Relevant bibliographies by topics / Gerusalemme liberata (Tasso, Torquato)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gerusalemme liberata (Tasso, Torquato)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Gerusalemme liberata (Tasso, Torquato)"

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García-Minguillán Torres, Claudia. "Corrado Confalonieri, "Torquato Tasso e il desiderio di unità La ‘Gerusalemme liberata’ e una nuova teoria dell’epica"." Studia Aurea 17 (December 31, 2023): 659–66. http://dx.doi.org/10.5565/rev/studiaaurea.564.

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Prosenc Šegula, Irena. "Intento de una definición genérica del poema renacentista italiano a la luz de las reflexiones teóricas de Ortega y Gasset, Lúkacs y Bajtin." Verba Hispanica 12, no. 1 (December 31, 2004): 51–57. http://dx.doi.org/10.4312/vh.12.1.51-57.

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La definición genérica de la novela o de lo novelesco es problemática tal cual, sin reparar ya en la forma histórica de la novela a la cual queremos aplicarla. Este artículo propone una contribución a la definición genérica del poema renacentista italiano de los finales del siglo XV y del siglo XVI, a base de las reflexiones de José Ortega y Gasset, Georg Lukács y Mijail Bajtin sobre la novela. La investigación se refiere a las tres obras más importantes de la épica italiana renacentista: Orlando enamorado (Orlando innamorato) de Matteo Maria Boiardo de finales del siglo XV, Orlando furioso de Ludovico Ariosto de la primera mitad del siglo XVI y Jerusalén liberada (Gerusalemme liberata) de Torquato Tasso de la segunda mitad del siglo XVI. Además han sido incluidos algunos poemas descritos en general como menores: Guirón el Cortés (Gyrone il Cortese) de Luigi Alamanni, Amadís (Ama- digi) de Bernardo Tasso, Reinaldo (Rinaldo) de Torquato Tasso – todos de la midad del siglo XVI – y Jerusalén conquistada (Gerusalemme conquistata) de Torquato Tasso de finales del siglo XVI. La base de todas estas obras es sin duda el poema caballeresco, ya que sus autores constantemente vuelven a introducir sus motivos y fórmulas estilísticas.
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Reynolds, Barbara. "Torquato Tasso: Gerusalemme Liberata, translated by Anthony M. Esolen." Translation and Literature 11, no. 1 (March 2002): 103–7. http://dx.doi.org/10.3366/tal.2002.11.1.103.

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Nexø, Tue Andersen. "Satan tager ordet." K&K - Kultur og Klasse 29, no. 92 (December 10, 2001): 163–92. http://dx.doi.org/10.7146/kok.v29i92.21088.

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Russo, Emilio. "En el taller de la Liberata. Sobre la revisión del Canto XVIII." Creneida. Anuario de Literaturas Hispánicas, no. 10 (January 22, 2023): 382–403. http://dx.doi.org/10.21071/calh.vi10.15427.

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El artículo pretende reconstruir las etapas finales de la composición de la Gerusalemme liberata de Torquato Tasso, profundizando en la escritura de una serie de octavas del canto XVIII, cuya edición crítica se brinda aquí, a partir del manuscrito autógrafo conservado en Ferrara (Biblioteca Ariostea, II 475). En virtud de dicho análisis,se proponen también consideraciones generales con vistas a una nueva edición crítica del poema.
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Artico, Tancredi. "Danese Cataneo, «felicissimo spirito» nelle carte tassiane. L’Amor di Marfisa e la Gerusalemme liberata." Italianistica Debreceniensis 23 (December 1, 2017): 8–20. http://dx.doi.org/10.34102/italdeb/2017/4633.

