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Journal articles on the topic 'Boccaccio'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Juliani, Talita Janine. "Dido, rainha de Cartago: uma releitura de Giovanni Boccaccio na obra De mulieribus claris." Rónai – Revista de Estudos Clássicos e Tradutórios 9, no. 2 (December 27, 2021): 133–53. http://dx.doi.org/10.34019/2318-3446.2021.v9.36098.

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Neste material trazemos uma tradução, para o português do Brasil, da biografia de Dido, rainha de Cartago, presente na obra De mulieribus claris, de Giovanni Boccaccio. Importante personagem feminina da Antiguidade, a Dido que Boccaccio nos apresenta em seu catálogo de vidas de mulheres foi traçada não a partir da popular versão que encontramos nos cantos iniciais da Eneida, de Virgílio, ou nas Heroides, de Ovídio, mas segundo historiadores antigos, como Justino, e os padres da Igreja, como Jerônimo. Nessa variante do mito de Dido, a rainha nunca encontrou Eneias, e o que lemos está centrado nos eventos de sua infância, casamento com Siqueu, fuga para longe do irmão e na fundação de Cartago. Além disso, lê-se no texto boccacciano uma longa exortação à castidade após a viuvez. Nossa tradução vem acompanhada de notas cujo objetivo é destacar aspectos textuais e contextuais que julgamos importantes para apreciação do texto.

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12

Lummus, David. "Placing Petrarch’s Legacy: The Politics of Petrarch’s Tomb and Boccaccio’s Last Letter." Renaissance Quarterly 70, no. 2 (2017): 435–73. http://dx.doi.org/10.1086/693178.

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AbstractIn readings of orations, letters, and poems about Petrarch’s death composed in Paduan and Florentine intellectual circles, this article shows that the well-known praise of Petrarch in these texts is a function of a political competition over Petrarch’s remains and, with them, over the rightful location of his legacy. Boccaccio’s last letter, which stands out for its rhetorical sophistication and cultural sensitivity, intervenes in this largely provincial debate with farsighted theoretical coherence and cosmopolitan political ambition. Animated by a familiar vernacular poetics, Boccaccio theorizes an intellectual entombment of Petrarch in Florence that is consonant with Boccaccio’s ongoing cultural project.

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13

Usher, Jonathan, and David Wallace. "Boccaccio: 'Decameron'." Modern Language Review 88, no. 1 (January 1993): 224. http://dx.doi.org/10.2307/3730857.

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14

Forni, Pier Massimo, Francesco Bruni, Robert Hollander, Janet Levarie Smarr, and Renzo Bragantini. "Boccaccio Retore." MLN 106, no. 1 (January 1991): 189. http://dx.doi.org/10.2307/2905254.

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15

Gahan, Peter. "Fouquet's Boccaccio." SHAW The Annual of Bernard Shaw Studies 22, no. 1 (2002): 83–98. http://dx.doi.org/10.1353/shaw.2002.0008.

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16

Papio, Michael. "On Seneca, Mussato, Trevet and the Boethian “Tragedies” of the De casibus." Colloquium, no. 9788879166539 (September 2013): 261–73. http://dx.doi.org/10.7359/653-2013-papi.

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In 1365 Boccaccio discovered Martial’sand concluded from a couple of their verses that Seneca the tragedian and Seneca the moralist were two distinct figures. This revelation renewed his interest not only in the tragedies themselves, but also in Mussato’s use of them and in Trevet’s commentaries. This essay explores Boccaccio’s perception of the ethical purpose of tragedy and the way he combined it with the lessons of thein order to create the “tragic” stories of the.

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17

Calvo Rigual, Cesáreo. "Curial e Güelfa i Boccaccio: influències lingüístiques." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (December 17, 2013): 310. http://dx.doi.org/10.7203/scripta.2.3096.

