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Journal articles on the topic 'Italian Love poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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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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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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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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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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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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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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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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Manzari, Francesca. "Pour une théorie périphérique et/ou amoureuse : lectures d’Agamben, Derrida, Rancière." Interlitteraria 25, no. 2 (2020): 422–34. http://dx.doi.org/10.12697/il.2020.25.2.13.

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For a Peripheral Theory in Love: Reading Agamben, Derrida, Rancière. The introduction of Giorgio Agamben’s book entitled Stanzas, Word and Phantasm in Western Culture is about the relationship of philosophy and poetry to knowledge in Western culture. The stanza is “the essential nucleus” of Tuscan poetry in the thirteenth century. It is actually an invention of Tuscan poets who call stanzas the parts that compose every canzone. Stanza is a word for chamber in Tuscan dialect as well as in Italian. Agamben points out that what makes possible its poetical existence is the fact that a stanza is a

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Manzari, Francesca. "Pour une théorie périphérique et/ou amoureuse : lectures d’Agamben, Derrida, Rancière." Interlitteraria 25, no. 2 (2020): 422–34. http://dx.doi.org/10.12697/il.2020.25.2.13.

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For a Peripheral Theory in Love: Reading Agamben, Derrida, Rancière. The introduction of Giorgio Agamben’s book entitled Stanzas, Word and Phantasm in Western Culture is about the relationship of philosophy and poetry to knowledge in Western culture. The stanza is “the essential nucleus” of Tuscan poetry in the thirteenth century. It is actually an invention of Tuscan poets who call stanzas the parts that compose every canzone. Stanza is a word for chamber in Tuscan dialect as well as in Italian. Agamben points out that what makes possible its poetical existence is the fact that a stanza is a

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13

Barros, Paula. "In Fortune Fair and Foul." Critical Survey 32, no. 3 (2020): 82–93. http://dx.doi.org/10.3167/cs.2020.320308.

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This article focuses on the idiosyncratic conception of happiness Sir Kenelm Digby develops in the letters he wrote after the death of his wife in 1633. It contextualises Digby’s vision of happiness through an examination of the different traditions he revisits and appropriates to develop his personal and subjective ethics of self-care, mainly Renaissance Neoplatonism, the idealisation of conjugal love, the idealism of Italian poetry, and an ascetic model of widowhood linked to the tradition of spiritual mourning. It analyses how Digby’s conception of happiness, through its vindication of subj

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Ustinovskaya, Alena. "ПЕРЕВОД КАК ДИАЛОГ ТРАДИЦИЙ И КУЛЬТУР («АНАКРЕОНТИЧЕСКАЯ ПЕСЕНКА» Н. С. ГУМИЛЕВА)". Проблемы исторической поэтики 18, № 4 (2020): 288–305. http://dx.doi.org/10.15393/j9.art.2020.8722.

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The article is devoted to the analysis of the Anacreontic Song by Théophile Gautier, translated by N. S. Gumilev, which is examined against the background of the Russian and global Anacreontic tradition. Imitation of Anacreon is rooted in antiquity: his figure became a symbol of light lyric poetry that glorified sensual pleasures. Anacreon’s own legacy is not as extensive as pseudo-Anacreontic poetry: this tradition is present in English, French, German, Italian and Russian literature. In the process of translating Odelette anacréontique by Théophile Gautier, Gumilev enters into intercultural

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Reid, Katie. "Richard Linche: The Fountain of Elizabethan Fiction." Studies in Philology 120, no. 3 (2023): 527–56. http://dx.doi.org/10.1353/sip.2023.a903805.

