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Relevant bibliographies by topics / Italian Religious literature

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Academic literature on the topic 'Italian Religious literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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Journal articles on the topic "Italian Religious literature"

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Peterle, Patricia. "Apontamentos sobre o percurso de São Francisco: uma revisitação pasoliniana." Revista do Centro de Estudos Portugueses 29, no. 42 (December 31, 2009): 89. http://dx.doi.org/10.17851/2359-0076.29.42.89-105.

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<p>São Francisco é considerado um dos primeiros autores da literatura italiana. A poesia religiosa, inaugurada por ele na Úmbria, mais tarde atravessará o território italiano com outros adeptos como Jacopone da Todi. A experiência franciscana é emblemática pelos valores propostos e pela idéia de recusa ali contida. Aspectos que a tornam atual no século XX, sendo recuperada e “transformada” por intelectuais como Pier Paolo Pasolini e José Saramago.</p> <p>San Francisco is considered one of the first authors in Italian Literature. The religious poetry, inaugurated by him in Umbria, later cross the italian territory with others adepts as Jacopone da Todi. The Franciscan experience is emblematic because of the proposed values and because of the idea of refusal contained in it. Aspects that made the all experience actual in the XX century, being recupered and “transformed” by intellectuals as Pier Paolo Pasolini and José Saramago.</p>

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Lines, David A. "The Commentary Literature on Aristotle'sNicomachean Ethicsin Early Renaissance Italy: Preliminary Considerations." Traditio 54 (1999): 245–82. http://dx.doi.org/10.1017/s0362152900012253.

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In a letter of 1404 to the Sienese professor Francesco Casini, the Italian humanist Coluccio Salutati expressed appreciation for the addressee's commentary on Aristotle'sNicomachean Ethics, comparing it favorably with the Greek (XI/XII century) commentaries of Eustratius and Michael of Ephesus, and with the Latin ones of Albert the Great, Albert of Saxony, Gerard of Odo, Walter Burley, and Jean Buridan. He invited Casini not to neglect the works of Henry of Friemar, a minor fourteenth-century figure. Furthermore, Salutati remarked that Casini had even surpassed Thomas Aquinas and Giles of Rome, whose commentaries were doubtless the most widespread in the Latin West of Salutati's time. As Luca Bianchi has pointed out, Salutati's letter highlights the degree to which Italian humanists depended on the scholastic tradition (whether Byzantine or Latin) when approaching Aristotle'sEthics; even Donato Acciaiuoli's famous commentary, published in 1478, draws heavily on Eustratius, Albert the Great, and St. Thomas. This was actually seen as one of its greatest merits by later commentators.3 However, Salutati's comments invite yet another observation: namely, that Salutati is unable to point to any specificallyItaliantradition connected with this work. In fact, although Salutati does name two Italians (Thomas and Giles of Rome), they too, like all the other commentators mentioned, spent most of their lifetimes in northern Europe; for most of them, the center was not Italy but Paris. This is why Salutati heaped so much praise on Francesco Casini — finally an indigenous Italian tradition might develop; its beginnings were promising indeed.

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Feigenbaum (book editor), Gail, Sybille Ebert-Schifferer (book editor), and Randi Klebanoff (review author). "Sacred Possessions: Collecting Italian Religious Art, 1500–1900." Renaissance and Reformation 36, no. 1 (August 22, 2013): 177–79. http://dx.doi.org/10.33137/rr.v36i1.20032.

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BERTHOLD, DENNIS. ""The Italian Turn Of Thought"." Nineteenth-Century Literature 59, no. 3 (December 1, 2004): 340–71. http://dx.doi.org/10.1525/ncl.2004.59.3.340.