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Resum: La crítica ha trobat al Curial e Güelfa petges molt evidents d’influència de la literatura italiana, i en particular de Boccaccio. Tanmateix no ha estat estudiada una altra influència italiana, la purament lingu?ística. Un estudi detingut del Curial ha permés identificar a l’obra nombrosos elements que mostren la seua origen italiana. Molts d’aquests elements es troben presents a les obres de Boccaccio, concretament en el Decameron. Per cada element identificat al Curial s’ofereixen exemples de les obres de Boccaccio.Paraules clau: Curial e Güelfa; Boccaccio; italianismes; influència; catalàAbstract: Several scholars have found in Curial e Güelfa very clear traces of influence of Italian literature, and in particular of Boccaccio. Therefore, no other Italian influence, the purely linguistic one, has not been studied. A detailed study of the Curial has identified many elements that show their italian origin. Many of these elements are present in the works of Boccaccio, specifically in the Decameron. For each item identified in Curial, we provide some examples from the works of Boccaccio.Keywords: Curial e Güelfa; Boccaccio; italianisms; influence; Catalan

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18

Hrehul, Alina. "Concept of Fortuna in the Collection of Biographies «De Casibus Virorum Illustrium» by Giovanni Boccaccio." Ethnic History of European Nations, no. 73 (2024): 7–11. http://dx.doi.org/10.17721/2518-1270.2024.73.01.

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The cult of the goddess Fortune dates back to ancient tradition. In the Middle Ages the allegorical image of Fortune remains popular in literature and everyday life. Authors such as Augustine of Hippo, Boethius, Dante Alighieri and Giovanni Boccaccio used in their works the allegorical image of Fortune, which has special verbal and visual characteristics. The main attention in this paper is focused specifically on the study of Fortune symbolism in the collection of biographies «De Casibus Virorum Illustrium» by G. Boccaccio. In the preface to the collection the humanist outlined the task he set for himself. It consisted in depicting the misfortunes, difficult and fatal fates of legendary and famous figures in history from Adam and Eve to the writer Fr. Petrarch he was contemporary with. In the biographies it is constantly emphasized that Fortune can be unpredictable. The text of «De Casibus Virorum Illustrium» is full of negative characteristics of Fortune, which repeatedly emphasize her fickleness and treachery. The visual representation of Fortuna also has negative connotations, which creates a formidable halo around the allegorical figure. In G. Boccaccio’s description, Fortune appears as a tall woman with a stern look and a gloomy face. On miniatures of the 15th century the goddess is depicted with closed eyes, wings (sometimes multi-armed), a staff, the Wheel of Fortune (Rota Fortunae) or a ship’s rudder. It is important that the characteristics of the humanist do not include the attributes of the goddess of fate. They appear later on miniatures for translations of G. Boccaccio works, which indicates the process of formation of iconographic tradition around the image of Fortune (by the 15th century the Wheel became its main attribute). The collection «De Casibus Virorum Illustrium» was supposed to serve as a warning about the changeability of fate for influential contemporaries of G. Boccaccio and subsequent generations. In the system of that time ideas, following the cardinal virtues of Christian theology (prudence, justice, courage, temperance) guaranteed the favor of Fortune.

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Blanco Valdés, Carmen Fátima. "«El microtexto de la "Poética del desamor" en las Rimas de Boccaccio." Revista de Literatura Medieval 30 (December 31, 2018): 75–95. http://dx.doi.org/10.37536/rpm.2018.30.0.74045.

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Resumen: Sobre la base de la posibilidad de acercarnos al estudio de las Rimas de Giovanni Boccaccio a través del establecimiento de determinados núcleos temáticos que permiten un estudio de esta obra desde los enfoques macrotextuales y microtextuales, el artículo se propone el estudio de los procedimientos empleados por este escritor para la narración de lo que hemos denominado como microtexto de la «poética del desamor» entendido como efecto contrario al producido por la plenitudo amoris. Se analiza, de este modo, la categoría emocional de la Tristitia y las series poéticas comprendidas en los campos semánticos centrados en el dolor, el llanto y el deseo hiperbólico de muerte, con la intención de describir tales procesos y la interpretación particular que el poeta hace de los mismos.Palabras clave: Boccaccio, Rimas, Desamor, Análisis textual.Abstract: Giovanni Boccaccio’s Rhymes can be analyzed by establishing certain thematic nuclei that allow a study of this work from both the macrotextual and the micro-textual approaches. Based on this assumption, this article will examine the procedures used by this writer for the narration of what we have defined as a micro-text of the «poetics of disaffection», to be considered as an effect opposed to that produced by the plenitudo amoris. Thus, the emotional category of the Tristitia and the poetic series included in the semantic fields of pain, weeping and the hyperbolic desire of death are analyzed, with the aim of describing such processes and the poet’s interpretation of the same.Keywords: Boccaccio, Rhymes, Disaffection, Textual analysis.

