Log in

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

To see the other types of publications on this topic, follow the link: Gerusalemme liberata (Tasso, Torquato).

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

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Gerusalemme liberata (Tasso, Torquato).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Teixeira da Silva, Geise Kelly. "A recepção de Ludovico Ariosto e Torquato Tasso na épica feminina portuguesa: as epopeias de Soror Maria de Mesquita Pimentel." Revista de Escritoras Ibéricas 9 (January 5, 2022): 215–40. http://dx.doi.org/10.5944/rei.vol.9.2021.30522.

Full text

Abstract:

O presente artigo tem como objetivo avaliar a dívida que a poesia épica conventual feminina portuguesa contrai em relação a poesia épica produzida em Itália, nomeadamente com os poemas de Ludovico Ariosto e de Torquato Tasso. Nesse sentido, pretende-se demonstrar como os poemas épico-bíblicos de Soror Maria de Mesquita Pimentel, isto é, o Memorial da Infância de Cristo (1639), o Memorial dos Milagres de Cristo (editado em 2014) e o Memorial da Paixão de Cristo (inédito), reflete e dialoga com o Orlando Furioso e a Gerusalemme Liberata. Conclui-se que os poemas de Soror Mesquita Pimentel estabelecem com estes poemas italianos relações intertextuais que corroboram o quão fecunda foi a fortuna de Ariosto e Tasso em Portugal, a ponto de serem conhecidos entre os muros da clausura feminina.

APA, Harvard, Vancouver, ISO, and other styles

12

Martin, Dieter. "Peter von Winters „Rinaldo”-Kantate." Die Musikforschung 48, no. 4 (September 22, 2021): 398–400. http://dx.doi.org/10.52412/mf.1995.h4.1089.

Full text

Abstract:

Für den Prinzen Friedrich von Gotha gestaltete Goethe den Rinaldo-Stoff aus Torquato Tassos <Gerusalemme Liberata> zu einer 1811 in Weimar aufgeführten Szene. Die bislang nicht bekannte originale Vertonung stellt eine opernhafte und orchestral besetzte Kantate für Solo und Männerchor dar, die den italienischen Geschmack deutscher Höfe unterstreicht. (Autor)

APA, Harvard, Vancouver, ISO, and other styles

13

Poterała, Paulina. "‘Energeia’ and ‘enargeia’ in “Gerusalemme Liberata” by Torquato Tasso, translated by Piotr Kochanowski." Meluzyna 7 (2017): 5–18. http://dx.doi.org/10.18276/me.2017.2-01.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Monteiro, Wagner. "Entre o cristianismo e uma tradição forjada: a Jerusalén conquistada, de Lope de Vega." Caracol, no. 22 (November 1, 2021): 366–87. http://dx.doi.org/10.11606/issn.2317-9651.i22p366-387.

Full text

Abstract:

Este artigo tem como objetivo localizar a Jerusalén conquistada de Lope de Vega dentro de sua produção religiosa e dos Séculos de Ouro na Espanha. Publicada em 1609, a Jerusalén é fruto do mais ambicioso projeto de Lope de Vega, escritor espanhol famoso pelo teatro, mas que escreveu diversos poemas épicos entre o final do século XVI e nas primeiras décadas do XVII. Lançando mão do modelo italiano de Torquato Tasso, com sua Gerusalemme liberata (1581), Lope construiu sua narrativa para enaltecer a corte espanhola dos Austrias e, ao mesmo tempo, para adquirir em solo espanhol o status que Luís de Camões havia alcançado em Portugal.

APA, Harvard, Vancouver, ISO, and other styles

15

Abdulhafeth Ali Khrisat. "The Image of Muslims in Torquato Tasso’s <i>Le Gerusalemme liberata</i>." Asiatic: IIUM Journal of English Language and Literature 15, no. 2 (December 11, 2021): 66–79. http://dx.doi.org/10.31436/asiatic.v15i2.2344.

Full text

Abstract:

This paper examines Italian Renaissance poet Torquato Tasso’s epic poem titled Gerusalemme liberata (Jerusalem Delivered [1581]). Tasso imaginatively narrates events and details from the siege of Antioch and Jerusalem in the First Crusade and compares historical Muslim characters with their Christian counterparts. Like other Orientalists, Tasso in his epic adopts a stereotypical image of Muslims and portrays them as savages and worshipers of idols. This paper explains these images, their sources, and the effects of representations by way of applying analytical and critical descriptive method. It will address Tasso’s epic style, blending specific titles of history and magic with his fantasy in his portrayal of Muslim characters as compared to their Christian counterparts. It concludes with a critique of the Orientalist practice of associating the Muslims with terrorism, violence, and inhumanity in contemporary Western culture.

