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Journal articles on the topic 'Decameron'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Cassell, Anthony K., and Giovanni Boccaccio. "Decameron." MLN 100, no. 1 (1985): 178. http://dx.doi.org/10.2307/2905675.

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2

Potter, Joy Hambuechen, Giovanni Boccaccio, John Payne, and Charles S. Singleton. "Decameron." Italica 63, no. 3 (1986): 297. http://dx.doi.org/10.2307/478630.

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3

Graham, Trevor. "Pier Paolo Pasolini's Il Decameron/The Decameron." Framework: The Journal of Cinema and Media 64, no. 1 (2023): 84–91. http://dx.doi.org/10.1353/frm.2023.a914990.

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4

Campmany Tarrés, Maribel. "La Llegenda del cor menjat al Decameró de Boccaccio: Estratègies de traducció al català." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (2013): 227. http://dx.doi.org/10.7203/scripta.2.3093.

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Resum: El grau d’intervenció del traductor determina l’acostament del text al lector. Amb la comparació de les quatre traduccions catalanes de La llegenda del cor menjat, el conte novè de la quarta jornada del Decameró de Giovanni Boccaccio, es pot comprovar que cada traductor utilitza estratègies diferents per mirar de resoldre un mateix problema de traducció. A més del bagatge cultural i la subjectivitat de cada un d’ells, cal tenir en compte un seguit de factors (temporals, històrics, referencials, lingu?ístics, socials, etc.) que determinen el resultat final.Paraules clau: llegenda; cor; m

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5

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

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6

Cuilleanain, Cormac O., Giovanni Boccaccio, and G. H. McWilliam. "The Decameron." Modern Language Review 96, no. 2 (2001): 531. http://dx.doi.org/10.2307/3737429.

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7

Colombo Timelli, Maria. "Boccace, Decameron." Studi Francesi, no. 162 (LIV | III) (November 1, 2010): 540–41. http://dx.doi.org/10.4000/studifrancesi.6239.

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8

Gittes, Tobias Foster. "The Decameron." Romanic Review 106, no. 1-4 (2015): 206–11. http://dx.doi.org/10.1215/26885220-106.1-4.206.

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9

Erstic, Marijana. "Legittimazione e strategia della narrazione nei film Il Decameron e Salò di Pier Paolo Pasolini." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 27 (July 24, 2024): 125–32. http://dx.doi.org/10.7203/eutopias.27.28625.

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Le opere di Pier Paolo Pasolini sono pietre miliari intellettuali del XX secolo. La sua Trilogia della vita e l’incompiuta Trilogia della morte offrono spunti di riflessione su situazioni elementari dell’esistenza umana come l’amore, la sessualità, ma anche la morte, il pericolo e i tormenti dei lager del XX secolo. Ogni volta, inoltre, acuiscono il nostro sguardo sulla situazione attuale. Nello spirito di Pier Paolo Pasolini, questo saggio ha un motivo ben noto: all’inizio della pandemia di Covid, il Decamerone di Giovanni Boccaccio è stato spesso citato insieme al romanzo di Camus Lo stranie

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10

Graham, Angelita. "Pasolini and the Queer Lens: Il Decameron/The Decameron." Framework: The Journal of Cinema and Media 64, no. 1 (2023): 92–97. http://dx.doi.org/10.1353/frm.2023.a914991.

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11

Grossi, Joseph. "Anti-Petrarchism in the Decameron’s Proem and Introduction." Quaderni d'italianistica 33, no. 2 (2013): 5–26. http://dx.doi.org/10.33137/q.i..v33i2.19416.

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Similarities of purpose between the Proem of the Decameron and the opening sonnet of the Rerum vulgarium fragmenta have been noticed by several scholars. Students of Boccaccio and Petrarch are also becoming increasingly aware that the former was willing to criticize his friend, as he did when Petrarch chose to accept Visconti patronage in Milan, the great enemy of Florence.The Proem of the Decameron, however, has not hitherto elicited comment as a text where such friendly criticism, at least of Petrarch’s poetic persona in the RVF, might be found. The present essay suggests that Boccaccio’s fa

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12

Patel, Raksha. "Revisiting the Decameron." Journal of Contemporary Painting 6, no. 1-2 (2020): 171–79. http://dx.doi.org/10.1386/jcp_00021_7.

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13

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

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14

Kipf, Johannes Klaus. "Jenseits des Decameron." Jahrbuch der Oswald von Wolkenstein-Gesellschaft 22, no. 1 (2019): 436–55. http://dx.doi.org/10.29091/9783954906765/029.