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Published in 1562, Danese Cataneo’s epic-chivalric poem Amor di Marfisa had a wide but undervalued influence in Torquato Tasso’s masterpiece, Gerusalemme liberata. In this short essay I’ll provide the necessary evidences to demonstrate the existence of a deep connection between those two poems, and establish how it is organized. In particular, Cataneo’s literary legacy, which is underlined by a long list of quote, is strongly perceptible for what concerns the expression of feelings and thoughts. Amor di Marfisa, in this regard, gives to the young Tasso an unusual example of epic poem interested in characters’ psychology: aspects such as the self-analysis and the fragmentation of the ego are underrated in Ariosto’s Orlando furioso and all the other Italian poems in ottava rima, whereas they are fundamental in Cataneo’s poem. More than just an example, it represents for Tasso a training ground and a mine, where he founds themes and lexicon that later will be used in Gerusalemme liberata.
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Andreev, Mikhail L. "Ariosto and Tasso in the New Russian Translations." Studia Litterarum 9, no. 1 (2024): 366–79. http://dx.doi.org/10.22455/2500-4247-2024-9-1-366-379.

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The article examines the new translations of the two major literary monuments of the Italian Renaissance — poems The Frenzy of Orlando (“Orlando furioso”) by Ludovico Ariosto and Jerusalem Delivered (“Gerusalemme liberata”) by Torquato Tasso. Ariosto’s translation does not meet any of the criteria for a quality translation: not only the criterion of style unity but even the criterion of linguistic correctness. The translator Tasso, having set himself the goal of conveying, first of all, the original poetry, takes systematic and unacceptable semantic and figurative liberties when working with a poem classified as a literary canon.
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Pietrzak-Thébault, Joanna. "Fortune and Misfortune od Italian Chivalric Literature in the Early Modern Poland." Załącznik Kulturoznawczy, no. 1 (2014): 430–48. http://dx.doi.org/10.21697/zk.2014.1.19.

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Two masterpieces of the chivalric epic literature, Orlando Furioso of Lodovico Ariosto and Gerusalemme Liberata of Torquato Tasso have had their Polish versions of rare beauty and value thanks to the translator of genius, Piotr Kochanowski. The fate of their reception is, however, very different. The reasons of the absence of Orlando Furioso remain still inexplicable, while the number and diversity of the editions of its original version in Polish libraries could prove the contrary. Anyway, only detailed provenance research would establish the real origin of these books. The evolution of the reception of the Gerusalemme Liberata during the whole 17th c. is an interesting example of a fusion of both foreign and domestic motifs, and of an attractiveness of the Renaissance patterns in the new times.
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Wickert, Max. "Two Selections from The Liberation of Jerusalem (GERUSALEMME LIBERATA) by Torquato Tasso." Forum Italicum: A Journal of Italian Studies 41, no. 1 (March 2007): 200–218. http://dx.doi.org/10.1177/001458580704100112.

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Refini, Eugenio. "Echoes of Ariadne in the Musical Reception of Ariosto and Tasso." Renaissance Quarterly 73, no. 2 (2020): 527–66. http://dx.doi.org/10.1017/rqx.2020.4.

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This article discusses Fulvio Testi's libretto “L'isola di Alcina” (1626), based on Ariosto's “Orlando furioso.” After considering its significance to the cultural politics of the Este and the author's preoccupations with poetical and political lineage, the essay focuses on the sorceress Alcina's lament in act 4 and its afterlife in the Baroque cantata repertoire. Echoes from Claudio Monteverdi and Ottavio Rinuccini's “Arianna” as well as the memory of the sorceress Armida from Torquato Tasso's “Gerusalemme liberata” are crucial to the gradual reshaping that, across poetry and music, transforms the evil character into a woman worthy of the audience's sympathy.
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Dissertations / Theses on the topic "Gerusalemme liberata (Tasso, Torquato)"

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Degano, Francesca Aurora <1992&gt. "«Anch'io vuo' divenir gigante». La «Gerusalemme Liberata» nell'epistolario di Torquato Tasso." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9681.

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La presenza della «Gerusalemme» all'interno dell'epistolario tassiano rivela echi e riverberi in grado di illuminare un percorso sconnesso e accidentato, ma allo stesso tempo ricco e puntuale. Appaiati,«Gerusalemme» ed epistolario offrono un nuovo aspetto alla biografia del Tasso e consentono di evidenziare temi e argomenti di notevole importanza. La tesi è comprensiva di uno spoglio dei passi epistolari relativi all'argomento trattato.
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Picicci, Christen L. "Force and human suffering in sixteenth-century epic poetry : Torquato Tasso's Gerusalemme liberata and Alonso De Ercilla Y Zúñiga's Araucana /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1589247661&sid=5&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 271-285). Also available online in ProQuest, free to University of Oregon users.
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NARDELLA, Serena. "La lingua della Conquistata." Doctoral thesis, Università degli studi di Cassino, 2021. http://hdl.handle.net/11580/84725.