APA, Harvard, Vancouver, ISO, and other styles

16

Schick, Hartmut. "Melische Dichtung und Vokalfarbenmusik im Madrigal." Die Musikforschung 64, no. 3 (September 22, 2021): 219–44. http://dx.doi.org/10.52412/mf.2011.h3.204.

Full text

Abstract:

Torquato Tassos Lyrik stellt aufgrund ihrer forcierten klanglichen Gestaltung einen Sonderfall der Lyrik des Cinquecento dar. Eine Ausnahme neben den Vertonungen Claudio Monteverdis, welche dem Neuartigen von Tassos Lyrik besondere Aufmerksamkeit schenkten und diese musikalisch untermalten, stellen die Madrigalkompositionen Giaches de Werts dar. Letzterer stand in engem Kontakt zu Tasso selbst, da er regelmäßig am Hofe Alfonso II. d'Este verkehrte und zahlreiche, über dessen kurze Lyrik hinausgehende Texte Tassos vertont hatte, insbesondere Teile aus "Gerusalemme liberata". Gerade die auf einer sehr frühen Textfassung beruhende Komposition "Giunto alla tomba" muss eine große Aufmerksamkeit am Ferrareser Hof erregt haben, da Tasso einerseits zum Zeitpunkt der Veröffentlichung der Komposition im Irrenhospital eingesperrt war und andererseits die Vertonung dieses hinsichtlich seiner intensiven klangmotivischen Verdichtung besonderen Textes als außerordentlich anspruchsvoll angesehen worden sein muss. Langsame harmonische Wechsel und zurückhaltende melodische Bewegung betonen den Klang, schaffen eine hohe Transparenz und lassen - insbesondere im Vergleich mit Luca Marenzios Vertonung einer späteren Textfassung - Tassos sprachlichem Spiel eine außerordentliche Aufmerksamkeit und Wertschätzung zukommen. Die spezifische melische Qualität der Sprache wird von de Wert mit musikalischen Mitteln sogar noch verstärkt. Beim Naturmadrigal "Vezzoso augelli" arbeitet de Wert hingegen mit überbordender - die Naturfülle darstellender - Polyphonie, die sich des Durcheinanderwürfelns von Textteilen bedient und mithilfe von Tassos Lautgestaltung durch die Betonung einzelner zentraler Worte diese durch das ganze Stück hinweg leitmotivisch auf verschiedenen Ebenen vertont. bms online (Sarah Grossert)

APA, Harvard, Vancouver, ISO, and other styles

17

Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.

Full text

Abstract:

Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.

APA, Harvard, Vancouver, ISO, and other styles

18

Delfiore, Emanuele. "Tra memoria idillica ed innalzamento ironico: la funzione letteraria delle ricordanze epiche nelle “Confessioni d’un Italiano”." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 1 (June 30, 2023): 303–21. http://dx.doi.org/10.54103/2724-3346/20502.

Full text

Abstract:

Frutto della mescidanza di elementi strutturali e stilistici riconducibili a differenti generi letterari, Le Confessioni d’un Italiano evidenziano un fitto rapporto intessuto da Ippolito Nievo con la tradizione epica. Tale legame, ben più profondo di quanto non sembri, è rilevabile in numerose zone dell’opera e a differenti livelli: dalla presenza dell’Orlando furioso di Ludovico Arioto e della Gerusalemme liberata di Torquato Tasso, fra i libri più amati da Clara per le sue letture notturne, agli influssi di tali modelli, deducibili da un loro riutilizzo ironico per quel che concerne l’impianto onomastico dell’opera; dal paragone umoristico fra le scorribande infantili di Carlino e Pisana nei dintorni del castello di Fratta e le avventure dei paladini, fino al riferimento chisciottesco per smentire le illusioni giovanili del protagonista-narratore del romanzo.

APA, Harvard, Vancouver, ISO, and other styles

19

Van der Laan, Sarah. "Songs of Experience: Confessions, Penitence, and the Value of Error in Tasso and Spenser." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 252–68. http://dx.doi.org/10.1632/pmla.2015.130.2.252.

Full text

Abstract:

As the Reformation and Counter-Reformation swept Europe in the sixteenth century, penance (or its rejection) became a cornerstone of individual and confessional identities. Extending a post-Tridentine view of sacramental penance as consolation, Torquato Tasso's Gerusalemme liberata suggests that penance offers a means to recover and even to benefit from the experience of error—and to incorporate romance error into epic action and ethics. Through extensive intertextual dialogue, Edmund Spenser's Faerie Queene engages this view to explore the fears produced in some lay people by the English Reformers' rejection of penance. Book 2 interrogates the possibilities for epic heroism in a fictional environment lacking any visible means to recover from error and therefore profoundly skeptical of experience and the errors to which it might lead. Spenser's virtuoso act of cultural translation reforms Tasso's penance-based ethics, exposes the shortcomings of one approach to reformation, and affirms the educational value of human error.