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20

Valdés, Nicolás. "El camino narrativo de Boccaccio." Philologia Hispalensis 1, no. 7 (1992): 285–97. http://dx.doi.org/10.12795/ph.1992.v07.i01.23.

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21

Feddern, Stefan. "Boccaccios Überlegungen zum Ursprung der allegorischen Dichtung." Romanistisches Jahrbuch 72, no. 1 (November 17, 2021): 156–93. http://dx.doi.org/10.1515/roja-2021-0005.

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Abstract In this essay, the origin of poetry and its relationship to Holy Scripture as outlined by Boccaccio especially in the Genealogia deorum gentilium (GDG 14.8) are analyzed, both with a view to the reception of ancient authors and in particular against the background of the discourse on the relationship between poetry and theology since Thomas Aquinas. The article systematically examines the importance of the four characteristic features according to Boccaccio's understanding of poetry in the reconstruction of its origin: the special, metrically bound language, the divine object, allegory, and fiction.

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22

Franzén, Carin. "Reading Loops with Boccaccio, Freud and Morton." Humanities 11, no. 1 (February 18, 2022): 30. http://dx.doi.org/10.3390/h11010030.

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This article assesses the notion of ecological awareness through a re-reading of Giovanni Boccaccio’s classic Decameron, together with Sigmund Freud and Timothy Morton. The purpose is not primarily to trace antecedents to modern and late modern thought, but rather to follow a loop that in different ways is tangible in their works and links them together despite their temporal and thematic differences. If Freud and Morton possess heuristic value for a re-reading of Boccaccio, his way of articulating an earlier and freethinking vein in the humanist tradition may prompt us to see not only what an ecological thought may be, but also that it has always been there as an unconscious awareness. We suggest that such a loop can function as a liberating deviation from a linear idea of living at the end of times. In this article, we also follow this temporal and thematic loop as a tension between disruptiveness and interconnectedness that Freud metaphorically and mythologically describes as a battle between the two giants Thanatos and Eros. From Morton’s ecological perspective, everything’s interconnectedness (or Eros in Freud’s mythological description) is precisely what has been denied or repressed in the anthropocentric strive to master the world. What is interesting in this regard is that Boccaccio, by taking a specific disastrous event—the plague—as his starting point, also makes Thanatos and Eros the themes that interconnect his stories into a weird loop.

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23

Shepard (review author), Laurie. "Studi sul Boccaccio." Quaderni d'italianistica 38, no. 2 (February 4, 2019): 204–6. http://dx.doi.org/10.33137/q.i..v38i2.32238.

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24

Nicosia, Roberto. "Boccaccio 1313-2013." Italian Culture 35, no. 1 (November 10, 2016): 53–54. http://dx.doi.org/10.1080/01614622.2016.1245494.

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25

Kirkham, Victoria. "The Apocryphal Boccaccio." Mediaevalia 34, no. 11 (2013): 169–220. http://dx.doi.org/10.1353/mdi.2013.0002.

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26

DuVal, John. "Giovanni Boccaccio,Decameron." Translation Review 80, no. 1 (September 2010): 76–82. http://dx.doi.org/10.1080/07374836.2010.10524156.

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27

Bragantin, Renzo. "Para um diverso Decameron." Revista de Italianística, no. 29 (June 12, 2015): 38. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p38-70.

