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Journal articles on the topic 'De Claris Mulieribus'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Molnár, Annamária. "Szempontok a De mulieribus claris elemzéséhez." Antikvitás & Reneszánsz, no. 3 (January 1, 2019): 63–78. http://dx.doi.org/10.14232/antikren.2019.3.63-78.

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Boccaccio had proved by his vernacular and Latin prosaic works as well that he merited a place among the three crowns of Italian literature. By De mulieribus claris he created the first collection of women’s biographies in the Western European literature, which work testifies such a complexity worth for analysing. This paper presents the various aspects I needed to apply during the analysis of the common goddesses of Genealogia and De mulieribus – e. g. the problem of the readers, the utilized literary sources, the narrative techniques and even the tradition called Euhemerism – to understand De mulieribus itself and due to these points of view to identify the answers that Boccaccio gave to the challenges of the Medieval and Renaissance interpretational traditions.

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Juliani, Talita Janine. "Vestigia de Ovídio em três biografias da obra De mulieribus claris de Giovanni Boccaccio." Nuntius Antiquus 14, no. 1 (July 13, 2018): 111–32. http://dx.doi.org/10.17851/1983-3636.14.1.111-132.

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Em seu catálogo Sobre as mulheres famosas (De mulieribus claris), escrito entre 1361-1362, Giovanni Boccaccio explora o universo mítico greco-romano, retratando a vida de figuras femininas notáveis (clarae) da Antiguidade. Estudos anteriores sobre o De mulieribus claris tendem a ser marcados por um viés dicotômico, que oscila entre apontar um caráter moralista (cristão) ou “meramente” literário nas biografias. Eruditas “pesquisas de fontes” (Quellenforschungen) – as quais são normalmente associadas à segunda perspectiva – destacam, entre outras fontes clássicas, a obra do poeta Ovídio (43 a.C.-17 d.C.). O objetivo central a que se dedica este artigo é investigar como a poesia do autor romano é aludida em De mulieribus claris, e explorar efeitos de sentido de tal presença no catálogo em estudo. Referências ao texto de Ovídio serão apreciadas, valendo-se de preceitos de teoria Intertextual aplicada às Letras Clássicas, em passagens de três biografias, a saber, Tisbe (XIII), Medeia (XVII) e Safo (XLVII). A observação da relação entre os textos dos autores antigo e moderno nos fornece indícios de como se dá o processo de ressignificação do material da Antiguidade na obra boccacciana, passando, de fato, tanto pela reinterpretação de elementos mitológicos no âmbito de uma perspectiva moral cristã, quanto por movimentos de referenciação que filiariam Boccaccio aos grandes autores da Antiguidade.

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3

Schram, Bernard. "Giovanni Boccaccio. Famous Women (De mulieribus claris)." Modern Schoolman 79, no. 4 (2002): 313–15. http://dx.doi.org/10.5840/schoolman200279417.

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4

Sciacovelli, Antonio Donato. "Dal De viris illustribus al De mulieribus claris." Verbum 7, no. 1 (May 2005): 263–79. http://dx.doi.org/10.1556/verb.7.2005.1.15.

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5

Rodríguez Mesa, Francisco José. "Due pittrici greche nel De mulieribus claris (I): Tamari (it)." Futhark. Revista de Investigación y Cultura, no. 13 (2018): 91–103. http://dx.doi.org/10.12795/futhark.2018.i13.06.

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Fra le centosei biografie muliebri che compongono il De mulieribus claris di Giovanni Boccaccio si annovera un certo gruppo di donne che spiccarono per la loro saggezza o per il loro virtuosismo in diverse arti. All’interno di questa categoria, il certaldese narra brevemente il talento di due pittrici che vissero nella Grecia dell’Antichità: Tamari, figlia di Micone (capitolo LVI), e Irene, figlia di Cratino (LIX). Il presente articolo – primo di due studi che prenderanno in analisi le due vite suddette – studia le particolarità del capitolo dedicato a Tamari (LVI) analizzando le fonti utilizzate dall’autore e la struttura della vita, che viene paragonata agli altri modelli presenti nella silloge, sia per quanto riguarda l’estensione, sia rispetto ai motivi per i quali eccelse la protagonista.