APA, Harvard, Vancouver, ISO, and other styles

20

Albertini, Stefano. "Il titanismo di Torquato Tasso e i giganti di Giulio Romano: ipotesi di una contaminazione pittorica nella Gerusalemme liberata." Italianist 11, no. 1 (June 1, 1991): 61–69. http://dx.doi.org/10.1179/026143491791333248.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Brenna, Francesco. "Torquato Tasso e il desiderio di unità: La Gerusalemme liberata e una nuova teoria dell'epica. Corrado Confalonieri. Rome: Carocci, 2022. 250 pp. €28." Renaissance Quarterly 77, no. 1 (2024): 321–23. http://dx.doi.org/10.1017/rqx.2023.534.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

O’Rourke, Russell. "Armida on the Beach: A Cinquecento Rhetorical Model of the Emotions and Its Musical Reception." Journal of the American Musicological Society 76, no. 3 (2023): 587–644. http://dx.doi.org/10.1525/jams.2023.76.3.587.

Full text

Abstract:

Abstract For music to arouse the emotions, observes the sixteenth-century Venetian music theorist Gioseffo Zarlino, four ingredients are required: harmony, rhythm, text, and “a well-disposed subject [soggetto ben disposto] fit to receive some emotion [passione].” The last point—that listeners must be properly “disposed” toward an emotion before they can be moved—features in contemporaneous writings as diverse as Torquato Tasso’s epic Gerusalemme liberata (1581) and Bartolomeo Cavalcanti’s manual on oratory La retorica (1558). The present article unveils this neglected aspect of Cinquecento theories of music and emotion and explores its relevance to the Italian madrigal. Specifically, I propose the importance to sixteenth-century conversations about music and the affetti of what I call the two-stage model of emotional arousal, a paradigm according to which the onset of emotion in any listener takes place in two phases: first, a subtle inclination toward a given emotion; and second, the true “movement” of the soul that constitutes the emotion itself. Hitherto unidentified in both musicology and the humanities in general, this model stems, I show, from the ancient rhetorical tradition, with Aristotle’s Rhetoric its probable fons et origo. After tracing the model’s influence across a corpus of literary and theoretical texts, I study its implications for musical analysis in a madrigal cycle by Giaches de Wert on stanzas by Tasso: “Vezzosi augelli,” “Qual musico gentil,” and “Forsennata gridava,” all from the composer’s Ottavo libro de madrigali (1586). This case study invites reconsideration of staple text-setting devices of the genre, including declamatory homophony and the madrigalism.

APA, Harvard, Vancouver, ISO, and other styles

23

Morini, Massimiliano. "Torquato Tasso: The Liberation of Jerusalem (Gerusalemme Liberata). Translated by Max Wickert, with an Introduction and Notes by Mark Davie. Oxford: Oxford University Press, 2009 (World's Classics). Pp. xxxvi + 454. Pb. £12.99." Translation and Literature 19, no. 1 (March 2010): 115–20. http://dx.doi.org/10.3366/e0968136109000818.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Sokolova, Iana S. "Some Remarks about the Ceiling Painting of Bartolomeo Tarsia from the Dance Hall of the Great Peterhof Palace." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 628–46. http://dx.doi.org/10.21638/spbu15.2022.404.

Full text

Abstract:

This paper is dedicated to the painting ceiling created in the middle of the 18th century by the Venetian artist Bartolomeo Tarsia for the Dance Hall of the Great Peterhof Palace. The plafond was badly destroyed during the Second World War and was re-painted by Soviet artists in the second half of the last century from preserved pre-war photographs and a preparatory drawing. These documents formed the basis of our research. Starting from the 19th century, the subject of the plafond is interpreted mainly as “Apollo and the Muses on mount Parnassus”. An accurate examination and analysis of Tarsia’s preparatory drawing, along with an appeal to well-known prototypes from Western European painting, made it possible to come to some conclusions about the subject of the artwork, the nature of its iconography, and also to revise the established interpretation. In particular, we considered the problem of the iconography of Parnassus and Helikon, we also noted the co-presence on the ceiling of the figures of Minerva, the Muses and Pegasus, referring to one specific episode from Ovid’s Metamorphoses; it was also discovered that in the Tarsia’s native Republic of Venice — in Padua — there is a plafond by Giuseppe Le Gru, known as the “Triumph of the Sciences”, correlated in time of creation and content to Tarsia’s plafond. Like Parnassus, the subject with Minerva and/or Apollo and the Muses on Mount Helicon has an allegorical meaning — the prosperity and glory of the sciences and arts. The Peterhof plafond also has this allegorical character. The image of the supreme goddess Juno crowning the composition serves as an additional confirmation of this, and also allows us to attribute this ceiling to examples of the embodiment of female mythological iconography, which generally corresponds to the logic of the decorative decoration of the palace and corresponds to the spirit of the time. In addition, the possible parallels with other works of the middle of the 18th century, with which the Peterhof plafond shows ideological and compositional similarity, are proposed in the paper. Among such examples, there is one of the illustrations by Giambattista Piazzetta for the grandiose Venetian edition of “La Gerusalemme liberata (Jerusalem delivered)” by Torquato Tasso in 1745.