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Que o Decameron tenha sido fortemente influenciado pela Comédia dantesca (e parcialmente também pelo Cancioneiro de Petrarca) é fato notório. Em geral, porém, essa influência é considerada apenas nos termos de uma veneração de Boccaccio por Dante, sem que se tenha alguma vez questionado se Boccaccio não interviria para questionar, também, em função da própria poética, algumas das teses básicas do poema dantesco. Propõe-se neste ensaio precisamente essa tarefa de tentar demonstrar como Boccaccio, ao intervir em tais teses, questiona seus princípios fundamentais, em primeiro lugar aquele do estatuto de verdade, a todo momento mencionado por Dante e proposto a seu leitor, e que Boccaccio submete a um exame atento, por vezes crítico. Isso se dá, sobretudo, em alguns trechos do Decameron, nos quais Boccaccio fala diretamente, sem a mediação dos próprios narradores (por exemplo, na Introdução à IV jornada); mas também pode ser identificado nas premissas e conclusões dos narradores às próprias narrativas. Nelas, a intangibilidade da verdade, e ao mesmo tempo a necessidade de interpretar a realidade, submetida a um constante escrutínio, propõe-se não como modelo oposto, mas decerto radical e problematicamente diferente daquele que a experiência dantesca sugere

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Bragantini, Renzo. "Per un diverso Decameron." Revista de Italianística, no. 29 (June 12, 2015): 5. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p5-37.

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Que o Decameron tenha sido fortemente influenciado pela Comédia dantesca (e parcialmente também pelo Cancioneiro de Petrarca) é fato notório. Em geral, porém, essa influência é considerada apenas nos termos de uma veneração de Boccaccio por Dante, sem que se tenha alguma vez questionado se Boccaccio não interviria para questionar, também, em função da própria poética, algumas das teses básicas do poema dantesco. Propõe-se precisamente essa tarefa, de tentar demonstrar como Boccaccio, ao intervir em tais teses, questiona seus princípios fundamentais, em primeiro lugar aquele do estatuto de verdade, a todo momento mencionado por Dante e proposto a seu leitor, e que Boccaccio submete a um exame atento, por vezes crítico. Isso se dá sobretudo em alguns trechos do Decameron, nos quais Boccaccio fala diretamente, sem a mediação dos próprios narradores (por exemplo, na Introdução à IV jornada); mas também pode ser identificado nas premissas e conclusões dos narradores às próprias narrativas. Nelas, a intangibilidade da verdade, e ao mesmo tempo a necessidade de interpretar a realidade, submetida a um constante escrutínio, propõe-se não como modelo oposto, mas decerto radical e problematicamente diferente daquele que a experiência dantesca sugere

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Gelmi, Alberto. "“TRADURRE” BOCCACCIO: PROPOSTE PER LA CLASSE DI LINGUA NON MATERNA." Italiano LinguaDue 15, no. 2 (December 15, 2023): 1059–79. http://dx.doi.org/10.54103/2037-3597/22004.

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L’articolo descrive un percorso di traduzione intraliguistica introdotto in un corso di italiano avanzato di una Liberal Arts school degli Stati Uniti dedicato al Decameron di Giovanni Boccaccio. L’esperimento ha testato modalità e procedure per guidare il gruppo classe nella traduzione collettiva di una novella dall’originale medievale all’italiano contemporaneo. I risultati del lavoro e la risposta della classe mostrano che per la traduzione intra-linguistica può avere un ruolo nella classe di italiano L2, da cui studenti e studentesse possono trarre vantaggio sia per l’apprendimento letterario sia per quello linguistico. ‘Translating’ Boccaccio: proposals for the non-native language classroom The article recounts an experiment in an advanced class of Italian in a private Liberal Arts school in the United States. The topic of the 14-week class was Boccaccio’s Decameron in its full version. While still inaccessible in the original in its entirety, the experiment tested activities and formats that could guide students in a collective, self-guided translation of one single novella in the original into contemporary Italian. The results and the response from students intimate that there is room for intra-linguistic translation in the Italian L2 classroom, from which both literary and language learning can benefit.

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Classen, Albrecht. "German-Italian Literary Connections in the Late Middle Ages: Boccaccio’s The Decameron in Light of Some Late Medieval German Narrative Precedents." arcadia 55, no. 2 (November 9, 2020): 260–78. http://dx.doi.org/10.1515/arcadia-2020-2001.