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Rodríguez Mesa, Francisco José. "Introducción Due pittrici greche nel De mulieribus claris (II): Irene." Futhark. Revista de Investigación y Cultura, no. 14 (2019): 181–92. http://dx.doi.org/10.12795/futhark.2019.i14.12.

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Fra le centosei biografie muliebri che compongono il De mulieribus claris di Giovanni Boccaccio si annoverano quelle di un certo gruppo di donne che spiccarono per la loro saggezza o per il loro virtuosismo in diverse arti. All’interno di questa categoria, il certaldese narra brevemente il talento di due pittrici che vissero nella Grecia dell’Antichità: Tamari, figlia di Micone (capitolo LVI), e Irene, figlia di Cratino (LIX). Il presente articolo – secondo di due studi che prendono in analisi le due vite suddette – studia le particolarità del capitolo dedicato a Irene (LIX) analizzando le fonti utilizzate dall’autore e la struttura della vita alla luce degli schemi narrativi usati dal certaldese.

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7

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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8

MÜLLER, RICARDA. "Die jungfräuliche Künstlerin Ein humanistisches Frauenideal in Boccaccios De mulieribus claris." Antike und Abendland 38, no. 1 (December 31, 1992): 124–32. http://dx.doi.org/10.1515/9783110241501.124.

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9

Molnár, Annamária. "Ut clare mulieres ampliores sint numero." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 99–114. http://dx.doi.org/10.14232/antikren.2018.2.99-114.

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Boccaccio, standing between the Middle Ages and the Renaissance, uses specific methods of systematization and techniques when he decides to write (even many times if necessary) the biographies of the goddesses of Greco-Roman mythology. What influences his methods? Is it important which description of a goddess into which work of his – Genealogia deorum gentilium or De mulieribus claris or both – he intends to insert? What kind of literary sources does he rely on while writing these biographies? My paper starts a reckless „Minerva-counting” and describes the problem through the figure of one of the most important goddesses of the ancient culture.

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Amiot, Justine. "Le De plurimis claris selectisque mulieribus de Jacopo Filippo Foresti : un maillon méconnu de la réception du De mulieribus claris de Boccace et du genre des vies de femmes célèbres1." Anabases, no. 18 (October 1, 2013): 33–45. http://dx.doi.org/10.4000/anabases.4325.

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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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12

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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Caputo, Vincenzo. "Una galleria di donne illustri : il De mulieribus claris da Giovanni Boccaccio a Giuseppe Betussi*." Cahiers d’études italiennes, no. 8 (July 15, 2008): 131–47. http://dx.doi.org/10.4000/cei.894.

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Filosa, Elsa. "Boccaccio tra storia e invenzione: DalDe fide uxorium erga virosdi Valerio Massimo alDe mulieribus claris." Romance Quarterly 54, no. 3 (July 2007): 219–30. http://dx.doi.org/10.3200/rqtr.54.3.219-230.

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Esteva de Llobet, Lola. "Sobre la fortuna de Boccaccio en la tradición peninsular. Las primeras traducciones catalanas y la incorporación de la misoginia en Cataluña." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (December 16, 2013): 213. http://dx.doi.org/10.7203/scripta.2.3092.