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Studies of Herman Melville's epic poem Clarel (1876) have understandably emphasized the work's theological content. When studied in its immediate historical context, however, the poem's multiple references to Rome and Catholicism take on speci�c political meanings, particularly those centered in the Risorgimento, Italy's century-long quest for independence and unity. In 1870, when Melville began to write the poem, the Risorgimento achieved its �nal goal, making Rome Italy's capital and stripping the Pope of his temporal power. Melville, like many Americans, supported Italy's moderate, anti-papal, nationalistic ideals, and in Clarel he embodied them in the Roman orphan Celio. Celio represents skepticism, present experience, and historical circumstance in opposition both to the intolerant religious politics of orthodox Catholicism (represented in the poem by Brother Salvaterra and the Dominican priest) and the violent extremism of secular revolutionists (represented by Mortmain and Ungar). Through Celio, Melville offers a trans-national perspective on issues of nationhood by engaging speci�c current events and critiquing those who substitute failed ideologies for the uncertainties of experience.

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ISABELLA, MAURIZIO. "CITIZENS OR FAITHFUL? RELIGION AND THE LIBERAL REVOLUTIONS OF THE 1820S IN SOUTHERN EUROPE." Modern Intellectual History 12, no. 3 (January 16, 2015): 555–78. http://dx.doi.org/10.1017/s147924431400078x.

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Historians of liberalism have tended to ignore or underplay the contribution of southern Europe. However, in the 1820s this part of the world was at the forefront of the struggle for liberal values. This essay explores the relationship between constitutional culture and religion during the liberal revolutionary wave that affected Portugal, Spain, the Italian peninsula and Greece, by examining parliamentary debates, the revolutionary press, literature targeting the masses, religious sermons and exile writings. It argues that rather than rejecting religion, liberals strove to find an accommodation between their values and revealed truth—they were convinced that no society could survive without religious morality. In this way, they developed a variety of religious attitudes that ranged from deism to forms of crypto-Protestantism without abandoning their established religions. At the same time, although they defended individual rights and freedom of expression against the opposition of the churches, and argued for reformed and enlightened forms of religiosity, most of them considered the religious uniformity of their societies advantageous and even opposed religious toleration.

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Tommasino, Pier Mattia. "Travelling East, Writing in Italian." Philological Encounters 2, no. 1-2 (January 9, 2017): 28–51. http://dx.doi.org/10.1163/24519197-00000022.

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The paper analyses the use of Italian as a literary language in the literature of European travel to the Ottoman Empire during the late Ranaissance. The choice of Italian will be explained as the link between its diffusion in Europe as a language of culture and its practical uses in the Mediterranean as a diplomatic and commercial code or as a tool of religious propaganda. During the late Renaissance, travels to the Ottoman Empire were the continuation of theperegrinatio academicaand theGrand Tourto Italy of high-educated European scholars. In light of this premises, I will present different versions, both manuscripts and in print, of the multilingualrelationeby the Pole Wojciech Bobowski (1610-1675), musician and dragoman in the Ottoman Empire, who wrote a description of the Topkapi Palace for European readers in Italian.

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Villani, Stefano. "From Mary Queen of Scots to the Scottish Capuchins: Scotland as a symbol of Protestant persecution in seventeenth-century Italian literature." Innes Review 64, no. 2 (November 2013): 100–119. http://dx.doi.org/10.3366/inr.2013.0055.

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Italian authors of the seventeenth century produced a myriad of historical texts, tragedies, oratorios and poems that dealt with the events of Mary Stuart's life. The tremendous outcry that her story caused all over Europe made Scotland one of the most powerful symbols of persecution of Catholics by Protestants. It was the image of Scotland as a land of martyrdom that possibly prompted the publication of two seventeenth-century Italian ‘biographies’, narrating the vicissitudes of the lives of two Scottish capuchins, and which ran to multiple editions down to the eighteenth century. This article explores the literary reception of Mary Queen of Scots in seventeenth-century Italian literature and, in so doing, opens up religious, cultural, and political implications, pointing to links between Scottish Catholic and European intellectuals, and the publishing networks of sympathetic Marian writing.

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Trento, Giovanna. "From Marinetti to Pasolini: Massawa, the Red Sea, and the Construction of "Mediterranean Africa" in Italian Literature and Cinema." Northeast African Studies 12, no. 1 (April 1, 2012): 273–307. http://dx.doi.org/10.2307/41960565.