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AbstractComparative research focused on medieval literature continues to be characterized by many desiderata, especially with regard to the fruitful relationships between late medieval verse narratives, mæren, and the famous Italian storyteller Boccaccio and his Decameron. This paper brings to light four significant Middle High German verse narratives from the 13th or early-14th century that demonstrate remarkable similarities with stories contained in Boccaccio’s Decameron. While the study of Boccaccio’s sources has traditionally been focused primarily on Old French (fabliaux) or Latin sources, here I introduce a number of texts that were composed just a few decades earlier and which express, in surprising parallel, strikingly similar themes that could be straight from the textbook the Italian poet might have drawn from. We have, of course, no specific evidence as to Boccaccio’s direct familiarity with late-medieval German literature, but the motif analysis reveals major parallels between the examples in The Decameron and in those mæren.

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Heise, Pedro F. "As Etimologias de Giovanni Boccaccio." Revista de Italianística, no. 25 (June 7, 2013): 27. http://dx.doi.org/10.11606/issn.2238-8281.v0i25p27-35.

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Seguindo o preceito amplamente difuso na Idade Média de que “nomina sunt consequentia rerum”, Boccaccio nomeou suas obras de acordo com significados etimológicos, sobretudo de origem grega, às vezes com acepções criadas pelo próprio autor. Além dos títulos, os nomes dos personagens principais de quase toda sua produção literária também foram forjados segundo certas etimologias. Dentre os inúmeros casos apresentados pelo autor do Decameron, um se destaca: trata-se da origem do vocábulo “poeta”, demonstrada por Boccaccio em algumas de suas obras pós-decameronianas, a saber, a Genealogia deorum gentilium, o Trattatello in laude di Dante e as Esposizioni sopra la Comedia di Dante. Como se verá neste artigo, Boccaccio propôs mais de uma etimologia para “poeta”, provavelmente devido à polêmica cristã que julgava a poesia contrária à verdade, de modo que o poeta, que era um “fazedor de fábulas”, era considerado um mentiroso. Boccaccio, ao rebater essa afirmação, defende o lugar do poeta na sociedade de seu tempo, demonstrando a necessidade da poesia para o homem

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Perino, Alejo. "Teorías de la ficción en Boccaccio y su relación con Macrobio y Petrarca." Scripta Mediaevalia 15, no. 2 (November 28, 2022): 215–49. http://dx.doi.org/10.48162/rev.35.022.

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El presente trabajo se propone analizar la defensa de la poesía que realiza Boccaccio en los dos últimos libros de las Genealogie deorum gentilium en conexión con su fuente principal, la exposición de los tipos de fabulae que realiza Macrobio en sus Commentarii in Somnium Scipionis. A lo largo del análisis demostraremos que la clasificación de Boccaccio pretende incorporar al estatuto de fabula un tipo de ficción que no puede ser interpretado alegóricamente, pero que en cambio cumple la función de consolar los ánimos afligidos. A su vez, intentaremos demostrar que, aunque las ideas de Petrarca sobre la poesía incluyan modos de lectura que apuntan al mismo objetivo, no pueden asimilarse a las de Boccaccio, ya que reproducen la diferencia entre lo alto y lo bajo que ya se encuentra en Macrobio. De esta manera, la teoría de la ficción de Boccaccio se presenta como una reelaboración original con respecto a los otros dos autores.

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Reis, Adriana Aparecida De Jesus, and Mirian Salvestrin Bonetto. "As Molduras do Decamerone e do Pentamerone." Revista Italiano UERJ 12, no. 2 (July 13, 2022): 19. http://dx.doi.org/10.12957/italianouerj.2021.67595.