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Abstract: This essay represents the first scholarly assessment of the complete works of the Elizabethan poet and translator Richard Linche (fl. 1596–1601). Linche was interested in classical mythology, sonnet writing, and prose translation. He was also concerned with the burning literary questions of the 1590s and early seventeenth century. This article analyzes Linche’s sonnet sequence Diella (1596) and his love poem The Love of Dom Diego and Gynevra (1596), highlighting Linche’s use of ancient mythology as an ideal vehicle for exploring personal passion in contemporary poetry. It then turns

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Kravets’, Yarema. "Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti." Problems of slavonic studies 69 (2020): 36–44. http://dx.doi.org/10.30970/sls.2020.69.3487.

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Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently me

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17

Docherty, Linda J. "Translating Dante." Religion and the Arts 22, no. 1-2 (2018): 194–217. http://dx.doi.org/10.1163/15685292-02201016.

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Abstract Isabella Stewart Gardner’s museum (Fenway Court) owes its distinctive character to the influence of Dante Alighieri. Gardner’s interest in the Italian poet originated in a context of late nineteenth-century Boston’s enthusiasm for his writing and her personal quest for a meaningful life’s work. As a student of Charles Eliot Norton, a member of the Cambridge Dante Society, and a collector of rare editions of The Divine Comedy, Gardner became apprised of issues surrounding literary translation. When she began to study visual images inspired by Dante’s poetry and to acquire European mast

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Buraya, Mariya A., and Olga V. Bogdanova. "The supertextual unity of the Christmas, Italian and love pretexts in the poem «I was only what» by J. Brodsky." Verhnevolzhski Philological Bulletin 2, no. 29 (2022): 17–27. http://dx.doi.org/10.20323/2499-9679-2022-2-29-17-27.

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The study was supported by a grant of the Russian Science Foundation No. 22-28-01671, https://rscf.ru/project/22-28-01671 /; Russian Christian Academy for the Humanities. The work is devoted to the study of Joseph Brodsky's poem «I was only what» (1981), part of the poetry collection «New stanzas to Augusta», compiled directly by the author himself in 1983. The article puts forward a hypothesis about the functioning of J. Brodsky's special unconventional supertext unity with a lyrical meta-plot of initiation and cognition through love, the creative work of a lyrical hero in love. In the course

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Xavier T., Roy, and Dr A. J. Manju. "The Blackness in The Bluest Eye." SMART MOVES JOURNAL IJELLH 8, no. 4 (2020): 136. http://dx.doi.org/10.24113/ijellh.v8i4.10530.

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Novels, of any time, carry certain stories related to reality. The earlier forms of the Novel, Allegory and Romance, contained religious, philosophical facts. These literary genres took the shape of Novels, which continue to carry moral, philosophical and historical truths. George Meredith, a Victorian novelist, defined Novel as the ‘summary of actual life’. According to William Henry Hudson, an English writer, Novel is an effective medium of the portrayal of human thoughts and actions. The English word, Novel derived from the Italian term, Novelle, which means ‘a fresh story’. It was in

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Kudryavtsev, Oleg F. "Dante’s Work in the Interpretation of Humanists of Platonic Academy of Florence." Studia Litterarum 7, no. 2 (2022): 94–101. http://dx.doi.org/10.22455/2500-4247-2022-7-2-94-101.

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Marsilius Ficino published a translation into Italian of Dante’s The Monarchy in 1468, and Cristoforo Landino published a commented edition of The Divine Comedy, which he began to study and interpret in his university lectures (1458), in 1481. Originally Dante attracted their attention because Florentine humanists have found the arguments against the universal pretentions of Popes in his intellectual heritage. However, very soon Dante, interpreted as poet theologian (poeta theologus), appears mainly as their precursor, becomes a preacher and a kind of personification of their philosophical and

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Perazzo Domm, Daniela. "Crisis and the Emotional Body: Towards (Another) Freedom." Performance Philosophy 4, no. 1 (2018): 188–205. http://dx.doi.org/10.21476/pp.2018.41196.