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Abstract Postwar Italian historiography tended for decades to exclude colonialism from national history, and the country largely forgot its colonial past. The interconnections between the academic schools and anthropological scholarly theories that focused on the Horn of Africa during Italian colonialism and twentieth century Italian literary and cinematic representations of the Horn and the Red Sea have been understudied and underestimated. This article will argue that during Italian colonialism, Italy and the Horn of Africa were interconnected through the Mediterranean and Red Sea by scholarly, literary, cultural religious, and imaginary links that contributed to the construction of a "Mediterranean Africa," based on genetic continuities and the legacies with Latin antiquity and ancient Roman values. Such baggage affected or was affected by the building of Italian-ness after the country’s unification, Italy’s self-representation, the country’s Southern question, and its articulation of "modernity." As this article will show, the construction of "Mediterranean Africa" influenced the Italian literary and cinematic representations of Northeast Africa, throughout the 20th century; from the founder of Futurism—the Egypt born writer Filippo Tommaso Marinetti—in the first four decades of the century, to the leftist writer and filmmaker Pier Paolo Pasolini, in the 1960s and 1970s. The problematic transnational links constructed between Italy, the Horn of Africa, and the Red Sea would also surface in the works of the most prominent film directors during Fascism, Alessandro Blasetti and Mario Camerini, and other important writers, like Giovanni Comisso, Ennio Flaiano and Giorgio Manganelli.

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Toth, Peter. "Book Review: Meditations on the Life of Christ: The Short Italian Version (William and Katherine Devers Series in Dante and Medieval Italian Literature 14." Irish Theological Quarterly 84, no. 1 (February 2019): 92–95. http://dx.doi.org/10.1177/0021140019830020.

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Byrne, Donald E. "The Race of the Saints: An Italian Religious Festival in Jessup, Pennsylvania." Journal of Popular Culture 19, no. 3 (December 1985): 119–30. http://dx.doi.org/10.1111/j.0022-3840.1985.1903_119.x.

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Dissertations / Theses on the topic "Italian Religious literature"

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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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Hodder, Mike. "Petrarch in English : political, cultural and religious filters in the translation of the 'Rerum vulgarium fragmenta' and 'Triumphi' from Geoffrey Chaucer to J.M. Synge." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:49cdf913-cd2a-48c6-bf1e-533052018285.

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This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.

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Martin, Zora. "Choose to Avoid Tragedy." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1135.

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Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth. Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act. Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.

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Marchon, Veridiana Skocic. "A poesia doutrinária de Mestre André Dias e as fontes italianas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-26062012-135419/.

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A presente pesquisa tem por objetivo demonstrar a finalidade catequética da obra intitulada Laudes e Cantigas Espirituais escrita pelo beneditino André Dias na primeira metade do século XV. Os versos de Mestre André parecem assumir um valor pedagógico à medida que visam a transmitir a mensagem do Evangelho inclusive com o propósito de edificar os cristãos a partir da exemplaridade de Jesus e Maria. Sob esta ótica, o laudário parece enfatizar uma religiosidade mais intimista, mais palpável e acessível à esfera divina sem prescindir, contudo, de seu aspecto devocional. Desta forma, através das análises de três grupos temáticos do laudário de Mestre André (Loas de Natal, Loas e Prantos de Nossa Senhora e Laudas da Paixão), este estudo visa a evidenciar os elementos que assinalam a finalidade doutrinária das composições em questão. À luz da tradição laudística medieval - cujo centro difusor fora a Península Itálica -, procuraremos apontar, ainda, o possível diálogo entre as laudes portuguesas e os escritos dos italianos Feo Belcari e Jacopone da Todi.
This research aims at showing the catechetic function of Laudes e Cantigas Espirituais written by the Benedictine Monk Andre Dias in the first half of the fifteenth century. The verses of Master André seem to assume an educational value as they aim at transmitting the Gospels message in order to edify christians through the exemplarity of Jesus and Mary. Within this scope, the lauds seem to emphasize some kind of more intimist, more palpable sense of religiosity, as well as more accessible to the divine sphere. However, the lauds still do not neglect their devotional aspect. Thus, through the analyses of three thematic groups, Master Andres laudarium (Loas de Natal Christmas Loas - , Loas e Prantos de Nossa Senhora Loas and Sorrows from Our Lady - and Laudas da Paixão Lauds of the Passion), this study seeks to highlight the elements which determine the doctrinary functions of analyzed compositions. Based on the medieval laudistic tradition, which was mainly diffused in the Italian Peninsula, we shall attempt at pointing out a possible relationship between the Portuguese Lauds and the writings by the Italian writers Feo Belcari and Jacopone da Todi.