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The research has been developed with the objective of analyzing the linguistic reworking of the Gerusalemme Conquistata, initially focusing on ideological and content differences with the Liberata, then on the linguistic modalities of the second poem in order to identify potential alterations with respect to the first. After a careful observation of the sixteenth-century polemical writings written by the Accademici della Crusca and of the defenses of Tasso and other literary men, the linguistic features discussed were isolated and their frequency was verified in parallel in the two works and in the contemporary and previous production, in order to investigate the origin of the critical interventions and of the new stylistic choices of the poet.
La ricerca ha avuto l’obiettivo di analizzare la rielaborazione linguistica della Gerusalemme Conquistata, focalizzando l’attenzione prima su differenze contenutistiche ed ideologiche con la Liberata, poi sulle modalità linguistiche del secondo poema per individuare eventuali alterazioni rispetto al primo. Dopo un’attenta osservazione degli scritti polemici cinquecenteschi redatti dagli Accademici della Crusca e delle difese del Tasso e di altri letterati, sono stati isolati i tratti linguistici discussi e ne è stata verificata la frequenza parallelamente nelle due opere e nella produzione coeva e precedente, per indagare l'origine degli interventi critici e delle nuove scelte stilistiche del poeta.
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Favaro, Maiko. "Alla prova della realtà : l’eroe rinascimentale tra epica e storia." Doctoral thesis, Scuola Normale Superiore, 2014. http://hdl.handle.net/11384/86098.

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Di, Iasio Valeria. "«Già grande vola, e già trionfa armato»: aspetti della poesia tassiana tra epos e lirica." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424198.

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This work investigates forms and stages of Tasso’s poetry according to a synchronic and diachronic vision. The textual materials considered are related to the forms of lyric and their formal, structural, thematic and stylistic intersection with the epic ones. The goal was to define the structure, the formal characterization and narrative function of 'lyrical stories' of Gerusalemme liberata (chapter I) and to develope an analytical itinerary inside the textual stratigraphy of the poem (chapter II). The stratigraphy of the epic text testifies the progressive creation of textual structures related both to Tasso’s poetic theory that to the macrotext of the poem. For the same reason has been investigated the first poem, Rinaldo (chapter III) , and some parts of Tasso’ lyric poetry (Eteree, Chigiano and other rhymes circulating during the years preceding the confinement in Sant’Anna). The research was conducted considering the connection between theory and praxis, and thus giving ample space to the direct textual analysis and the intertextual and philological contextualization.
Il presente lavoro indaga forme e fasi della poesia tassiana secondo una visione al contempo sincronica (in grado di mettere in dialogo strati testuali e momenti compositivi diversi) e diacroonica (in grado di disporre tali elementi in prospettiva temporale e quindi capace di restituire la reale qualità dell’evoluzione delle fasi stesse). Nello specifico, i materiali testuali considerati sono relativi alle forme del lirico largamente intese e alla loro intersezione formale, strutturale, tematica e stilistica con le forme dell’epos. L’obiettivo è stato quello di definire la struttura, la caratterizzazione formale e la funzione narrativa delle ‘ vicende liriche’ della Gerusalemme liberata per poi sviluppare, nell’ambito del secondo capitolo, un itinerario analitico interno al poema e alle sue stratigrafie testuali. Proprio la stratigrafia del testo epico rappresenta infatti una straordinaria testimonianza della progressiva messa a punto di equilibri testuali che si rapportano necessariamente sia alle ragioni interne del macrotesto che alle sollecitazioni dell’intero universo teorico tassiano, anche in relazione alla prima prova narrativa costituita dal Rinaldo, a cui e dedicato il terzo capitolo, e all’insieme costitiuto dalla pratica della scrittura lirica strettamente intesa, a cui è dedicato il quarto capitolo (che comprende le rime Eteree, il canzoniere Chigiano, momento transitorio ma nodale se valutato secondo un’ottica retrospettiva rivolta al poema, e alcune rime disperse circolanti negli anni precedenti la reclusione). Tutta la ricerca – dall’indagine testuale e critica interna al poema gerosolimitano alla ricostruzione della genesi testuale del compromesso, talvolta difficile ma sempre fecondo, tra lirica, e stile fiorito, ed epica, e stile magnifico, fino alla ridefinzione dell’iter, talvolta sotterraneo, che la materia lirica percorre precedendo, accompagnando e seguendo il magnum opus della Liberata – è stata condotta tenendo sempre conto del rapporto che sussiste tra teoria e prassi in un autore tanto sorvegliato come Tasso, e dando quindi ampio spazio ad un’analisi testuale tesa sia alla profondità che alla contestualizzazione intertestuale dei dati, sempre rigorosamente posti al vaglio della specola filologica.
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Residori, Matteo. "L'idea del poema studio sulla "Gerusalemme conquistata" di Torquato Tasso /." Pisa : Scuola Normale Superiore, 2004. http://catalogue.bnf.fr/ark:/12148/cb40034587b.