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RESUMO: Giovanni Boccaccio, ao escrever sua obra-prima Decamerone no Trecento italiano (século XIV), emprega a narrativa-moldura para unir, em um encadeamento sucessivo, suas cem novelle. Procedente da retórica medieval e das narrativas orientais, a narrativa-moldura recebe de Boccaccio uma nova função: passa a integrar efetivamente a obra, tornando-se indispensável para a compreensão do todo. Giambattista Basile, escritor napolitano do Seicento (século XVII), retoma essa estrutura narrativa em sua coletânea de cinquenta contos maravilhosos intitulada Lo cunto de li cunti ovvero lo trattenemiento de peccerille, publicada postumamente entre 1634-36 em língua napolitana pela irmã do escritor. A obra-prima de Basile é também conhecida como Pentamerone ossia la fiaba delle fiabe, título atribuído pelo estudioso e crítico italiano Benedetto Croce em 1925, ao traduzi-la da língua napolitana para o italiano standard, em alusão à organização inaugurada por Boccaccio na Literatura Italiana a fim de tornar o livro napolitano mais conhecido na literatura nacional. Desse modo, em nosso estudo, temos o objetivo de investigar em que medida Giambattista Basile retoma o seu ilustre antecessor florentino, isto é, quais são os diálogos que a moldura do Pentamerone estabelece com a moldura do Decamerone, tendo em vista a diferença de contextos de produção entre ambos os livros.Palavras-chave: Boccaccio. Decamerone. Basile. Pentamerone. Narrativa-moldura. ABSTRACT: Quando scrive il suo capolavoro Decamerone nel Trecento, Giovanni Boccaccio usa il racconto-cornice per unire, in concatenamento, le sue cento novelle. Procedente dalla retorica medioevale e dalle narrazioni orientali, il racconto-cornice ottiene da Boccaccio una nuova funzione: comincia a integrare efficacemente l’opera, diventando indispensabile per la comprensione del tutto. Giambattista Basile, lo scritore napoletano del Seicento, riprende questa struttura narrativa nella raccolta sua costituita da cinquanta racconti fiabeschi ed intitolata Lo cunto de li cunti ovvero lo trattenemiento de peccerille. Quest’opera fu pubblicata dopo la morte di Basile, tra 1634-1636, in lingua napoletana da sorella dello scritore. Il capolavoro di Basile è anche conosciuto come Pentamerone ossia la fiaba delle fiabe, titolo assegnato dallo studioso e critico italiano Benedetto Croce nel 1925, quando lui ha fatto la traduzione dalla lingua napoletana all’italiano, facendo riferimento all'organizzazione inaugurata da Boccaccio nella Letteratura Italiana, affinché potesse diventare il libro napoletano più famoso nella letteratura nazionale. In questo modo, nel nostro studio, abbiamo l’obbiettivo di analisare a che punto Giambattista Basile riprende il suo illustre predecessore fiorentino, cioè, quali sono i dialoghi che la cornice del Pentamerone stabilisce con la cornice del Decamerone, in vista alla diferenza dei contesti di produzione tra entrambi i libri.Parole-chiave: Boccaccio. Decamerone. Basile. Pentamerone. Racconto-cornice. ABSTRACT: When Giovanni Boccaccio wrote his masterpiece Decamerone during the Italian Trecento (14th century), he used the frame story to unite, in a successive chain, his one hundred short stories. A precedent of medieval rhetorics and eastern tales, the frame story received a new role from Boccaccio: it started to effectively integrate the book and became indispensable for the understanding of the whole. Giambattista Basile, Neapolitan writer from the Seicento (17th century), reintroduces this narrative structure in his collection of fifty fairy tales named Lo cunto de li cunti ovvero lo trattenemiento de peccerille, posthumously published in Neapolitan language by his sister between 1634-1936. Basile’s masterpiece is also known as Pentamerone, title given to the book by the Italian scholar and critic Benedetto Croce in 1925, when he translated it to the standard Italian, as a reference to the narrative organization inaugurated by Boccaccio in Italian Literature in order to expand the Neapolitan book’s reach at a national level. Thus, we intend to investigate to what extent Giambattista Basile refers to his illustrious predecessor or, in other words, what kind of dialogue the Pentamerone’s frame story keeps with Decamerone’s, considering the different contexts of production of both pieces.Keywords: Boccaccio. Decamerone. Basile. Pentamerone. Frame story.

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Farneti, Roberto. "Naturalizing Humanity: Genealogy and the Politics of Storytelling in Boccaccio'sDecameron." Review of Politics 71, no. 3 (2009): 363–88. http://dx.doi.org/10.1017/s0034670509990015.

