Relevant bibliographies by topics / Italian Epigrams

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Academic literature on the topic 'Italian Epigrams'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Italian Epigrams"

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Vinitsky, Ilya. "HOW THE IMPROVISOR’S PANTS WERE MADE: The cultural genealogy of the epigraph to the fi rst chapter of Pushkin’s “Egyptian Nights”." Vremennik Pushkinskoi Komissii 34 (2020): 111–30. http://dx.doi.org/10.31860/0236-2481-2020-34-111-130.

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In the present essay I want to broaden the sphere of potential textual and ideological sources of the epigraph to the first chapter of Pushkin’s “Egyptian Nights,” to make precise the genealogy of the French witticism that reached the Russian poet and served as the basis for his epigraph, and to offer a social and cultural interpretation of it in the context of Pushkin’s work. I argue that the witticism does not have a direct relationship to the genre of the verse epigram but rests on a humorous prose tradition of the seventeenth and eighteenth centuries, which included jokes about the pants of hapless musicians, which in turn derived from Renaissance anecdotes and Italian commedia dell’arte
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Chemperek, Dariusz. "Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 76–96. http://dx.doi.org/10.24917/20811853.20.5.

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Birds function in Polish literature of Renaissance and Baroque in three paradigms. Mostly they appear as creatures gifted with a symbolic (allegoric) meaning, seen through the prism of the tradition reaching to Aristotle’s Zoology, Physiologist, and later symbological compendia. The second category is describing birds as food or pests (especially in hunting and agricultural literature). Apart from this ‘practical’ paradigm, there is also a third one: birds as a source of an aesthetic thrill, fascination with them includes both lyricism and a ludic element. The first two categories fit into a more general utilitarian paradigm. Handbooks, treaties, sermons, fairy tales, paroemias and animal epigrams showcase birds almost exclusivelyas tools of moral, religious and conventional reflection, or as objects to be obtained and consumed. Interestingly, the symbological activity of the creators does not cease in the Renaissance and Baroque periods, the representatives of avifauna are burdened with new meanings, while the fantastic creatures slowly disappear from the creators’ fields of view. In the third group of works distinguished here, one can notice the phenomenon of the emancipation of birds as objects of interest just as they are, although their voice is heard mostly in the digressions scattered throughout the big epic works. The autonomy of birds in the literature of Renaissance and Baroque is not linear, the way of perceiving them is determined by the individual sensitivity of the authors, the most prominent of whom are Hieronim Morsztyn (early 17th century) and an anonymous translator of the Italian Adon (2nd half of the 17th century).
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Potapova, I. M. "EPIGRAM IN 20TH-CENTURY ITALIAN LITERATURE." Тrаnscarpathian Philological Studies 1, no. 23 (2022): 289–93. http://dx.doi.org/10.32782/tps2663-4880/2022.23.1.55.

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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Cullhed, Eric. "Bakgrunden till Kellgrens ”Öfver Propertii Buste”." 1700-tal: Nordic Journal for Eighteenth-Century Studies 11 (August 17, 2014): 90–100. http://dx.doi.org/10.7557/4.3085.

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The Background to Kellgren’s ”On a bust of Propertius”. This article examines the Swedish eighteenth-century poet Johan Henric Kellgren’s widely celebrated epigram “On a bust of Propertius” (“Öfver Propertii Buste eller Porträt”), published posthumously. An attractive but fanciful story about the poem as Kellgren’s autobiographical reflection and personal farewell on his deathbed has triggered an unwillingness among scholars to explore what the writer himself declares: that the piece is a translation of the epigram In statuam Propertii by the virtually unknown Italian Renaissance poet Guido Postumo Silvestri of Pesaro. The first section of the article surveys the intertextual field of Postumo’s poem and analyses its fusion of common tropes and motifs in the Greco-Roman and Neo-Latin ekphrastic epigram traditions. The second section traces the subsequent textual history of Postumo’s poem and the changes it underwent in reprints as well as in the eighteenth-century Danish philologist Frederik Plum’s translation into his native language. The third and final section focuses on Kellgren’s interpretation of the Danish text. It was through a process in several steps of reproductions and translations that the Neo-Latin creation was strained of its manierism, mythological references and allusions to late antique poetry, producing this pathos-driven swansong.
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Fernández Delgado, Rogelio. "La emblemática y el pensamiento económico español de finales del siglo XVI y principios del XVII." Studies of Applied Economics 32, no. 1 (March 3, 2020): 43. http://dx.doi.org/10.25115/eea.v32i1.3200.

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In 1531 the Italian jurist Andrea Alciato (1492-1550) published Emblematum liber, a work that had a great influence on Europe. Alciato's work consisted of an anthology of poems that were illustrated, each of which had a title or theme. The purpose of the illustration and the title was intended to facilitate the understanding and interpretation of the text by the reader. Emblematum liber is considered the starting point of the emblematic which later gave rise to the emblematic literary genre.Alciato's work encouraged many authors to follow the path of the emblems. The correspondence between the title (inscription), image (pictura), and explanatory text (subscriptio or epigrama) gave rise to a consolidated gender that spread rapidly throughout Europe. The purpose of this paper is to present the influence that emblematic had on Spanish economic thought of the late sixteenth and early seventeenth centuries, in particular on the works of Cristóbal Pérez de Herrera (1556-1620) and Diego Saavedra Fajardo (1584-1648).
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Jones, Julian Ward. "Catullus' Passer as Passer." Greece and Rome 45, no. 2 (October 1998): 188–94. http://dx.doi.org/10.1017/s0017383500033684.