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Resum: Con la traducción al catalán de Il Corbaccio por el mercader Narcís Franch (1498) se inicia una doble corriente peninsular de misoginia y feminismo. Sus argumentos pasaron a formar parte del pensamiento misógino defendido por el Arciprestre de Talavera, Bernat Metge, Jaume Roig, Francesc Eiximenis y Pere Torrelles. Sin embargo, esta tendencia de vituperio e invectiva contra las mujeres tuvo también sus detractores, lo que originó la llamada «querella de las mujeres» en defensa de sus valores. Hombres y mujeres como Christine de Pizan, Teresa de Cartagena, Isabel, Enrique de Villena y Rodríguez del Padrón atacaron la reprobación sistemática del sexo femenino, basándose en el De claris mulieribus de Boccaccio Partiendo de los argumentos pro y anti femeninos de La Fiammetta y Il Corbaccio se revisan textos y argumentos misóginos de la tradición, con el fin de elaborar una teoría sobre la «querelle de las mujeres» en la tradición catalana y castellana.Palabras clave: Boccaccio; traducciones catalanas; misoginia; querelle de la rosa; querelle de las mujeres»Abstract: The Catalan translation of II Corbaccio made by the merchant Narcís Franch (1948) initiates a double stream of though in the Spanish peninsula about misogyny and feminism. His arguments became part of the misogyny though defended by Arciprestre de Talavera, Bernat Metge, Jaume Roig, Francesc Eiximenis and Pere Torrelles. Nevertheless, this trend of though about disgrace and invective against women also had its detractors, which originated the socalled «querelle des femmes» in defense of their values. Men and women like Christine de Pizan, Teresa de Cartagena, Isabel, Enrique de Villena and Rodríguez del Padrón attacked the systematic condemnation of women, inspired by the Claris mulieribus of Boccaccio. Based on the arguments pro and against female of La Fiammetta and Il Corbaccio, this article will reviews other texts and misogynous arguments of the tradition, with the purpose of concluding my theory about the «querelle des femmes» in Catalonia and Castile.Keywords: Boccaccio; Catalan translations; misogyny; querelle de la rose; querelle des femmes»

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Juliani, Talita Janine. "A “mordida da inveja”: defesa da obra e imagens de autoria ovidiana no De Mulieribus Claris de Giovanni Boccaccio." Nuntius Antiquus 13, no. 1 (August 31, 2017): 85–105. http://dx.doi.org/10.17851/1983-3636.13.1.85-105.

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Neste artigo, propõe-se uma discussão sobre a construção da imagem autoral de Giovanni Boccaccio (1313-1375), dando particular enfoque à relação de tal construção com elementos da representação autoral do poeta romano Ovídio (43 a.C.-17 d.C.). Especificamente, consideraremos especialmente traços da imagem de um autor que defende sua obra da inveja de possíveis críticos. Dentre o corpus boccacciano selecionado, passagens do Decameron (1348-1351) e da obra De Mulieribus Claris (1361-1362) serão cotejadas, com amparo de metodologia intertextual aplicada às letras clássicas, com excertos dos textos ovidianos de Remedia amoris (1 a.C.- 1 d.C.) e Tristia (9-12 d.C.). Como se verá, o confronto entre passagens de textos boccaccianos e ovidianos suscita novas possíveis leituras da obra do autor renascentista, propiciando renovadas reflexões acerca da representação autoral de Boccaccio.

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17

Molnár, Annamária. "Vocavere eam preterea multis nominibus: a boccacciói Ops nyomában." Antikvitás & Reneszánsz, no. 5 (May 1, 2020): 85–105. http://dx.doi.org/10.14232/antikren.2020.5.85-105.