APA, Harvard, Vancouver, ISO, and other styles

25

Ferroni, Giovanni. "Die doppelte Pragmatik der Fiktionalität: Studie zur Poetik der Gerusalemme Liberata (Torquato Tasso, 1581). Katharina Kerl. Text und Kontext: Romanische Literaturen und Allgemeine Literaturwissenschaft 35. Stuttgart: Franz Steiner Verlag, 2014. 420 pp. €66." Renaissance Quarterly 69, no. 2 (2016): 778–80. http://dx.doi.org/10.1086/687710.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Gregory, Tobias. "Tasso's God: Divine Action in Gerusalemme Liberata." Renaissance Quarterly 55, no. 2 (2002): 559–95. http://dx.doi.org/10.2307/1262318.

Full text

Abstract:

This essay examines a subject largely ignored in Tasso criticism: the role of supernatural powers in the epic action of the Liberata. Tasso introduces divine characters, notably God and Satan, at several crucial moments. The presence in the epic plot of an intervening God who is at once partisan and omnipotent brings to the fore certain narrative and theological problems; these problems are not Tasso's alone, but inhere in the attempt to construct a Christian supernatural on the classical epic model. The divine action of the Liberata sheds light on the religious ideology of the poem, and on an issue of broader significance: the uneasy marriage of monotheism and epic narrative.

APA, Harvard, Vancouver, ISO, and other styles

27

Quint, David. "Political Allegory in the Gerusalemme Liberata*." Renaissance Quarterly 43, no. 1 (1990): 1–29. http://dx.doi.org/10.2307/2861791.

Full text

Abstract:

In 1553, six years before Tasso first began to sketch the poem that was to become the Gerusalemme liberata, the Catholic monarchs Philip II and Mary Tudor acceded to the throne of England, after the Protestant reigns of Henry VIII and Edward VI. The event was celebrated in an encomiastic oration, De restituta in Anglia religione ("On the restoration of religion in England"), by the minor Modenese humanist, Antonio Fiordibello. In one passage Fiordibello searches for a precedent to the achievement of the new English rulers.

APA, Harvard, Vancouver, ISO, and other styles

28

Cabras, Francesco. ""Goffred – Gerusalemme Liberata" XII 59–68. Un'analisi stilistica." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 26–39. http://dx.doi.org/10.24917/20811853.17.3.

Full text

Abstract:

"Goffred – Gerusalemme Liberata" XII 59–68. Interpretacja stylistycznaArtykuł skupia się na ściśle stylistycznej analizie epizodu śmierci Kloryndy z Jerozolimywyzwolonej w tłumaczeniu Piotra Kochanowskiego.Riccardo Picchio w 1977 r. opublikował nowatorski artykuł z punktu widzenia metodologicznego,pozostawiając na boku rozpowszechnione aż dotąd podejście do interpretacji polskiejwersji tego poematu, a mianowicie podejście za mocno uwarunkowane stosunkiem pomiędzydwoma tekstami, Tassa i Kochanowskiego. Włoski badacz postarał się przedstawićw nowym świetle arcydzieło polskiego poety: zamiast podkreślić domniemane usterki jegotłumaczenia, Picchio udowodnił, że bardzo często Kochanowski nie przełożył Tassa wedługnaszych oczekiwań nie z tego powodu, że nie umiał dorównać Tassowskiemu mistrzostwu,a raczej dlatego, że miał inne zamiary co do ogólnej koncepcji swojego poematu.Także w przypadku epizodu śmierci Kloryndy okazuje się, że poeta unikał najwyraźniejszychcech stylistycznych tekstu Tassa (ciągła i prawie obsesyjna obecność krwi oraz seksualnośćbohaterki), aby przedstawić czytelnikom raczej grę Losu/Szczęścia z postaciami, przedewszystkim z Tankredem, który walczy, nie będąc tego świadom, ze swoją ukochaną i w końcują zabija.Słowa kluczowe: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Klorynda,Tankred, stylistyka "Goffred – Gerusalemme Liberata" XII 59–68. A stylistical interpretationand some methodological observationsAbstractThe article focuses on the strictly stylistic analysis of the episode of Clorinda’s death inGerusalemme Liberata translated by Piotr Kochanowski.In 1977 Riccardo Picchio published an article that was innovative from the methodologicalpoint of view, leaving behind the prevalent approach to interpretation of Polish version ofthe poem, i.e. an approach too strongly conditioned by the relationship between two texts –Tasso’s and Kochanowski’s. Italian researcher attempted at presenting the masterpiece of thePolish poet in a new light: instead of highlighting the alleged faults of the translation, Picchioproved that Kochanowski did not translate Tasso according to our expectations most oftennot because he could not achieve Tasso’s perfection, but rather because he had a differentplan for a general concept of his poem.In the case of the episode of Clorinda’s death it turns out that the poet avoided the mostdistinct stylistic features of Tasso’s text (constant and almost obsessive presence of blood and the sexuality of the character). It was done to present to the readers the way Fate/Luckplays with the characters, most notably with Tancredi who, unknown to him, fights with hislove and finally kills her.Keywords: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Clorinda, Tancredi, stylistic