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Poem 2 of the Liber Catullianus – the first of the passer poems – was probably the poet's most famous piece. The poem presents a charming and fascinating picture of a Roman matron who is said by the poet to divert her mind from her passion by playing with her pet bird. Of this seemingly innocent picture a peculiar esoteric interpretation was offered in the time of the Italian Renaissance. Toward the end of the fifteenth century, the Florentine scholar Angelo Poliziano suggested that Catullus had woven an obscene allegory into his poem, and he supported his argument by reference to the sixth epigram of Martial's eleventh book. This epigram is a vulgar poem that ends with the words ‘passerem Catulli’. It will figure prominently in our discussion below. Poliziano only hinted at an indecent meaning. The Dutch scholar, Isaac Voss, in his Observations on Catullus published in 1684, makes the matter explicit. The Greeks, he alleges, often used the names of birds to refer to a man's penis, and similarly passer in poem is ambiguous and at one level represents the poet's penis. By this obscene interpretation, the basic allegory of the poem would be something like this. Lesbia has great familiarity with the poet's male member. She delights in playing with it and in this way seems to satisfy her erotic impulses. The poet by means of similar play would like to take similar satisfaction for himself. He cannot because masturbation gives him no pleasure. According to Voss, this allegory continues in poem 3, the famous dirge for the dead passer. Here, he declares, we should suppose that the poet wishes to represent himself as ‘confectum et exhaustum lucta Venerea et funerata… ea parte quae virum facit’ (‘worn out and exhausted by a physical exertion erotic and deadly in regard to that part which makes a person a man’).
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Zeichmann, Christopher B. "Military Forces in Judaea 6–130 ce: The status quaestionis and Relevance for New Testament Studies." Currents in Biblical Research 17, no. 1 (October 2018): 86–120. http://dx.doi.org/10.1177/1476993x18791425.

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The study of the military in the Roman provinces of Judaea is not the most accessible topic. Though the data upon which scholars rely is familiar (e.g., epigraphs, papyri, ancient historians), its study requires significant methodological deviations from biblical studies. This article summarizes key points relevant for scholars of both Jewish antiquity and early Christianity. First, it provides a summary of recent developments in the social history of the Roman army in the Near East, attending especially to the question of the role and function of soldiers in that region. Second, this article provides a brief social history for all military units in Judaea before it was renamed Syria Palaestina in 130 ce (four legions, 14 infantry cohortes, and five cavalry alae), based on the latest discoveries. Finally, the article concludes with a section discussing two issues specific to New Testament studies: the presence of an Italian cohort in Judaea (Acts 10) and the issue of the Augustan cohort in Judaea and Batanaea (Acts 27).
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Treccani, Gian Paolo. ""Voci di un'Italia bambina". Monumenti toponomastica e allestimenti celebrativi nella costruzione della cittŕ risorgimentale." STORIA URBANA, no. 132 (February 2012): 5–20. http://dx.doi.org/10.3280/su2011-132001.

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Sono numerosi gli studi dedicati ai processi di trasformazione delle cittŕ italiane, avvenuti dopo l'unitŕ del Paese. In particolare, si tratta di ricerche che hanno indagato gli aspetti quantitativi di tale fenomeno, che riguardano lo sviluppo territoriale dei centri abitati, la dotazione di nuove infrastrutture, quali strade, ferrovie, porti, ecc, o la realizzazione di grandi opere pubbliche con finalitŕ di carattere sociale. Meno numerosi sono invece gli studi dedicati alle trasformazioni dei centri abitati e dei territori prodotte da quel fenomeno che si definisce di "costruzione dell'identitŕ nazionale". Lo scritto delinea il contesto in cui prende forma tale progetto e inquadra i temi che ne costituiscono la concretizzazione. Si tratta, nello specifico, di individuare quella "geografia" (costituita da un numero infinito di monumenti commemorativi del Risorgimento, di luoghi simbolici, di targhe in ricordo di eventi insurrezionali, di lapidi con epigrafi dedicatorie, di toponomastiche e itinerari d'ispirazione patriottica, di restauri dei cosiddetti "monumenti nazionali") in cui prende forma tale progetto e di evidenziarne i caratteri specifici. Tale rappresentazione dell'identitŕ nazionale costituisce oggi un tratto imprescindibile del volto delle cittŕ italiane, e richiede politiche di tutela e valorizzazione.
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Berruecos Frank, Bernardo. "Villerías’ Latin Translation of Alessandra Scala’s Greek Epigram to Poliziano and the Translation Wars in Mexico." Pnyx: Journal of Classical Studies 1, no. 2 (December 23, 2022): 163–91. http://dx.doi.org/10.55760/pnyx.2022.12.