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AbstractIn his literary masterwork, theDecameron, Boccaccio undertakes a thorough examination of human values along the lines he had drawn in his history of the origins of the gods, theGenealogie deorum gentilium libri, on the assumption that values, in a world emptied of the gods, retain a similarly normative and aggregating function. To Boccaccio both gods and values are transient items in a moral ontology that acknowledges only one set of perennial items: natural impulses and dispositions. Boccaccio adopts a particular stance towards the emergence of values: genealogy is, for him, a distinctive way to examine the processes whereby beliefs, attitudes, and values come about.

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Equestri, Alice. "Translating the Law in the Inns of Court Play Gismond of Salerne (1566–68)." Studies in Philology 120, no. 3 (June 2023): 458–87. http://dx.doi.org/10.1353/sip.2023.a903803.

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Abstract: Gismond of Salerne (1566–68) was a dramatic adaptation of Giovanni Boccaccio’s Tancredi and Ghismunda novella produced at the Inner Temple. Positing that the legal background of the authors was reflected in their reception of Boccaccio, this essay investigates the representation and use of various significations of the law in the play. It argues that the Inns authors were receptive to the presence of the Natural Law concept in the background of Boccaccio’s novella and that they intensified its role in the play, emphasizing its conflict with man-made law. The latter is also investigated in its own right, showing its impact on a thematic, rhetorical, and dramaturgical level. Further, the Inns writers’ political interests as members of a community revolving around common law explain why the play idealizes and justifies specific legal notions and practices.

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Classen, Albrecht. "Ulrich Bonerius - A Swiss-German Boccaccio?" Neuphilologische Mitteilungen 122, no. 1-2 (January 4, 2022): 105–33. http://dx.doi.org/10.51814/nm.103088.

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The Dominican Priest from Bern, Ulrich Bonerius, composed his collection of fables, Der Edelstein, at exactly the same time when Boccaccio created his collection of tales, Decameron, 1350. Even though there is no direct evidence of any kind of personal contacts between these two poets, the strong similarities between both works in formal and conceptual terms prove to be striking. This article illustrates the reasons why we would be justified to call Bonerius, more than just playfully, a German-language Boccaccio, since he created the first major compilation of narratives (in verse), framed by a prologue and an epilogue, in the history of late medieval German literature. While Boccaccio has ten story-tellers entertain each other over ten days (ten stories per day = 100) reflecting on eroticism, love, adventures, or anti-clericalism, Bonerius offers one hundred didactic fables illustrating human failings, shortcomings, and vices. Both contemporaries thus aimed at criticizing and improving their society through surprisingly similar literary means. Bonerius thus emerges as one of the most important fourteenth-century poets in the German tongue who deserves to be placed close to Boccaccio.

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Marafioti, Martin. "Semantic Distance as Reaction to Pestilence in Medieval Italy: Evidence from the Story Collections of Boccaccio, Sacchetti, and Sercambi." Forum Italicum: A Journal of Italian Studies 39, no. 2 (September 2005): 326–49. http://dx.doi.org/10.1177/001458580503900202.

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In his Decameron, Giovanni Boccaccio prescribes storytelling as a means of distraction from the anxieties and suffering associated with the mortifera pestilenza of 1348. Boccaccio pays careful attention to semantics in his work; he confines the discussion of pestilence to the frame tale and avoids evoking the plague thematically, symbolically, and linguistically in the one hundred novelle. This essay examines the power attributed to language in times of epidemic outbreak, in particular, the fear of pronouncing the name of an illness, as if somehow, words possessed the power to make one more susceptible to the malady or to infect. This linguistic aversion to pestilence is analyzed in the story collections of Giovanni Boccaccio, Franco Sacchetti, and Giovanni Sercambi.

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Filosa, Elsa. "Intertestualità tra Decameron e De mulieribus claris: La tragica storia di Tisbe e Piramo." Colloquium, no. 9788879166539 (September 2013): 153–60. http://dx.doi.org/10.7359/653-2013-filo.

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Le intertestualità traedimostrano come, tra il Boccaccio novelliere in volgare e il Boccaccio biografo in latino, la distanza sia solo apparente. Nel caso particolare, la storia di Gerolamo e Salvestra (. 4.8), ispirata in parte dalla favola di Piramo e Tisbe raccontata da Ovidio (. 4.55-62), offre degli addentellati decameroniani nella versione boccacciana inclusa nel.