APA, Harvard, Vancouver, ISO, and other styles

29

Tylus, Jane. "Reasoning Away Colonialism: Tasso and the Production of the "Gerusalemme Liberata"." South Central Review 10, no. 2 (1993): 100. http://dx.doi.org/10.2307/3190002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Chávez, Fernando Ibarra. "Riflessioni sulla traduzione nell'ottocento messicano." Revista de Italianística, no. 34 (November 7, 2017): 103. http://dx.doi.org/10.11606/issn.2238-8281.v0i34p103-111.

Full text

Abstract:

Per tutto il secolo XIX, la traduzione di letteratura italiana nel Messico fu un’attività praticata soprattutto dai poeti. Come mestiere artistico e professionale, alcuni membri dell’élite intellettuale del paese videro la traduzione come un problema letterario e il traduttore fu valutato come un professionista specializzato. Le prime riflessioni sul tema le troviamo nella rivista Miscelánea di José María Heredia e, col passare del tempo, vedremo che i ragionamenti intorno alla traduzione cambiarono, al punto che alla fine del secolo Francisco Sosa pubblicò un commento analitico a proposito di tre traduzioni (spagnole e messicane) della Gerusalemme Liberata del Tasso.

APA, Harvard, Vancouver, ISO, and other styles

31

Gibbons, David. "TASSO ‘PETROSO’: BEYOND PETRARCHAN AND DANTEAN METAPHOR IN THE GERUSALEMME LIBERATA." Italian Studies 55, no. 1 (January 1, 2000): 83–98. http://dx.doi.org/10.1179/007516300790557447.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Vilà, Lara. "“El poema dulcissimo del Tasso”. La Gerusalemme liberata en la España de finales del Quinientos." Iberoromania 2023, no. 98 (November 1, 2023): 276–93. http://dx.doi.org/10.1515/iber-2023-2018.

Full text

Abstract:

Resumen El artículo ofrece un panorama de las traducciones y adaptaciones de la Gerusalemme liberata en España y plantea su estudio desde la perspectiva del problema de la poesía heroica en el Quinientos y principios del Seiscientos. A partir del análisis de las circunstancias de escritura y difusión del poema, el estudio se detiene en las versiones de Juan Sedeño y Bartolomé Cairasco de Figueroa y atiende finalmente a las adaptaciones más tempranas que conoció el siglo y a algunas particularidades de su imitación en nuestras letras.

APA, Harvard, Vancouver, ISO, and other styles

33

Benedetti, Laura. "Tasso, Virgilio e il "sanguinoso manto" di Goffredo: intertestualità e riscrittura nella Gerusalemme liberata." MLN 134, S (2019): S—239—S—251. http://dx.doi.org/10.1353/mln.2019.0070.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Ferretti, Francesco. "Nel segno di Armida. Sul paratesto delle "Lagrime del penitente" di Angelo Grillo." Quaderns d’Italià 26 (December 3, 2021): 131–44. http://dx.doi.org/10.5565/rev/qdi.515.