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In his analysis of the recent European crisis, Franco ‘Bifo’ Berardi (2012) looks beyond its economic causes and implications and theorises the role played by poetry and the emotional body in rediscovering the relationship between language and desire and reopening the possibility of social solidarity. Drawing on Félix Guattari’s (1995) reflections on the correlation between singular refrain and universal chaos in the reinvention of subjectivity, Berardi conceptualises rhythm as a poetic feature which can contribute to restoring our ability to conjoin with other singularities and with our socia

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Rovira, Helena. "La diferencia entre amor y deseo: un certamen poético barcelonés de 1584." Moderna Språk 110, no. 1 (2016): 122–40. http://dx.doi.org/10.58221/mosp.v110i1.7906.

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Ms. B2470 of the Hispanic Society of America transmits a poetry contest held in Barcelona at the end of 1584, whose 34 compositions are all focused on a single theme: the difference between love and desire. The choice of a profane subject is a singular element, because most of the contests of the late sixteenth century are religious. It is a practically unknown contest containing poems mainly written in Spanish, but also some in Catalan, one in Latin and one in Italian. Among the participants, there are outstanding figures as Francesc Calça, Esteve de Corbera, Dionís Jeroni Jorba and four memb

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Kaur, Kairit. "The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment." Interlitteraria 28, no. 2 (2023): 301–15. http://dx.doi.org/10.12697/il.2023.28.2.9.

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Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work shoul

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Cherkasova, E. A. "V.S. Solovyov as a Translator of Dante (on Two Translations from “Vita Nuova”)." Solov’evskie issledovaniya, no. 1 (March 30, 2022): 40–54. http://dx.doi.org/10.17588/2076-9210.2022.1.040-054.

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This article examines two poetic translations of Dante Alighieri’s “Vita Nuova” by V.S. Solovyov. At the present time, Solovyov’s specific experiments of translation are merely considered in the field of literary studies, although a general assessment of them has been given in the past by scholars such as A.F. Losev, Z.G. Mints, T.F. Teperik, A.A. Asoyan and others. The logic underlying the selection of the translated materials might indicate a special attitude of Solovyov in choosing names and works, which are significant for the understanding and realization of the poetry tasks. The author o

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Bezrukov, Andrii. "Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 6–13. http://dx.doi.org/10.28925/2412-2475.2023.21.1.

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The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses

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Kovalenko, Yeva. "The Premiere of the Ballet «Dante» on the National Opera of Ukraine` Stage." Folk art and ethnology, no. 3 (September 30, 2023): 84–93. http://dx.doi.org/10.15407/nte2023.03.084.

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The article describes the premiere of the ballet «Dante», which was performed at the National Opera of Ukraine in June 2021. The director of the ballet, dedicated to the 700th anniversary of the death of the outstanding Italian Renaissance humanist poet Dante Alighieri, was Yaroslav Ivanenko, a graduate of the Kyiv State Choreographic School who began his dancing career at the National Opera and has worked abroad since 1996, including as a soloist with the Hamburg Ballet under the direction of John Neumayer in 1998-2010. Yaroslav Ivanenko has extensive experience in ballet mastery, his choreog

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Gemmani, Lucia. "The Italian Love Poetry of Ludovico Ariosto: Court Culture and Classicism. Giada Guassardo. Biblioteca dell’“Archivum Romanicum.” Serie I: Storia, Letteratura, Paleografia 508. Florence: Olschki, 2021. viii + 244 pp. €26." Renaissance Quarterly 76, no. 2 (2023): 759–60. http://dx.doi.org/10.1017/rqx.2023.274.

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28

Markova, Mariana M. "AN INTIMATE DIALOGUE WITH GOD IN JOHN DONNE’S “HOLY SONNETS”: PETRARCHAN CONTEXT." Alfred Nobel University Journal of Philology 1, no. 27 (2024): 34–52. http://dx.doi.org/10.32342/2523-4463-2024-1-27-3.