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Books on the topic "Gerusalemme liberata (Tasso, Torquato)"

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Sense, Jacob. Tassus Latinus: 100 Jahre lateinische Nachdichtungen der "Gerusalemme liberata! (1584-1683) : Gentilis - Valentianus - Vanninius - de Placentinis - Libassi. Hildesheim: Georg Olms Verlag, 2019.

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Confalonieri, Corrado. Torquato Tasso e il desiderio di unità: La Gerusalemme liberata e una nuova teoria dell'epica. Roma: Carocci editore, 2022.

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Vitale, Maurizio. L' officina linguistica del Tasso epico: La Gerusalemme liberata. Milano: LED, Edizioni universitarie di lettere, economia, diritto, 2007.

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L' officina linguistica del Tasso epico: La Gerusalemme liberata. Milano: LED, Edizioni universitarie di lettere, economia, diritto, 2007.

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L' idea del poema: Studio sulla Gerusalemme conquistata di Torquato Tasso. Pisa: Scuola normale superiore, 2004.

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Residori, Matteo. L' idea del poema: Studio sulla Gerusalemme conquistata di Torquato Tasso. Pisa: Scuola normale superiore, 2004.

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Dalla parte del Tasso: Giulio Guastavini e il dibattito sulla Gerusalemme liberata. Alessandria: Edizioni dell'Orso, 2011.

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Lope de Vega's Jerusalén conquistada and Torquato Tasso's Gerusalemme liberata face to face. Kassel: Edition Reichenberger, 2005.

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Tasso, Torquato. El Goffredo del Tasso cantà alla barcariola: Versione in veneziano de La Gerusalemme liberata. Venezia: Marsilio, 2002.

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Vom Wunderbaren zum Phantas(ma)tischen: Zur Archäologie vormoderner Phantastik-Konzeptionen bei Ariost und Tasso. München: Wilhelm Fink, 2012.

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Book chapters on the topic "Gerusalemme liberata (Tasso, Torquato)"

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Güntert, Georges. "Tasso, Torquato: La Gerusalemme liberata." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18085-1.

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Nelting, David. "“Un sogno cheto perché gli rivelasse alto decreto…”. On the Poetic and Epistemic Significance of the Dream in Torquato Tasso’s Gerusalemme Liberata." In Traumwissen und Traumpoetik von Dante bis Descartes, 155–78. Göttingen: V&R unipress, 2020. http://dx.doi.org/10.14220/9783737012331.155.

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"Chapter Fifteen. Torquato Tasso, La Gerusalemme Liberata (1581)." In The Romance Epics of Boiardo, Ariosto, and Tasso. Toronto: University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442682245-018.

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Van der Laan, Sarah. "From Public Duty to Private Pleasures." In The Choice of Odysseus, 105–37. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198778295.003.0004.

