It addresses the difficult issue of the narrative’s first speaker being a woman who speaks in church. ‘Language and Ethics’ examines transgressive feminine speech in the Decameron, particularly when this encroaches on areas of exclusively male learning. ‘When Women’s Words Fail’ revolves around the varying amounts of praise or censure afforded to the Decameron’s women speakers, and the factors which determine the success of an individual’s discourse. ‘Silence and Virtue in the Decameron’ examines the role of silence, investigating the extent to which silence is presented as a rhetorical strategy in itself, and its effectiveness as such. ‘Gendered Narration in the brigata’ addresses the relationship which the members of the brigata have to language, particularly the way in which the presentation of speakers in tales is dependent on both the gender of the brigata narrator, and on the gender of the character they describe. The conclusion asserts that the author appears to have a highly ambivalent view of rhetoric, resulting from a concern not with gender, but from an awareness of the power inherent in words. With this caveat, the presentation of female speakers in the Decameron does appear to advocate reduced restrictions on women’s speech.