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15

Doering, Pia, and Martina Wagner-Egelhaaf. "Lektüre in Zeiten von Pest und Corona: das Beispiel des Decameron." Literatur für Leser 46, no. 1 (2023): 9–23. http://dx.doi.org/10.3726/lfl.2023.01.02.

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Abstract Giovanni Boccaccios Decameron gehört zu den Klassikern der Seuchenliteratur und wurde in der zurückliegenden Corona-Pandemie wieder zur gefragten Lektüre. Die Pestepidemie, die den Ausgangspunkt und Erzählanlass des Decameron bildet, bietet Boccaccio die Möglichkeit, auf den unterschiedlichen Ebenen seiner Novellensammlung ein Plädoyer für die Literatur zu entfalten. Dabei akzentuiert er zum einen die Vorzüge der Literatur gegenüber den gelehrten Diskursen der Theologie und Philosophie. Zum anderen hebt er den Trost hervor, den Lektüre spenden kann, wenn dem Menschen andere Formen ges

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16

Morosini, Roberta. "What a Difference a Sea Makes in the Decameron: The Mediterranean, a Structural Space of the Novella." Quaderni d'italianistica 38, no. 2 (2019): 65–111. http://dx.doi.org/10.33137/q.i..v38i2.32232.

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This essay presents a reading of the Mediterranean sea as a narrative space in the Decameron. Through a reading of text and images, the paper illustrates the categories of mobile/static and foreign/domestic at work in the Decameron. It also introduces a third epistemological category, hybridity, at the centre of this study, which aims to establish the role and function of the Mediterranean in the fabula—the plot development—as well as in the structure of the novella itself, and ultimately in Boccaccio’s poetics. Is the Mediterranean a “structural space” in (and of) the novella, hence in/

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17

Gros Lladós, Sònia. "Sobre la presència de Boccaccio en el Curial e Güelfa: la novella X.8." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (2013): 192. http://dx.doi.org/10.7203/scripta.2.3091.

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Resum: Les darreres investigacions sobre la novel·la cavalleresca catalana Curial e Güelfa subratllen de forma unànime la qualitat literària de l’obra i la riquesa de la cultura literària del seu autor, en especial en relació als autors clàssics i italians. Entre els italians, nombrosos estudiosos han remarcat el paper cabdal de Boccaccio, i en particular del Decameron, com a model d’escriptura i com a intermediari de la tradició clàssica, per a l’autor anònim català. En aquest treball oferim una mostra de la presència de la novella X.8 en el text català, tot resseguint ambdues narracions, i o

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18

Kircher, Timothy. "The Modality of Moral Communication in the Decameron's First Day, in Contrast to the Mirror of the Exemplum*." Renaissance Quarterly 54, no. 4-Part1 (2001): 1035–73. http://dx.doi.org/10.2307/1261966.

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The essay analyzes episodes from the first day of story-telling in the Decameron and the contemporary tradition of mendicant exempla comparing their differing means of influencing moral behavior. The Decameron discloses a crisis in the exemplum tradition between conventional sermonizing and a heightened sense of clerical frailty, and responds by showing a new way of narrating moral problems to a sceptical readership. While the exemplum provides a framework for the Decameron narrators, they treat this tradition with irony, emphasizing the contingent, subjective apprehension of moral truth. The

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19

N. Kobilj Ćuić, Sanja. "THE SUBMISSIVENESS MOTIF OF А WOMAN: THE GRISELDA TALE BY GIOVANNI BOCCACCIO". Филолог – часопис за језик књижевност и културу 12, № 24 (2021): 326–41. http://dx.doi.org/10.21618/fil2124326k.

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This paper presents the analysis of Griselda, the main female character of the last novella of Decameron. Tis novella has had diﬀerent classical and feminist interpretations due to its central position and the violence caused to Griselda by her husband, marquis Saluzzo. The main methodological tool used in this article is the one applied by Marilyn Migiel in her works The Ethical dimension of the Decameron and A Rhetoric of the Decameron, the rhetorical reading. The same tool, through the close analysis of the speech acts of Griselda shows us her powerless social position and the lack of self-

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20

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

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21

Poole, Gordon. "Boccaccio's Decameron IV, 5." Explicator 47, no. 3 (1989): 3–4. http://dx.doi.org/10.1080/00144940.1989.9933913.

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22

Münchberg, Katharina. "Singularität in Boccaccios Decameron." Poetica 36, no. 3-4 (2004): 313–42. http://dx.doi.org/10.30965/25890530-036-03-04-90000004.

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23

Münchberg, Katharina. "Singularität in Boccaccios Decameron." Poetica 36, no. 3-4 (2004): 313–42. http://dx.doi.org/10.30965/25890530-0360304004.