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Ops istennő már az ókori irodalmi hagyományban is – mind névalakjait, mind a hozzá társított funkciókat tekintve – rendkívül komplex istennőként van jelen. A bőség, a gazdagság, a termékenység és a Föld istenségeként számos néven említik őt (többek között Opis, Rhea, Tellus vagy leginkább Cybelé), és ezzel párhuzamosan különféle szerepeket tulajdonítanak neki, amelyek között egyértelmű distinkció nem születik, sem az antikvitásban, sem a középkorban. Tanulmányomban azt kívánom bemutatni, hogyan értelmezi mindezeket az Opshoz köthető, antik irodalmi elemeket a középkori hagyomány szűrőjén keresztül Boccaccio. Milyen attribútumok és interpretációk jutnak el hozzá, és forrásai alapján hogyan alkotja meg az istennőről szóló leírásait a De mulieribus claris és a Genealogia deorum gentilium soraiban? Milyen ellentmondásokba keveredik a filológus és a narrátor Boccaccio és ezek vajon feloldhatók-e? Ops alakja Boccaccio interpretációjában tehát szemléletes példája lehet annak, milyen kihívásokkal találja magát szemben a filológia hajnalán egy, az elődeitől származó ismeretek feldolgozására törekvő szerző.

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McGovern, Abby. "Writing the Antithesis of María of Aragón: Alvaro de Luna's Rendering of Giovanni Boccaccio's De mulieribus claris." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (December 16, 2013): 325. http://dx.doi.org/10.7203/scripta.2.3097.

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Baggio, Adriana Tulio. "Considerações sobre a axiologia donna x femmina para orientar uma tradução brasileira de Boccaccio." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 24. http://dx.doi.org/10.12957/italianouerj.2021.62089.

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RESUMO: Delle donne famose, de Donato Albanzani, é um dos vulgarizamentos da coletânea de biografias femininas escrita por Giovanni Boccaccio na década de 1360. Um projeto de tradução desse vulgarizamento levanta a questão sobre a pertinência de se traduzir por "fêmea" o femmina adotado na obra (que se alterna com o uso de donna), já que os sentidos negativos do termo, no italiano do século XIV, eram distintos e menos depreciativos que do que aqueles do correspondente em português. Para examinar tal pertinência, observou-se as ocorrências de donna e femmina no texto do livro com base em três situações: diferenciação por classe de palavras, semantismo dos termos e de seus predicados, e contexto das ocorrências. A análise revela a constituição de axiologias que homologam a oposição natureza x cultura, com femmina em posição disfórica associada à "natureza". Como as acepções depreciativas de "fêmea" se fundam na projeção de aspectos "animalizados" na mulher, pretensamente oriundos de um estágio pré-cultural e humano, o termo pode ser considerado pertinente para traduzir o femmina e evocar os sentidos que ajuda a produzir no texto italiano.Palavras-chave: Literatura italiana medieval. De mulieribus claris. Axiologia do feminino. Mulher x fêmea. Tradução. ABSTRACT: Delle donne famose, di Donato Albanzani, è una delle volgarizzazioni della raccolta di biografie femminili scritta da Giovanni Boccaccio negli anni Sessanta del Trecento. Un progetto di traduzione al portoghese brasiliano di questa volgarizzazione mette in rilievo la questione della pertinenza di si tradurre come fêmea la parola "femmina" (adoperata in alternanza alla parola donna), poiché i significati negativi del termine, nell’italiano del XIV secolo, erano distinti e meno denigratori di quelli del corrispondente portoghese. Per esaminare tale pertinenza, si ha osservato le occorrenze delle parole "donna" e "femmina" nel testo del libro sulla base di tre situazioni: la differenziazione per classe di parole, la semantica dei termini e dei loro predicati e il contesto delle occorrenze. L’analisi rivela la costituzione di assiologie che sanciscono l’opposizione natura x cultura, con il termine "femmina" in una posizione disforica associata alla "natura". Poiché i significati dispregiativi di fêmea si basano sulla proiezione di aspetti "animalizzati" nelle donne, presumibilmente da una fase pre-culturale e umana, il termine può essere considerato pertinente per tradurre la parola "femmina" e per evocare i sensi che questa aiuta a produrre nel testo italiano.Parole chiave: Letteratura italiana del medioevo. De mulieribus claris. Assiologia del femminile. Donna x femmina. Traduzione. ABSTRACT: Donato Albanzani’s Delle donne famose is one of the Italian translations of the collection of female biographies written by Giovanni Boccaccio in the 1360s. A Brazilian translation project of this work rises the question if it would be pertinent to use the Portuguese word fêmea for the Italian femmina (which appears alternately with donna to referes to women), since the negative meanings of the term, in 14th century Italian, were distinct and less disparaging than those of its Portuguese correspondent. To examine such pertinence, we observe in the text of the book the occurrences of donna and femmina based on three situations: differentiation by class of words, semanticism of terms and their predicates, and context of occurrences. The analysis reveals the constitution of axiologies that ratify the nature x culture opposition, with femmina in a dysphoric position associated with "nature". As the derogatory meanings of fêmea are based on the projection of "animalized" aspects in women, supposedly from a pre-cultural and human stage, the term can be considered relevant to translate the word femmina and to evoke the senses that it helps to produce in the Italian text.Keywords: Medieval Italian literature. De mulieribus claris. Axiology of the feminine. Woman x female. Translation.

