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Relevant bibliographies by topics / Italian Love poetry

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Journal articles

Academic literature on the topic 'Italian Love poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Italian Love poetry"

1

Urbaniak, Aleksandra. "„Gdy nadchodzi pora słodkich spojrzeń”. O motywie czasu w liryce miłosnej Chiara Davanzatiego." Terminus 25, no. 3 (68) (2024): 309–21. http://dx.doi.org/10.4467/20843844te.23.018.18206.

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The goal of the paper is to distinguish and characterize various motifs of time in love poetry of the 13th century poet Chiaro Davanzati. The main research question addressed in the study is “How does the lexeme tempo contribute to the construction of the courtly love discourse in Davanzati’s poetry?” or, in other words, “How can this kind of analysis inform our understanding of the lover and his relationship with the lady”. This problem is approached in this study by categorizing the poems under scrutiny into three classes according to the time perspective, which can be the present, the past,

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2

Garzonio, Stefano. "Механизмы переложения "на наши (русские) нравы" итальянских оперных либретто [Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos]". Sign Systems Studies 30, № 2 (2002): 629–44. http://dx.doi.org/10.12697/sss.2002.30.2.16.

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Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to t

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3

Defaux, Gérard. "(Re)visiting Délie: Maurice Scève and Marian Poetry*." Renaissance Quarterly 54, no. 3 (2001): 685–740. http://dx.doi.org/10.2307/1261922.

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Si iracunda, aut avaritia, aut carnis illecebra naviculam concusserit mentis, respice ad Mariam.— Bernard, In laudibus Virginis MatrisFactat animam Vulcanus, vestes aptat Pallas, fucat Venus, & cesto cingit, ornant cteterte Den, docet pessimos mores Mercurius. Et quia omni genere rerum a Diis donata esset, Pandoram appellat.— Jean Olivier, PandoraCelle qui est la Vertu, et la Grace …Monstre, qu'en soy elle a plus, que de femme.— Délie, D354 and 284This study proposes a new reading of Delie and tries to shed a new light on the poet himself. Sceve appears here not only as the humanist we all

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4

Peterson, Thomas. "“Una libidine di saggezza”: Amelia Rosselli’s Documento." Quaderni d'italianistica 44, no. 1 (2024): 7–33. http://dx.doi.org/10.33137/q.i..v44i1.42831.

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This study of Amelia Rosselli’s third major collection follows the chronological order of the poems’ composition, clarifying the poet’s intentions to embark on a path that privileges internal objectivity and communication. Careful attention is paid to the derivation from Petrarch and medieval Italian love poetry. The love theme is tied to a spiritual problematic evident in the book’s extensive use of sacred and Christological imagery. This finds the subject in often ambiguous situations of tension and trial that nevertheless express her goal of freedom in defense of the dignity of the person.

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5

Everson, Jane E. "The Italian Love Poetry of Ludovico Ariosto: Court Culture and Classicism by Giada Guassardo." Modern Language Review 118, no. 2 (2023): 261–63. http://dx.doi.org/10.1353/mlr.2023.0054.

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6

Dattilo, Delia. "Folk Songs: Spaces and Reasons. Ruga, Love, Marriage, Departures." Tautosakos darbai 59 (June 2, 2020): 64–84. http://dx.doi.org/10.51554/td.2020.28367.

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This essay sheds light on habits, behaviours, and social practices by focusing on Southern Italian youth and their songs; more specifically, it deals with Calabria in the years between 1850 and the 1900s. Such samples – relics to us – allow us to infer how men and women of that generation communicated within the archaic and highly hierarchical society in which they lived. Sometimes through singing the youth of Southern Italy found a way to bypass prohibitions and to say what could not be normally said in everyday life. Since it is clearly impossible to hear the performers’ original voices, thi

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7

Mikosz, José Eliézer, and Teresa Lousa. "Facets of love in renaissance culture." Humanitas, no. 80 (December 14, 2022): 69–91. http://dx.doi.org/10.14195/2183-1718_80_4.

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Starting from a qualitative methodology with a documental base, the concept of love is revisited in a cut that intends to highlight its various representations in Renaissance culture: inherited from classical culture, the reception of the concept of love goes from its mythology to its expression in Platonic philosophy. The theme of love finds a fertile narrative in the Renaissance, present in the poetry of Dante, Petrarch, and Colonna, which will greatly influence the visual arts. This trend finds significant echoes in Portugal; authors such as Leão Hebreu and Camões demonstrate this. It is a

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8

Tolokonnikova, I. V. "Unknown Dobrolyubov: Russia and Italy in the Life of the Litarary Critic." Concept: philosophy, religion, culture 7, no. 4 (2023): 179–83. http://dx.doi.org/10.24833/2541-8831-2023-4-28-179-183.

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Many of the numerous works devoted to Nikolay Alexandrovich Dobrolyubov, a prominent Russian literary critic and journalist, regard him from a perspective similar to the one expressed in N. A. Nekrasov’s poem in the memory of N. A. Dobrolyubov. They view the critic as intellectual, ascetic, and dispassionate – an exemplar of a public figure. This poetic image has become strongly associated with Dobrolyubov’s personality, yet Dobrolyubov was much more than that: a witty satirizer, talented translator, author, and poet. M. G. Talalay’s book on Dobrolyubov’s Italian period depicts the distinguish

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9

Blackmore, Josiah. "Melancholy, Passionate Love, and the Coita d'Amor." PMLA/Publications of the Modern Language Association of America 124, no. 2 (2009): 640–46. http://dx.doi.org/10.1632/pmla.2009.124.2.640.

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From (Pseudo-)Aristotle's reflections on wine, poetry, and heroes in problems, book 30, to modern psychoanalytic theory and depression, melancholy has claimed the attention of artists and thinkers throughout the history of Western culture. According to Jennifer Radden's historical analysis, melancholy was “a central cultural idea, focusing, explaining, and organizing the way people saw the world and one another and framing social, medical, and epistemological norms” (vii). It takes a number of forms: for ancient Greek physicians it was a somatic malady, an overwrought contemplativeness and mor

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10

Pavlović, Tomislav M. "BECAUSE THERE IS (NO) HOPE FOR GUIDO CAVALCANTI AND T. S. ELIOT." Nasledje, Kragujevac XX, no. 54 (2023): 269–83. http://dx.doi.org/10.46793/naskg2354.269p.

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The aim of the research is to carry out the analysis of the echoes of one of the most famous love ballads composed by the Italian medieval poet Guido Cavalcanti in Thomas Stearns Eliot’s conversion poem Ash Wednesday. Eliot’s reception of Cavalcanti’s poetry is somewhat par- adoxical, since in one of his critical essays the Italian poet is labelled as a “pagan” and Ash Wednesday represents Eliot’s first greater work of high religiosity. Cavalcanti’s poetry was known for not playing as significant a role in the formation of Eliot’s poetic expression as Dante Alighieri’s. On the other hand, clai

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