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Daichman, Graciela S., and Carmelo Gariano. "Juan Ruiz, Boccaccio, Chaucer." Hispania 69, no. 3 (September 1986): 538. http://dx.doi.org/10.2307/342735.

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Ronchetti, Alessia, Thomas C. Stillinger, and F. Regina Psaki. "Boccaccio and Feminist Criticism." Modern Language Review 103, no. 3 (July 1, 2008): 870. http://dx.doi.org/10.2307/20467971.

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Sider, Sandra, and Virginia Brown. "Giovanni Boccaccio: "Famous Women"." Classical World 95, no. 2 (2002): 204. http://dx.doi.org/10.2307/4352663.

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Merola, Carmela. "Giovanni Boccaccio, The Decameron." Forum Italicum: A Journal of Italian Studies 50, no. 1 (July 14, 2015): 275–77. http://dx.doi.org/10.1177/0014585815594599.

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Anderson, David. "Eclogues by Giovanni Boccaccio." Studies in the Age of Chaucer 11, no. 1 (1989): 183–85. http://dx.doi.org/10.1353/sac.1989.0009.

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Migiel, Marilyn. "In Boccaccio We Trust?" MLN 134, no. 1 (2019): 1–21. http://dx.doi.org/10.1353/mln.2019.0000.

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Celenza, Christopher S. "Philology, Philosophy and Boccaccio." MLN 134, S (2019): S—126—S—137. http://dx.doi.org/10.1353/mln.2019.0062.

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Molnár, Annamária. "(Isten)nők és Boccaccio." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 55–66. http://dx.doi.org/10.14232/antikren.2018.1.55-66.

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Giovanni Boccaccio, writing his prosaic works in Latin and researching antique and medieval literary sources, as a philologist faces the question of systematizing and evaluating of Greek-Roman goddesses: were they really goddesses or not? How can he reveal his point of view to his readers? What kind of concept stands out in Genealogia deorum gentilium, and how consciously and consistently he uses that later in De mulieribus claris? What are the similarities and the differences between the portraits of goddesses in these two works? This is a maze of Cereses and Minervas, and the reader himself has to find the way out of it.

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Bacigalupo, M. "Yeats, Boccaccio, and Leopardi." Notes and Queries 52, no. 4 (December 1, 2005): 499–500. http://dx.doi.org/10.1093/notesj/gji434.

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Menetti, Elisabetta. "Boccaccio e a Fantasia." Revista de Italianística, no. 29 (June 12, 2015): 109. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p109-133.

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A fantasia no Decameron de Giovanni Boccaccio entre fabula e historia, deve medir-se imediatamente com as consequências da estreita relação, estabelecida desde a antiguidade, entre invenção e verdade, dando origem a um texto em que o mundo real dialoga com o maravilhoso e o extraordinário na criação de outros mundos, pelos quais viaja o grupo dos dez narradores. Pode-se verificar ainda como a literatura para Boccaccio, que apresenta sua teoria sobre a escrita em seu Genealogia deorum gentilium é locutio sub figmento capaz de dar vida - por admirável tensão criativa – a um mundo novo de palavras

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Barni, Roberta. "Boccaccio. Firenze: Le Monnier." Revista de Italianística, no. 29 (June 12, 2015): 229. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p229-235.

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Heise, Pedro F. "Le “Fabulae” di Boccaccio." Revista de Italianística, no. 29 (June 12, 2015): 71. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p71-83.

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No Proêmio do Decameron, Boccaccio aponta que contará “cem novelas, ou fábulas, ou parábolas, ou histórias que queiramos dizer”, termos sinonímicos que reforçam a novidade do gênero “novela”. Na Genealogia deorum gentilium, porém, o poeta retoma o termo latino “fabula”, que é mais ainda especificado em quatro sentidos diferentes, cada um dos quais com a intenção de definir da melhor maneira possível o próprio trabalho de Boccaccio, isto é, as suas “fabulae”. Neste artigo o leitor encontrará uma discussão acerca dos quatro sentidos do termo, assim como algumas relações possíveis com a obra italiana do certaldense

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