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Fögen, Thorsten. "Gender-Specific Communication in Graeco-Roman Antiquity: With a Research Bibliography." Historiographia Linguistica International Journal for the History of the Language Sciences 31, no. 2-3 (2004): 199–276. http://dx.doi.org/10.1075/hl.31.2-3.03fog.

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It has been the main interest of numerous studies in modern linguistics, in particular since the 1980s, to analyse gender-specific language and modes of communication. However, the vast majority of these contributions completely ignores the fact that some ancient authors already raised the problem of gender-specific language and thus made at least a first step towards a diaphasic sketch of the linguistic levels and varieties of both Greek and Latin. The ancient sources on women’s language are admittedly not very ample and, moreover, rather scattered. It is the aim of this contribution to bring together relevant metalinguistic passages and provide a close reading in order to obtain a more differentiated impression of the ancients’ views on gender-specific language and style. It is highlighted that differences are pointed out by ancient authors not only in pragmatic respects, but also for the phonological, morphological and lexico-semantic levels. The focus is on excerpts from Plato, Aristophanes, Roman comedy and rhetorical writings, but further (sometimes indirect) sources are also included. The final part of this contribution considers the evidence on “women’s speech” in Giovanni Boccaccio’s treatiseDe mulieribus claris.

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Fögen, Thorsten. "Gender-specific communication in Graeco-Roman antiquity." Historiographia Linguistica 31, no. 2-3 (December 31, 2004): 199–276. http://dx.doi.org/10.1075/hl.31.2.03fog.

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Summary It has been the main interest of numerous studies in modern linguistics, in particular since the 1980s, to analyse gender-specific language and modes of communication. However, the vast majority of these contributions completely ignores the fact that some ancient authors already raised the problem of gender-specific language and thus made at least a first step towards a diaphasic sketch of the linguistic levels and varieties of both Greek and Latin. The ancient sources on women’s language are admittedly not very ample and, moreover, rather scattered. It is the aim of this contribution to bring together relevant metalinguistic passages and provide a close reading in order to obtain a more differentiated impression of the ancients’ views on gender-specific language and style. It is highlighted that differences are pointed out by ancient authors not only in pragmatic respects, but also for the phonological, morphological and lexico-semantic levels. The focus is on excerpts from Plato, Aristophanes, Roman comedy and rhetorical writings, but further (sometimes indirect) sources are also included. The final part of this contribution considers the evidence on “women’s speech” in Giovanni Boccaccio’s treatise De mulieribus claris.

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22

Bürgel, Matthias. "Heinz Willi Wittschier, Boccaccios «De mulieribus claris». Einführung und Handbuch (Grundlagen der Italianistik, 17), Frankfurt am Main, Lang, 2017, 562 p." Zeitschrift für romanische Philologie 135, no. 2 (June 5, 2019): 610–17. http://dx.doi.org/10.1515/zrp-2019-0035.