Full text

Abstract:

Il saggio si concentra sull’emblema spirituale che precede l’edizione napoletana (Stigliola, 1594) delle Lagrime del penitente di Angelo Grillo, formato da una crocefissione accompagnata dal distico: “Sani piaga di duol, piaga d’errore, / e diano gli occhi medicina al core”. Di questo distico penitenziale si individua il modello in Gerusalemme liberata, XX 125, rilevando le differenti funzioni dell’arguzia nei due diversi contesti (Grillo sta introducendo una raccolta di parafrasi poetiche dei sette salmi penitenziali, laddove Tasso aveva rappresentato la disperazione di Armida innamorata di Rinaldo, vinta sul campo di battaglia e ormai prossima al suicidio). Dopodiché si considerano le successive apparizioni di questo “cartiglio” ecfrastico (scompagnato dall’immagine cristologica) e si analizzano alcune delle sue molteplici riprese e variazioni concettuali all’interno delle Lagrime e dei Pietosi affetti.

APA, Harvard, Vancouver, ISO, and other styles

35

Burwick, Frederick. "Wordsworth's ‘bright cavern of romance’." Romanticism 22, no. 1 (April 2016): 61–75. http://dx.doi.org/10.3366/rom.2016.0257.

Full text

Abstract:

In the eighteenth century, the term ‘Romantic’ was applied to a resurgence of wild narratives similar to those of Medieval and Renaissance Europe, from Sir Thomas Malory's Le Morte d'Arthur (1485) to Edmund Spenser's Faerie Queene (1590–96). Ludovico Ariosto's Orlando furioso (1516) and Torquato Tasso's Gerusalemme Liberata (1581) were ranked as masterpieces of romance. Anne Radcliffe's Gothic Romance and Sir Walter Scott's Historical Romance contributed further to the popular permutations of the genre. Among the poets who persisted in attributing sublime grandeur to the traditional romance, Wordsworth recognized in the romance a model for exploring the subjective spaces of fantasy and dream. A ‘cavern of romance’ is one of Wordsworth's repeated metaphors for the retreat into the imagination. ‘Caverns there were within my mind which sun/ Could never penetrate’ (Prelude 3:246–249). He also delineates, however, an intruding ‘glimpse/ Of daylight’ which exposes the illusion and enables his cultivation of ‘romantic perception’.

APA, Harvard, Vancouver, ISO, and other styles

36

Borrelli, Antonio. "«Uno mero esecutore delle cose che li erano ordinate da Dio»: Tasso's Godfrey and Machiavelli's Moses." De Medio Aevo 12, no. 2 (October 11, 2023): 373–85. http://dx.doi.org/10.5209/dmae.90376.

Full text

Abstract:

The essay analyzes the influence of the book of the Exodus on the representation of political relations between the Christian army and its captain, Godfrey of Bouillon, in Torquato Tasso’s Gerusalemme liberata. The research will show how Tasso’s poem imitates the events of Moses in the government of the chosen people and reads the character of the prophet as a political leader who exercises sovereign power. This reading of Moses will be compared with the innovative one present in Niccolò Machiavelli’s Prince: the Machiavellian treatise presents the biblical prophet as a perfect example of a new prince who imposes his will even using weapons. The essay will highlight how the Machiavellian characterization of Moses influences the character of Tasso’s poem. These considerations will highlight the political use of one of the major biblical characters within the most important poetic work of the Counter-Reformation period and the role of the most controversial political treatise of the time in this new reading.

APA, Harvard, Vancouver, ISO, and other styles

37

Fenlon, Iain. "Cardinal Scipione Gonzaga (1542–93): ‘Quel padrone confidentissimo’." Journal of the Royal Musical Association 113, no. 2 (1988): 223–49. http://dx.doi.org/10.1093/jrma/113.2.223.

Full text

Abstract:

If Scipione Gonzaga is remembered at all today, it is most likely to be for his friendship and patronage of Torquato Tasso; as the dedicatee of the poet's youthful Discorsi dell'arte poetica and one of his dialogues, the transcriber (in the crucial year 1575) of all the stanzas of the Liberata then available to him, and the editor of the celebrated edition of the full text of the poem brought out by the Mantuan printer Osanna in 1584. Of his own literary efforts little remains. A handful of poems in a respectable if conventional Petrarchesque idiom appeared during his lifetime; on the other hand the Commentam, evidently inspired by classical precedent and a rare example from the period of a prelate's autobiography, was not published until the end of the eighteenth century when it appeared in an elaborate edition with annotations by Giuseppe Marotti.

APA, Harvard, Vancouver, ISO, and other styles

38

Bane, Michael A. "‘O Strange Transformation!’ The Monologue from Act II Scene 5 of Lully and Quinault's Armide (1686) and the Retelling of Tasso in France." Cambridge Opera Journal 31, no. 1 (March 2019): 1–25. http://dx.doi.org/10.1017/s0954586719000107.