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24

Kirkham, Victoria. "An Allegorically Tempered Decameron." Italica 62, no. 1 (1985): 1. http://dx.doi.org/10.2307/478676.

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25

Strappini, Lucia. "Due novelle del Decameron." Revista de Italianística, no. 29 (June 12, 2015): 168. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p168-178.

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A leitura aqui proposta do Decameron concentra-se especificamente em duas novelas: a primeira e a décima da quarta jornada (IV, 1 e IV, 10), que apresentam muitos pontos de interesse pela trama, pela caracterização dos personagens e pelos temas centrais da narrativa, fundada na conjunção e complementaridade de trágico e cômico como traços máximos e significantes da aventura humana sob todos os aspectos

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26

Strappini, Lucia. "Duas novelas do Decameron." Revista de Italianística, no. 29 (June 12, 2015): 179. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p179-189.

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A leitura aqui proposta do Decameron concentra-se especificamente em duas novelas: a primeira e a décima da quarta jornada (IV, 1 e IV, 10), que apresentam muitos pontos de interesse pela trama, pela caracterização dos personagens e pelos temas centrais da narrativa, fundada na conjunção e complementaridade de trágico e cômico como traços máximos e significantes da aventura humana sob todos os aspectos

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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 esta

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28

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 verd

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29

Mazzotta, Giuseppe. "Decameron by Giovanni Boccaccio." Studies in the Age of Chaucer 7, no. 1 (1985): 248–50. http://dx.doi.org/10.1353/sac.1985.0034.

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30

Tschofen, Monique, Siobhan O’flynn, Jolene Armstrong, et al. "A Research-co-Creation of Care: Feminist Speculation, Collaboration, and Curation in the Decameron 2.0 Virtual Gallery." University of Toronto Quarterly 93, no. 4 (2024): 612–52. https://doi.org/10.3138/utq.93.04.06.

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This paper presents the evolving work of the Decameron Collective, a group of women Canadian scholars and artists who, during the early COVID-19 pandemic (2020–2022), built a body of creative works as an interactive, virtual gallery of visual, audio, and textual media inspired by Giovanni Boccaccio’s Decameron (1353). More than a gloss on Boccaccio’s text, Decameron 2.0 is a feminist project of collaborative and curational worldbuilding. We describe our practice of co-creating and curating, making a case for interdisciplinary praxis-led approaches of research-creation that embody both a mode o

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31

Brown, Katherine A. "Confession and Social Space in the Decameron." Quaderni d'italianistica 38, no. 2 (2019): 41–63. http://dx.doi.org/10.33137/q.i..v38i2.32231.

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This essay argues that confession in the Decameron is a liminal activity, which affords characters and readers a milieu removed from the space of society in which transformation and ultimately a temporary moment of transcendence of the secular world (almost a return to paradise) are achieved. In the tales of the Decameron in which confession is central to the narrative (novelle I.1, III.3, and VII.5), the liminal is a locus of trickery. Boccaccio subverts the notion of spiritual transcendence traditionally associated with the sacrament of confession and playfully substitutes the profane and th

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32

Barsella, Susanna. "Natural Asymmetries: Medicine and Poetry in Decameron VI. 9 and Decameron VIII. 9." MLN 134, S (2019): S—56—S—77. http://dx.doi.org/10.1353/mln.2019.0057.

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33

Doering, Pia Claudia. "»La egregia città di Fiorenza, oltre a ogn’altra italica bellissima«." Deutsches Dante-Jahrbuch 98, no. 1 (2023): 110–26. http://dx.doi.org/10.1515/dante-2023-0007.

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Riassunto Firenze è di grande importanza per il Decameron di Boccaccio. Non solo vi si svolge la storia di cornice, ma anche numerose novelle sono ambientate nella città o nel contado fiorentino. Le ragioni sono due: l’ascesa economica della città e la sua fioritura culturale. Questo articolo esamina il modo in cui l’espansione economica e lo sviluppo culturale sono rappresentati e valutati nel Decameron, sia individualmente che nella loro interazione.

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34

Barsella, Susanna. "The Merchant and the Sacred: Artifice and Realism in Decameron I.1." Quaderni d'italianistica 38, no. 2 (2019): 11–40. http://dx.doi.org/10.33137/q.i..v38i2.32230.

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By investigating the first novella of the Decameron from the perspective of the sacred this article questions the notion of realism as privileged key to the interpretation of Boccaccio’s style, poetics, and even philosophy in his major work. Although with different nuances of definition, realism remains by and large the trait scholarship emblematically associate with the Decameron as testifying to the emergence of mercantile culture and bourgeois mentality. Realism as verisimilar representation of historical reality tends to be associated with the character of modernity of Boccaccio’s masterpi

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35

Gittes, T. F. "“Forgers of Falsehood, Physicians of Nought”: Retailing Fictions in Boccaccio’s Decameron." Quaderni d'italianistica 38, no. 2 (2019): 139–56. http://dx.doi.org/10.33137/q.i..v38i2.32234.