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The purpose of the paper is to study the images of the platonic and courtly in the protagonist’s personal relations with God in J. Donne’s “Holy Sonnets” in the context of the connection with the Petrarchan tradition. In order to accomplish this, a complex approach including elements of biographical, genealogical, typological, hermeneutic, comparative, and structural-semiotic methods of literary analysis has been used. The views of literary critics on the sources of the “Holy Sonnets” (Christian meditative practices, Bible books, traditions of English religious lyrics) have been reviewed, thei

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29

Garcia Busquets, Anna. "A primera sang: batalles nupcials en la Catalunya barroca. Els epitalamis al galant Alba de Francesc Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 229. http://dx.doi.org/10.7203/scripta.10.11081.

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Resum: A l’antiga Grècia i Roma els epitalamis actuaven com a preludi eròtic de la nit nupcial. Claudià, a l’antiguitat tardana, va tractar el motiu del desflorament com a pugna amoris amb lasciu refinament. A partir del Quattrocento italià, l’Europa moderna va reprendre amb profusió aquesta tradició laudatòria d’erotisme estilitzat amb cants consagrats a la unió de les famílies il·lustres. El poeta barroc Francesc Fontanella (1622-1682/83) va compondre quatre magnífics epitalamis dedicats a les noces d’un enigmàtic personatge: el ‘galant Alba’. Diversos estudis han intentat, sense èxit, desve

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Lopukhova, Marina Aleksandrovna. "THE “ALLEGORY OF MUSIC” BY FILIPPINO LIPPI. GENEALOGY OF IMAGE." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №3 (2023): 174–93. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-3-174-193.

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The female image presented in the small painting “Allegory of Music” by Filippino Lippi (Gemaeldegalerie, Berlin) is most likely associated with the plot of a theatrical performance played out in 1475 in Pesaro on the occasion of the wedding of Costanzo Sforza and Camilla of Aragon. Th e similarity of the attributes of the heroine with the attributes of the muse Erato, who greeted the newlyweds, was pointed out by A. Warburg, who placed two images, the Filippino board and an illustration from the Vatican manuscript containing the text of the wedding performance, next to each other in his “Mnem

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Baldoni, Luca. "Rome Scholarships: Male loves: homoeroticism in twentieth-century Italian poetry." Papers of the British School at Rome 74 (November 2006): 377–78. http://dx.doi.org/10.1017/s0068246200003378.

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Trabado Cabado, José Manuel. "Herrera y Cervantes frente al mito de Ícaro en la poesía cancioneril." Estudios Humanísticos. Filología, no. 18 (December 15, 1996): 11. http://dx.doi.org/10.18002/ehf.v0i18.4074.

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<span class="titulo">The aim of this paper is the study of the device used by Herrera in order to introduce the myth of Icarus within the usual verse pattems of the cancioneril tradition, in which the use of mythology is most uncommon. To make this introduction possible, Herrera deftly manipulates several elements of XV century poetry such as boldness, fire, death, the lover identified with light, etc., which, added to the experience of Italian Petrarchists, allow him to make a series of allusions to the myth of the bold young, man. With this, we try to show a link between the poetry of

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Sasso, Stefano. "La parola alle cose. Alcuni esempi nella poesia italiana del Novecento." Neohelicon 47, no. 2 (2020): 455–75. http://dx.doi.org/10.1007/s11059-020-00562-x.

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AbstractThe article discusses the presence of matter (organic as well as inorganic) in twentieth-century Italian poetry. The paper offers a diachronic survey of some exemplary authors and texts (Marinetti, Gozzano, Montale, Giudici, Caproni, and Sereni), highlighting the different utilisations of objects and things within literary texts. Objects and things define spaces and places in subjects’ lives, support their identity, and document various ages and generations. The death of their owners makes things and objects lose their original purpose and find different functions with new subjects. In

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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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Soler, Abel. "«Major de tots los poetes e oradors»: la condecoració humanística del cavaller Curial." Revista de lenguas y literaturas catalana, gallega y vasca 23 (December 17, 2018): 13. http://dx.doi.org/10.5944/rllcgv.vol.23.2018.23226.