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23

Schnell, Rüdiger. "Ricarda Müller : Ein Frauenbuch des frühen Humanismus. Untersuchungen zu Boccaccios De mulieribus claris (Palingenesia. 40). Stuttgart: Franz Steiner Verlag, 1992. 190 S." Poetica 27, no. 3-4 (August 14, 1995): 484–90. http://dx.doi.org/10.30965/25890530-0270304012.

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González Doreste, Dulce Maria, and Francisca Del Mar Plaza Picón. "À propos de la compilation: Du De claris mulieribus de Boccace à Le Livre de la Cité des Dames de Christine de Pisan." Le Moyen Français 51-52-53 (January 2003): 327–37. http://dx.doi.org/10.1484/j.lmfr.2.303016.

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Csillag, Paul Andreas. "Von einer „Imperatorix“ zu einer „mulier clara“. Kaiserin Konstanze im Spiegel von „Liber ad honorem Augusti sive de rebus siculis“ und „De claris mulieribus“." historia.scribere, no. 11 (June 17, 2019): 277. http://dx.doi.org/10.15203/historia.scribere.11.806.

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The following paper discusses the image of the Staufer empress Konstanze. This important political person was described in two books. On the one hand, Peter of Eboli draws her as a female heroine; on the other hand, the famous writer Giovanni Boccaccio projected his misogyny on her. Their depictions of Konstanze differ enormously due to various ideological mindsets. This text shows how a person herself can become a political term.

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COWEN, JANET M. "THE TRANSLATION OF BOCCACCIO'S DE MULIERIBUS CLARIS IN BRITISH LIBRARY MS ADDITIONAL 10304 AND THE FORTY-SIX LIVES TRANSLATED FROM BOCCACCIO BY HENRY PARKER, LORD MORLEY." Notes and Queries 45, no. 1 (March 1, 1998): 28–29. http://dx.doi.org/10.1093/nq/45-1-28.

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COWEN, JANET M. "THE TRANSLATION OF BOCCACCIO'S DE MULIERIBUS CLARIS IN BRITISH LIBRARY MS ADDITIONAL 10304 AND THE FORTY-SIX LIVES TRANSLATED FROM BOCCACCIO BY HENRY PARKER, LORD MORLEY." Notes and Queries 45, no. 1 (1998): 28–29. http://dx.doi.org/10.1093/nq/45.1.28.

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Mundt, Lothar. "IRENE HÄNSCH: Heinrich Steinhöwels Übersetzungskommentare in "De claris mulieribus" und "Äsop". Ein Beitrag zur Geschichte der Übersetzung. - Göppingen: Kümmerle 1981. (=Göppinger Arbeiten zur Germanistik. 227.) 234 S." Daphnis 15, no. 1 (March 30, 1986): 170–72. http://dx.doi.org/10.1163/18796583-90000339.

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Angeli, Giovanna. "Encore sur Boccace et Christine de Pizan: remarques sur Ie De mulieribus claris et Ie Livre de la cité des Dames ('Plourer, parler, filer mist Dieu en femme' I,10)." Le Moyen Français 50 (January 2002): 115–25. http://dx.doi.org/10.1484/j.lmfr.2.302995.

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Trompf, Garry W. "Janet Cowen (ed. and trans.), On Famous Women. The Middle English Translation of Boccaccio’s De Mulieribus Claris. Edited from London, British Library, MS Additional 10304. Middle English Texts, 52. Heidelberg: Universitätsverlag Winter, 2015, 131 pp." Mediaevistik 32, no. 1 (January 1, 2020): 459–61. http://dx.doi.org/10.3726/med.2019.01.116.

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Zanini-Cordi, Irene. "Elsa Filosa, Tre studi sul “De mulieribus claris”. (Studi e Ricerche.) Milan: Edizioni Universitarie di Lettere Economia Diritto, 2012. Paper. Pp. 201; 2 black-and-white and 8 color figures and 2 tables. €26. ISBN: 978-88-7916-589-1." Speculum 91, no. 4 (October 2016): 1107–9. http://dx.doi.org/10.1086/687992.