Full text

Abstract:

AbstractIn the famous monologue from Act II scene 5 of Lully and Quinault's Armide (1686), the title character attempts to slay the sleeping hero Renaud but, overcome by his beauty, falls in love with him instead. As commentators have noted, the monologue departs from the opera's source material, Tasso's epic poem La Gerusalemme liberata (1581). In contrast to the placid scene recounted by Tasso in canto 14 of the original work, the libretto depicts Armide's transformation from enemy to lover as a moment of struggle and psychological doubt. While scholarship has generally credited Quinault with having recognised the dramatic potential of the encounter, this article argues for a broader contextualisation of the scene in seventeenth-century French artistic production. A review of the major translations and adaptations of Tasso's poem published in France before 1686 reveals that Quinault's libretto represents not a decisive break with the past but rather one contribution to a much broader tradition of literary and musical experimentation.

APA, Harvard, Vancouver, ISO, and other styles

39

Albertini, Stefano. "Il titanismo di Torquato Tasso e i giganti di Giulio Romano: ipotesi di una contaminazione pittorica nellaGerusalemme liberata." Italianist 11, no. 1 (June 1991): 61–69. http://dx.doi.org/10.1179/ita.1991.11.1.61.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Lewis, Christopher T. "The Sea and the Shield: Lacan and Epic Mirrors in Luís de Camões’s Os Lusíadas and Torquato Tasso’s Gerusalemme liberata." Romance Notes 52, no. 3 (2012): 353–61. http://dx.doi.org/10.1353/rmc.2012.0013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

Full text

Abstract:

AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.

APA, Harvard, Vancouver, ISO, and other styles

42

Zipoli, Luca. "Torquato Tasso e il desiderio di unità. La Gerusalemme liberata e una nuova teoria dell’epica." Italian Culture, July 10, 2023, 1–3. http://dx.doi.org/10.1080/01614622.2023.2228139.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Tylus, Jane. "(Dis)placing the foreign in early modern Europe: The example of Tasso's “Gierusalemme”." Forum Italicum: A Journal of Italian Studies, May 18, 2023, 001458582311729. http://dx.doi.org/10.1177/00145858231172996.

Full text

Abstract:

Torquato Tasso, Italy's foremost early modern poet, engaged with issues of otherness throughout his complicated life and career—in no small part because of his own itinerant and often marginalized status. His first try at what would eventually become his monumental Gerusalemme liberata—an unfinished poem he wrote when he was 16, called simply “Il Gierusalemme”—gives us a glimpse into an early attempt to define epic as a space for welcoming in the stranger. The stranger was as much a character for Tasso as it was a parola pellegrina or foreign word, the latter a particular obsession of Tasso's. Dedicated as he was to seeing the vernacular not as “just” Tuscan, but as capacious enough to include other dialects as well as Latin and neologisms, Tasso quickly found enemies in Florence's Accademia della Crusca, which insisted on a much purer view of the Italian tongue. By connecting Tasso's theory of hospitality to the questione della lingua as it was being fought over in late 16th-century Italy, this article argues for a capacious understanding of both this early experimental work of Tasso's, as well as his later poem.

APA, Harvard, Vancouver, ISO, and other styles

44

Dilmac, Betül. "Katharina Kerl, Die doppelte Pragmatik der Fiktionalität: Studie zur Poetik der Gerusalemme Liberata (Torquato Tasso, 1581) (Text und Kontext, 35), Stuttgart, Steiner, 2014, 417 p." Zeitschrift für romanische Philologie 132, no. 1 (January 1, 2016). http://dx.doi.org/10.1515/zrp-2016-0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Capparelli, Maria Debora. "Teresa Staudacher, Volendo far la favola affettuosa. Affektpoetik und Heidendarstellung bei Torquato Tasso; Katharina Kerl, Die doppelte Pragmatik der Fiktionalität. Studie zur Poetik der ‚Gerusalemme Liberata‘." Romanistisches Jahrbuch 67, no. 1 (January 1, 2016). http://dx.doi.org/10.1515/roja-2016-0014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Diaco, Francesco. "Su "Paura seconda" di Vittorio Sereni." Versants. Revista suiza de literaturas románicas 2, no. 64 (October 19, 2017). http://dx.doi.org/10.22015/v.rslr/64.2.10.

Full text

Abstract:

L’articolo è dedicato all’interpretazione di Paura seconda di Vittorio Sereni.Dopo una dettagliata analisi stilistica, viene ipotizzata la presenza di unareminiscenza dalla Gerusalemme liberata, coincidente con la memoria involontariadegli episodi della selva di Saron. La comparazione con Tasso permette,inoltre, di valorizzare numerosi aspetti del testo sereniano, quali l’animismo,l’autonominazione, la denegazione, il senso di colpa e la pulsione al suicidio (inlinea col côté nichilistico di Stella variabile).