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En la novel·la cavalleresca Curial e Güelfa (ca. 1445-1448), anònima i escrita en català, l’autor transforma un cavaller-trobador del segle xiii, Curial, en un cavaller bibliòfil i humanista (orator et poeta): educat «entre los grans philòsofs, poetes e oradors» i estudiós de les ciències liberals, la filosofia moral i la poesia clàssica. Curial —probable alter ego de l’escriptor— visita un Parnàs oníric, on Apol·lo li atorga el títol de «major de tots los poetes e oradors qui vuy son». La somniada coronació serveix d’excusa a l’autor per a fer una defensa de la literatura de ficció i per a pr

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Postma, Hugo J. "De Amsterdamse verzamelaar Herman Becker (ca. 1617-1678); Nieuwe gegevens over een geldschieter van Rembrandt." Oud Holland - Quarterly for Dutch Art History 102, no. 1 (1988): 1–19. http://dx.doi.org/10.1163/187501788x00546.

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AbstractUp to now Herman Becker, one of the people who lent Rembrandt money in the straitened circumstances of the last years of his life, has had a bad press as an art-dealer who owed his wealth and influence to the exploitation of artists (Notes 1, 2). It is now possible to correct this image on the basis of recent research in the Amsterdam archives. Becker was born around 1617 and the supposition that he came from Riga in Latvia is borne out by the facts that he had contacts there, that his father Willem certainly lived there between 1640 and 1650 and that the words 'of or 'to' Riga appear

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Regn, Gerhard. "Hermeneutik der Minne: Liebesdichtung und religiöser Diskurs bei Dante und Petrarca." Romanistisches Jahrbuch 66, no. 1 (2015). http://dx.doi.org/10.1515/roja-2015-0008.

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AbstractAn important characteristic of Italian minne-poetry in the late Middle Ages is the negotiation of the Sacred and the Profane. Nonetheless, Dante and Petrarch, the most important representatives of Italian minne-poetry, enter this negotiation in very different ways. Dante proposes to align mundane minne-poetry - as a form of minne-theology - with sacralization; with that, Dante seems to be in perfect harmony with his epoch, commonly referred to as Christian or theocentric Middle Ages. But looking more closely, Dante’s sacralization of courtly love reveals itself to be an outrageous prov

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Марков, А. В. "Italian art in the poetry of Josephine Pasternak." Вестник гуманитарного образования, no. 4(20) (December 30, 2020). http://dx.doi.org/10.25730/vsu.2070.20.056.

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В поэзии Жозефины Пастернак образы западного искусства оказываются частью размышлений о природе памяти, влюбленности и любви. Внимательное чтение стихов и атрибуция упомянутых произведений позволяет объяснить предложенную поэтессой концепцию жертвенной любви. Вскрываются основные опорные точки этих размышлений: наследие Микеланджело и Бронзино, Пасха в Италии и туристическая индустрия. Музейные впечатления в ее стихах дополняют туристические, раскрывая профессиональную любовь художника к произведению. В этих стихах проводится определенный метод вживания в судьбу художника и в те обстоятельства

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İŞÇİ, Veysel. "A COMPARATIVE ANALYSIS OF ANTI-PETRARCHAN SENTIMENTS IN THE ENGLISH RENAISSANCE POETRY." KARE, May 31, 2023. http://dx.doi.org/10.38060/kare.1174698.

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The sonnet as a form of poetry was first introduced from Italian into English during the Elizabethan age. Poets like Sir Thomas Wyatt and Henry Howard were pioneers in translating the works of Italian sonnet master Petrarch into English. Therefore, it is not surprising that they were also first to experiment on the sonnet form. They were followed by significant poets of the era, such as Edmund Spenser. However, it was William Shakespeare that greatly contributed to maturing the sonnet form in English. As well as writing plays for the theatre, he mastered in writing sonnet. As a result, the son

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Sarangi, Jaydeep. "‘a night where june and moon rhyme’." Writers in Conversation 7, no. 2 (2020). http://dx.doi.org/10.22356/wic.v7i2.77.