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Paterson-Morgan, Emily. "Boccaccio’sDe Claris Mulieribusas a Possible Additional Source for Byron’sSardanapalus: A Tragedy." Notes and Queries 62, no. 3 (July 9, 2015): 404–7. http://dx.doi.org/10.1093/notesj/gjv117.

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Rodríguez Mesa, Francisco José. "L'esemplarità di Tisbe nel De mulieribus claris di Boccaccio." Estudios Románicos 29 (November 12, 2020). http://dx.doi.org/10.6018/er.422501.

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Chapter XIII of De mulieribus claris is devoted to the biography of Thisbe. For his narration, Boccaccio uses as his main source the fourth book of Ovid’s Metamorphoses although at certain times he modifies the Latin work. For instance, the suffering of Pyramus is no longer equal to that of Thisbe, and the Babylonian maid is the main victim of the love narrated: firstly because of the prohibition of her parents and later for the delay of Pyramus’s arrival at the agreed appointment. Considering all these peculiarities, this paper analyses chapter XIII of the De mulieribus claris and its main character with the purpose of reflecting on their originality and trying to determine if, taking these specificities into account, the Babylonian girl can be considered as an exemplary woman in Boccaccio’s work and why. Il capitolo XIII del De mulieribus claris è dedicato alla biografia di Tisbe. Per la sua narrazione, Boccaccio utilizza come fonte principale il quarto libro delle Metamorfosi ovidiane sebbene in certi momenti si distacchi dall’opera latina. Ad esempio, la sofferenza di Piramo non è più all’altezza di quella di Tisbe, e la fanciulla babilonese è la principale vittima dell’amore narrato: in primis per la proibizione dei propri genitori e in un secondo momento per la tardività di Piramo nell’arrivare all’appuntamento accordato. Considerando queste particolarità, questo articolo analizza il capitolo XIII del De mulieribus claris e la sua protagonista con lo scopo di riflettere sull’originalità e di cercare di determinare se, tenuto conto di queste specificità, la ragazza babilonese possa considerarsi un personaggio esemplare all’interno della silloge e perché.

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Zudini, Claudia. "« Carnea non ferrea sum » : il corpo femminile nel De mulieribus claris." Arzanà, no. 18 (January 1, 2016). http://dx.doi.org/10.4000/arzana.975.

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Velissariou, Alexandra. "On Famous Women. The Middle English Translation of Boccacio’s De Mulieribus Claris." Perspectives médiévales, no. 37 (January 1, 2016). http://dx.doi.org/10.4000/peme.11582.

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Pérez Abadín, Soledad. ""Pedro de Padilla, imitador de Boccaccio: Filocolo y De mulieribus claris en las Églogas pastoriles"." Nueva Revista de Filología Hispánica (NRFH) 65, no. 1 (March 10, 2017). http://dx.doi.org/10.24201/nrfh.v65i1.2829.

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Dos obras de Boccaccio dejan en las Églogas pastoriles de Pedro de Padilla una impronta mediatizada por las correspondientes traducciones castellanas. En la égloga VI, la contienda de dubbi adapta cuatro de las trece Quistioni d’amore del libro IV (17-72) del Filocolo. Numerosos indicios remiten a la traducción, el Laberinto de amor (1541) o Treze qvestiones (1546). La égloga IX ofrece una apología femenina en la que se enumeran trece mujeres ejemplares por su talento, valor o fidelidad. Los nombres han sido tomados del De mulieribus claris de Boccaccio, a través de la traducción castellana De las illustres mujeres en romance (1494). Por lo tanto, las Églogas pastoriles constituyen un testimonio de la presencia de Boccaccio en la literatura española del siglo xvi.

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