APA, Harvard, Vancouver, ISO, and other styles

47

Moudarres, Andrea. "A less perfect captain: Reconsidering Goffredo in the Gerusalemme Liberata." Forum Italicum: A Journal of Italian Studies, November 22, 2020, 001458582097121. http://dx.doi.org/10.1177/0014585820971219.

Full text

Abstract:

This article seeks to problematize our understanding of Tasso’s depiction of Goffredo in the Gerusalemme Liberata. I do so by considering how Tasso revised three passages of the Gottifredo—his poem’s original title—in response to his censors’ recommendations: specifically, I discuss Goffredo’s failed attempt to win Sveno’s sword (omitted from canto 8 of the Liberata), and then turn to the Christian captain’s reactions to Armida’s seduction of his men in canto 4 and to Rinaldo’s killing of the fellow crusader Gernando in canto 5. I argue that, particularly as his character was initially delineated in the Gottifredo, the Christian captain is neither a monolithic embodiment of virtue nor a personification of Tasso’s supposed authoritarianism. Goffredo is, instead, the complex persona of a political and military leader who reveals the flaws buried beneath an apparently impermeable surface.

APA, Harvard, Vancouver, ISO, and other styles

48

Mondola, Roberto. "Entre el culto al epos y el amor a Tasso: el Discurso preliminar de Sas a su traducción de la Liberata (1817)." Bulletin hispanique, 2024, 247–60. http://dx.doi.org/10.4000/11xym.

Full text

Abstract:

El artículo estudia el Discurso preliminar que Melchor de Sas antepone a su traducción en verso blanco de la Gerusalemme Liberata, editada en 1817. A través del análisis de las modalidades con las cuales Sas desarrolla su apología del epos y defiende los principios en los que fundó su labor de traducción, el artículo arroja luz sobre un capítulo significativo en la historia de la irradiación de la Gerusalemme en las letras hispánicas.

APA, Harvard, Vancouver, ISO, and other styles

49

Nardella, Serena. "DALLA LASCIVIA ALL’AMBIGUITÀ: IL TERRITORIO DELL’INGENUITÀ TASSIANA." Italiano LinguaDue 14, no. 2 (January 17, 2023). http://dx.doi.org/10.54103/2037-3597/19631.

Full text

Abstract:

Il saggio si propone di analizzare le locuzioni e i passi della Liberata giudicati lascivi, ambigui o immorali sia nella prima fase di revisione del poema, sia successivamente alla sua pubblicazione, nel corso della polemica cinquecentesca. Il confronto linguistico tra i testimoni della prima Gerusalemme e in particolare tra quest’ultima e la Conquistata ha permesso di verificare come e se Tasso abbia accolto le critiche, mostrandosi in alcune circostanze flessibile e disposto ad alterare il testo, in altre convinto delle scelte poetiche, confermandole anche nella riscrittura. From lasciviousness to ambiguity: the territory of Tasso’s ingenuity The essay aims to analyze the locutions and passages in the Liberata that were judged lascivious, ambiguous or immoral both in the early phase of the revision of the poem and after its publication, during the occurrence of the sixteenth-century controversy. The linguistic comparison between the Liberata and the Conquistata made it possible to ascertain how and whether Tasso accepted the criticism, showing in some circumstances flexibility and willingness to alter the text, in others determination in confirming the previous poetic choices in the rewriting.

APA, Harvard, Vancouver, ISO, and other styles

50

Grootveld, Emma, and Nina Lamal. "Impious Heretics or Simple Birds? Alexander Farnese and Dutch Rebels in Post-Tassian Italian Poems." Quaderni d'italianistica 35, no. 2 (July 22, 2015). http://dx.doi.org/10.33137/q.i..v35i2.23616.

Full text

Abstract:

This article examines the poetical construction of a hero and his enemies in two early seventeenth-century Italian poems about the siege of Antwerp (1584–85), <i>Anversa Liberata</i> and <i>Anversa Conquistata</i> (1609). It explores the adaptations of Tasso’s <i>Gerusalemme Liberata</i> and <i>Conquistata</i> that made these models suitable to the new subject of the poems. From this perspective, we argue that the authors were more than servile epigones of Tasso, as the adaptations of Tasso’s <i>Gerusalemme</i> in both poems created a compromise between the literary tradition and the historical context. The Dutch rebels, being reminiscences of Argillano’s revolt, are characterised both as an errant enemy and a convertible community. Their double status enhances the complementary poetic representation of Alessandro Farnese, the army general fighting them as a clement “pious” hero. These representations and adaptations made it possible for the poems to finish with the reconversion of the Calvinist rebels and therefore both poems can be defined as “epic poems of reconciliation.”

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!