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Dr Raphael d’Abdon is a writer, scholar, spoken word poet, editor and translator. In 2007 he complied, translated and edited I nostri semi/Peo tsa rona, an anthology of contemporary South African poetry. In 2011 he translated into Italian (with Lorenzo Mari) Bless Me Father, the autobiography of South African poet Mario d’Offizi. In 2013, he compiled and edited the collection Marikana: A Moment in Time. He is the author of three collections of poems, sunnyside nightwalk (Johannesburg: Geko, 2013), salt water (Johannesburg: Poetree Publishing, 2016) and the bitter herb (East London: The Poets P

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Melfi, Mary. "An Interview with Fulvio Caccia." Italian Canadiana 38, no. 1 (2024). http://dx.doi.org/10.33137/ic.v38i1.43409.

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In this interview, Fulvio Caccia, an Italian-Canadian Governor General’s Award–winning francophone poet, novelist, and essayist, reflects on his literary career spanning over four decades. A prolific writer who has published over two dozen books, Caccia discusses the underlying themes in his works and the unique challenges posed by different literary forms. Caccia acknowledges that he often explores themes of identity and belonging in his creative endeavours, readily unravelling the layers of the immigrant experience. In his search for self-discovery, he challenges conventional notions of na

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Gavrilova, Alla. "Poetry of G.A. Levin on the pages of Saratov publications in the 20s of the XX century." World of Science. Series: Sociology, Philology, Cultural Studies 15, no. 1 (2024). http://dx.doi.org/10.15862/04flsk124.

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The purpose of this article is to analyze the poetic works of the Saratov poet G.A. Levin, published on the pages of the periodicals «Artistic Saratov» and «Sarrabis» in Saratov in the 20s of the past century. The scientific novelty of the study lies in the fact for the first time the poems of G.A. Levin «The air shines with a blessed blue», «I know, a dark, beloved voice», «Chernyshevsky’s Monument», «The early coolness has been drained to the dregs», «Shakespeare» are mentioned. The article focuses on the aesthetic side of these poems, emphasizing their extreme lyricism and abundance of figu

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Keturakienė, Eglė. "Kristijonas Donelaitis and Lithuanian Poetry of the Nineteenth Century: Variants of Reading." Lituanistica 68, no. 2 (2022). http://dx.doi.org/10.6001/lituanistica.v68i2.4723.

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The reception theory by Hans Robert Jauss is applied in the article that aims to analyse how Donelaitis’s works were evaluated and interpreted by Lithuanian poets and readers in the nineteenth century. The article discusses genetically and typologically common thematic, ideological, and creative poetic connections. By maintaining the methodological principle of reception, i.e., the horizon of expectation, the scope of the article is limited to only those Lithuanian poets of the nineteenth century who entered the history of Lithuanian literature as readers of Donelaitis’s works (Simonas Stanevi

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Reimann-Czajkowska, Aleksandra. "Lending an Ear to Mozart’s Operas. Stanisław Barańczak’s Poetic Translation Experiments." Studi Slavistici, January 25, 2023, 153–68. http://dx.doi.org/10.36253/studi_slavis-13113.

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The paper Lending an Ear to Mozart’s Operas. Stanisław Barańczak’s Poetic Translation Experiments examines the issues of intermediality, in particular the relationships between music and literature in mixed creative genres fusing disparate media of expression. The brief study discusses the connections and inter-dependencies between the music by Wolfgang Amadeus Mozart, Italian libretti by Lorenzo Da Ponte, their translation by Stanisław Barańczak and his unique quasi-translation (‘fonety’). The article presents interdisciplinary interpretations of selected vocal translations (excerpts from the

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Curran, Bev. "Portraits of the Translator as an Artist." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1923.