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The Reserved Collection of the National Library of Mexico holds a previously unpublished manuscript (Ms 1594) that contains the Latin and Greek works of a New Spanish poet, José de Villerías y Roelas (1695-1728). It is undoubtedly the most important document known to us, written in Greek and produced in New Spain during the colonial period. To date, no other New Spanish materials containing original compositions in Greek have been located or studied; nor are we aware of any collection of Greek poems anthologised by a New Spanish Hellenist. Hence the manuscript stands as a kind of codex unicus for New Spanish Hellenism. In this paper, I publish and analyse one of the poems, the longest of Villerías' collection of Greek poetry, and his Latin translation. In the manuscript, the epigram in question is attributed to the distinguished and renowned humanist of the Italian Quattrocento, Alessandra Scala, who composed it in response to one of Angelo Poliziano’s poems dedicated to her. Before analysing Villerías’ text and translation, I trace Poliziano's reception in New Spain and explore Villerías’ possible engagement with Poliziano's Liber Epigrammatum Graecorum. Finally, I discuss the various approaches to the translation of Greek texts in Mexico from the colonial period to the present day. The aim is to stimulate debates about classical reception in post-colonial and peripheral contexts and to present the politics in which classicism became institutionalised in contemporary Mexico.
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Books on the topic "Italian Epigrams"

1

Francesco, Tommaso Di. Bistrò: Epigrammi attraverso la redazione de Il manifesto. Salerno: Multimedia, 1999.

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2

Bajini, Sandro. I quaderni di Menippo: Libro secondo degli epigrammi. Milano: Viennepierre, 1999.

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3

Philodemus. The epigrams of Philodemos. New York: Oxford University Press, 1996.

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Romeo, Armando. Dall'ombelico alle stelle. [Napoli?]: California humor, 1988.

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Bajini, Sandro. I quaderni di Menippo: Libro secondo degli epigrammi. Milano: Viennepierre, 1999.

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Gnisci, Armando. Sofà orientale occidentale: Epigrammi haiku fritti e/o sodi : con il commento del Prof. Armando Gnisci de "La Sapienza" di Roma. Roma: Bulzoni, 1994.

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7

Compagnone, Luigi. L' elogio del cretino affettuoso: Epigrammi e anagrammi. Napoli: Colonnese, 1999.

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Compagnone, Luigi. L' elogio del cretino affettuoso: Epigrammi e anagrammi. Napoli: Colonnese, 1999.

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9

1947-, Watson Lindsay, and Watson Patricia A. 1947-, eds. Select epigrams. Cambridge, U.K: Cambridge University Press, 2003.

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Callimachus. Epigrammi. Roma: Piero Lacaita editore, 1988.

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Book chapters on the topic "Italian Epigrams"

1

Cabras, Francesco. "Dante nella Polonia del Quattro-Cinquecento. Dalla (s)fortuna di Dante ad alcune considerazioni sugli elementi costitutivi della letteratura polacca rinascimentale." In Biblioteca di Studi di Filologia Moderna, 39–60. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.03.

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This article aims to show how Dante Alighieri was ‘used’ in Renaissance Polish literature. Dante was known by Polish intellectuals first of all as a political theorist. Only in the second half of the 14th century did Polish writers start to refer to him as a great poet (Długosz). However, Dante was rather known than read and ‘used’ as a topic character to demonstrate the excellence of vernacular poetry. Andrzej Trzecieski the Younger, in fact, wrote in a couple of epigrams to his friend Mikołaj Rej, that Rej is to Polish literature, what Dante (and Petrarch) was to Italian literature; in addition to this, Trzecieski underlines, through intertextual allusions, that Dante (and Rej) had the same dignity of ancient Greek and Latin poets. This attitude that vernacular literature is on par with Greek and ancient literature is found also in the elegy III 8 by Jan Kochanowski, where Ronsard is presented as a “classic” poet. The final part of this work compares the situation in 15th and 16th-century Italian and Polish literature in terms of the relationship between ancient and vernacular poetry.
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De Rubeis, Flavia. "Scritture nazionali e aree culturali: le epigrafi tra forme, contenuti e trasmissioni testuali in Italia e nell’Europa altomedievale." In Cultural Encounters in Late Antiquity and the Middle Ages, 549–80. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.celama-eb.1.101673.

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Boschetti, Federico, Del Gratta, Riccardo, and Lamè, Marion. "Computer assisted annotation of themes and motifs in ancient Greek epigrams: First steps." In Proceedings of the First Italian Conference on Computational Linguistics CLiC-it 2014 and of the Fourth International Workshop EVALITA 2014 9-11 December 2014, Pisa. PISA UNIVERSITY PRESS, 2014. http://dx.doi.org/10.12871/clicit2014117.

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Mastrandea, Paolo. "L’epitafio di Platone Hic iacet ille Plato… (CLE 1395 = ICVRII 442, n. 152)." In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/029.

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Greeks and Latins in Byzantine Rome. This is a critical revision, with Italian translation and literary comment, of a 686/687 CE sepulchral epigram. This 38-line elegiac couplet poem has received too little attention by scholarship, considering that it involves useful historical, prosopographical, as well as archaeological notices.
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