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Whereas Petrarch’s portrait of his doctor in Invectives Against a Physician is deliberately caricatural and seized at a glance, Boccaccio’s attitude towards doctors in the Decameron is far harder to grasp and easily overlooked. Yet, doctors and medical science are a central concern of the Decameron, whose first significant action (the brigata’s movement from the plague-afflicted city to the countryside) and activity (storytelling) are predicated on the Florentine doctors’ failure to find a remedy for the plague. Throughout the Decameron, the doctors’ glaring incapacity to help their patients i

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36

Dardano, Maurizio. "Aspetti della connessione nel „Decameron”." Verbum 4, no. 2 (2003): 447–60. http://dx.doi.org/10.1556/verb.4.2002.2.13.

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37

Usher, Jonathan, and James H. McGregor. "Approaches to Teaching Boccaccio's 'Decameron'." Modern Language Review 96, no. 4 (2001): 1102. http://dx.doi.org/10.2307/3735929.

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38

Alfie, Fabian, and James H. McGregor. "Approaches to Teaching Boccaccio's "Decameron"." Italica 78, no. 4 (2001): 565. http://dx.doi.org/10.2307/3656085.

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39

Gallo, Cinzia. "Cene e conviti nel Decameron." Forum Italicum: A Journal of Italian Studies 50, no. 3 (2016): 1201–9. http://dx.doi.org/10.1177/0014585816669945.

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40

Vallverdú, Francesc. "The Catalan Translations of Decameron." Quaderns d’Italià 19 (November 2, 2014): 109. http://dx.doi.org/10.5565/rev/qdi.368.

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41

Berger, Vance W., and John P. A. Ioannidis. "The Decameron of poor research." BMJ 329, no. 7480 (2004): 1436–40. http://dx.doi.org/10.1136/bmj.329.7480.1436.

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42

Sowell, Madison U., and James H. McGregor. "Approaches to Teaching Boccaccio's "Decameron"." South Atlantic Review 67, no. 3 (2002): 146. http://dx.doi.org/10.2307/3201918.

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43

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 (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 source

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44

Lombardi, Andrea. "Il diavolo in corpo: una lettura del Decameron di Giovanni Boccaccio." Alea : Estudos Neolatinos 14, no. 2 (2012): 180–200. http://dx.doi.org/10.1590/s1517-106x2012000200003.

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Considerare il Decameron esclusivamente un "classico" non rende giustiza alla sua struttura narrativa geometrica e complessa. Poiché ognuno dei suoi aspetti rivela il potenziale sovversivo della sua macchina narrativa. Le cento novelle con la loro cornice, che descrive l'epidemia della peste nera del 1348, ne fanno il primo libro organico della narrativa occidentale: un testo con una architettura peculiare. Una lettura attenta, però, può individuare una nuova novella, quella di numero 101 (nell'Introduzione alla quarta giornata): ciò che rivela la crisi finale della struttura chiusa, dell'arch

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45

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 under

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46

Migiel (book author), Marilyn, and Andrea Privitera (review author). "The Ethical Dimension of the Decameron." Quaderni d'italianistica 37, no. 1 (2017): 164–67. http://dx.doi.org/10.33137/q.i..v37i1.28286.

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47

Kwak, Chaseop. "Boccaccio’s Decameron and the Erotic Renaissance." Cogito 93 (February 28, 2021): 251–75. http://dx.doi.org/10.48115/cogito.2021.02.93.251.

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48

Usher, Jonathan. "Boccaccio's "Ars Moriendi" in the Decameron." Modern Language Review 81, no. 3 (1986): 621. http://dx.doi.org/10.2307/3729185.

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49

Berard, Claude Cazale. "La strategia della parola nel Decameron." MLN 109, no. 1 (1994): 12. http://dx.doi.org/10.2307/2904926.

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50

Storey, H. Wayne. "Decameron 2.4: the Matrices of Voice." Colloquium, no. 9788879166539 (September 2013): 33–47. http://dx.doi.org/10.7359/653-2013-stor.

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Unlike many characters of the, Landolfo Rufolo is voiceless. This essay examines the transfer of narrative and rhetorical authority to the narrator of the story, Lauretta, and her appropriation and correction of mercantile ethics summed up in Boccaccio’s own narrative selection betweenandin his late holograph MS Hamilton 90.

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