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The effects of translation have been felt in the development of most languages, but it is particularly marked in English language and literature, where it is a highly charged topic because of its fundamental connection with colonial expansion. Britain shaped a "national" literary identity through borrowing from other languages and infected and inflected other languages and literatures in the course of cultural migrations that occurred in Europe since at least the medieval period onward. As Stephen Greenblatt points out in his essay, "Racial Memory and Literary History," the discovery that Engl

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Toftgaard, Anders. "“Måske vil vi engang glædes ved at mindes dette”. Om Giacomo Castelvetros håndskrifter i Det Kongelige Bibliotek." Fund og Forskning i Det Kongelige Biblioteks Samlinger 50 (April 29, 2015). http://dx.doi.org/10.7146/fof.v50i0.41247.

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Anders Toftgaard: “Perhaps even this distress it will some day be a joy to recall”. On Giacomo Castelvetro’s manuscripts in The Royal Library, Copenhagen. In exile from his beloved Modena, Giacomo Castelvetro (1546–1616) travelled in a Europe marked by Reformation, counter-Reformation and wars of religion. He transmitted the best of Italian Renaissance culture to the court of James VI and Queen Anna of Denmark in Edinburgh, to the court of Christian IV in Copenhagen and to Shakespeare’s London, while he incessantly collected manuscripts on Italian literature and European contemporary history.

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YILDIRIM, Tunç. "Cinema as the “seventh art” according to Ricciotto Canudo: A New Total View of Art Based on the Philosophies of Arthur Schopenhauer and Georg Wilhelm Friedrich Hegel?" SineFilozofi, April 22, 2022. http://dx.doi.org/10.31122/sinefilozofi.1062427.

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Ricciotto Canudo (January 2, 1879 – November 10, 1923) is a journalist, literary critic, musicologist, novelist and screenwriter who began writing film reviews as early as 1907. He is also an Italian-origin avant-garde art-loving intellectual who settled in Paris, the cradle of modern art, in the early 1900s. Canudo is considered an outstanding cinematic aesthetician who had given cinema the honor of the “seventh art”. In the original thought of this essayist, cinema, as an art form, is added to the six traditional arts (architecture, music, painting, sculpture, poetry and dance) because this

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Edoardo Tresoldi. "Edoardo Tresoldi and the heteronomy of architecture." TECHNE - Journal of Technology for Architecture and Environment, May 26, 2021, 37–43. http://dx.doi.org/10.36253/techne-11000.

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The Heteronomy of architecture «is understood as the condition to be pursued if one sets one’s goal of producing buildings that belong to one’s own time, to the complex interweaving of values and needs that characterise it, to the place where they arise»1.  Heteronomy in architecture allows us to break the boundaries still linked to the concept of the now obsolete scientific sector. The breaking of these boundaries makes a trans-disciplinary contribution possible and consequently leads us to having a transversal vision. One of the people who recently successfully pursued the road of the

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Farshad Daneshvar, Nik, Mohammad Fazeli, and Parvin Dokht Mashhor. "A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature." Propósitos y Representaciones 8, SPE3 (2021). http://dx.doi.org/10.20511/pyr2021.v9nspe3.1097.

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Literary schools in the West are influenced by the social and political conditions prevailing in those societies; This means that each school in line with the political and social developments of its time has undergone structural and content changes and gives way to a school with a different perspective. In the second half of the sixteenth century, medieval civilization collapsed and underwent many social, political, and religious changes. The group of many high-ranking landowners and feudal lords who had been forced to pay large sums of money as a result of the successive defeats of France in

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Verma, Rabindra Kumar. "Book Review." East European Journal of Psycholinguistics 7, no. 1 (2020). http://dx.doi.org/10.29038/eejpl.2020.7.1.kum.

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Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snaps

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