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Abstract Torquato Tasso’s Gerusalemme liberata contains both an Iliad and an Odyssey—integrated not sequentially, as in the Aeneid, but concurrently, into a poem whose unity thereby encompasses and surpasses the achievements of both Homer and Virgil. This chapter re-examines the Odyssey’s role in defining epic and romance in sixteenth-century genre criticism and shows that Tasso’s practice extends readings of the Odyssey as a viable, vibrant epic code model. The Odyssey provides the narrative and ethical spine of Rinaldo’s journey throughout the Liberata, and the ethics that it promotes supersede those of the Virgilian epic settlement. Rinaldo’s reunion with Armida not only resolves the Odyssean strand woven into the Iliadic narrative of the crusade but successfully integrates that strand into the Liberata, not as an isolated episode or digressive romance but as an integral part of the epic. Tasso explores the possibility that the Odyssey can provide a model for the subordination—not the sacrifice—of private desire to public duty and thus enable a successful, though not easy, return to private life after public service. This Odyssean model allows Tasso to integrate homecoming and reconciliation into the epic telos of the Liberata and so to offer an alternative to a Virgilian ethics of conquest and of individual submission to imperial demands. Tasso proposes nothing less than a double overgoing of Virgil, at once ethical and poetic: a new and more complex way of weaving Iliad and Odyssey into a single epic poem.
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Mack, Peter. "Renaissance Epics: Ariosto, Tasso, and Spenser." In Reading Old Books, 97–135. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691194004.003.0004.

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This chapter takes a look at Orlando Furioso (1516, 1532), Gerusalemme Liberata (1581), and The Faerie Queene (1596), which are the recognized epic masterpieces of their eras. They draw in succession on each other and on a wide range of classical and romance texts, many of them known to the first audiences of these three poems. The chapter investigates the ways in which Ludovico Ariosto, Torquato Tasso, and Edmund Spenser used their predecessors and the different effects they achieved from a shared heritage. It examines the ways in which a series of authors used both their immediate predecessors and their sense of a long tradition of epic writing to create something new. The chapter argues that Ariosto aimed to shock and surprise his audience. Tasso reacted to Ariosto by combining a more serious and unified epic on the lines of the Iliad. Spenser's idea of devoting each book to a hero and a virtue presents a structure which is easier to comprehend than Ariosto's, yet looser and more open to surprises than Tasso's.
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"93 Torquato Tasso. Aus ‹La Gerusalemme liberata›: Der Erzengel Gabriel fordert Gottfried von Bouillon zum Kreuzzug auf." In Kreuzzugsdichtung, 139–40. De Gruyter, 1998. http://dx.doi.org/10.1515/9783110950663-095.

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"Immaginario figurativo e tradizione encomiastica nella Gerusalemme liberata." In Tasso und die bildenden Künste, 135–64. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110544992-006.

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"Heldenepos und Historienbild: Paolo Domenico Finoglios Gerusalemme Liberata in Conversano." In Tasso und die bildenden Künste, 305–24. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110544992-014.

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"Bewegte Bilder: Ekphrastische Tradition und aristotelische Mimesis in Tassos Gerusalemme liberata." In Tasso und die bildenden Künste, 165–84. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110544992-007.

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Lawrence, Jason. "Gerusalemme liberata and the visual arts in England." In Tasso's Art and Afterlives. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719090882.003.0004.

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The third chapter investigates the impact in England of visual depictions of scenes from Tasso’s romantic episodes, featuring both Rinaldo and Armida and the Tancredi and Erminia. Although no native English tradition of pictorial representation of Tasso’s poem ever developed, there is still evidence of a keen interest in such pictures: in the late 1620s Anthony Van Dyck received a commission for Charles I to produce a depiction of the Rinaldo and Armida episode, focused on a less familiar moment from canto 14, which he executed so successfully that it was instrumental in bringing the painter into the service of the king for the final decade of his career. The early eighteenth century witnessed the arrival in England of the first work by the French painter Nicolas Poussin, who repeatedly depicted scenes from a number of Tasso episodes during the 1620s and 1630s: his second version of the Tancredi and Erminia episode in canto 19 was brought to England by the collector Sir James Thornhill, and it soon inspired a detailed evaluation in relation to its literary source by the artist-critic Jonathan Richardson, which is also examined closely.
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