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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.

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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.

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Honesko, Vinícius Nicastro. "Murilo Mendes, Pier Paolo Pasolini e as religiões de seus tempos." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100614.

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Tese (doutorado)- Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.
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O presente trabalho busca, fundamentado na leitura de textos de Pier Paolo Pasolini e Murilo Mendes, montar um diagrama a partir do qual são constatados similitudes e diferenças entre ambos os poetas. Aparece, no decorrer da pesquisa, um núcleo duro que, como centro de ação poética em ambos, marca-lhes a postura diante da vida, uma característica ética: a agonia alegre ou a abgioia. Como maneira de expor tal núcleo, trama-se um arcabouço teórico que possibilite a sua abordagem crítica, o que, por sua vez, viabilizará a proposição de análises de suas obras (análises estas que ultrapassam o limite de algumas obras e também circunscrevem artigos publicados em periódicos, entrevistas e cartas - isto é, remexendo os arquivos). Composto como uma montagem, o trabalho apresenta variadas análises tanto de Pasolini como de Murilo Mendes separadamente, bem como leituras cruzadas de ambos; além disso, cortes (incisões) de caráter metodológico e teórico colocam o espaço dialógico dos autores em evidência. Dessa estrutura, o texto faz emanar a proposição da tese: diante da agonia da existência (numa postura que remete já a Anaximandro) - com o agravante de serem estas existências historicamente situadas num ponto nebuloso da recente cronologia, os meados do século XX -, aos poetas resta, como única possibilidade ética, provar da resistência do estar no mundo sem redenções vindouras. Ou seja, a presente tese vê em Murilo Mendes e Pier Paolo Pasolini - mais uma vez, a despeito das disparidades personalistas entre ambos, que também são assinaladas - uma mesma postura ética diante do esvaziamento da linguagem e da decrepitude da vida no moderno. Conclui que essa postura assumida é para ambos o lugar da religião (as religiões de seus tempos), para além de seu aspecto separador entre sagrado e profano, mas como possibilidade de reler o próprio tempo em que se encontram e, desse modo, abrir uma nova possibilidade de mundo quando o mundo tem as feições do impossível.
Le présent travail cherche, d'après la lecture des textes de Pier Paolo Pasolini et Murilo Mendes, monter un diagramme selon lequel des similitudes et des différences sont constatés parmi les deux poètes. Apparaît, dans le développement de la récherche, un noyau dur qui, en tant que centre de l'action poéthique des poètes, marque leur attitude face à la vie, c'est à dire, une caracteristique éthique: l'agonie heureux ou l'abgioia. Comme manière d'exposer un tel noyau, il concevoit un cadre théorique qui permet à son approche critique, qui à son tour permettra la proposition de analyses des ses oeuvres (analyses qui dépassent la limite de quelques oeuvres et également circonscrivent articles publiés dans revues, interviews et lèttres - c'est à dire, en fouillant dans les fichiers). Composé comme une montage, le travail présent des analyses variées tant de Pasolini comme de Murilo Mendes séparément, aussi bien que des lectures transversales à la fois; en outre, des coups (incisions) de caractère méthodologique et théorique posent le space dialogique des auteurs en évidénce. De cette structure, le texte fait surgir la proposition de la thèse: en face à l'agonie de l'existence (dans une position qui se réfère dejà à Anaximandre) - avec la circonstance aggravante d'être des existences historiquement situées dans un point obscure de la récente cronologie, c'est à dire, les années de guèrre froide dans le XXème siècle -, aux poètes reste, comme l'unique possibilité éthique, prouver de la résistence d'être au monde sans aucune rachat à venir. C'est à dire que la thèse voit en Murilo Mendes et Pier Paolo Pasolini - encore une fois, malgré les disparités personnalistes entre eux, lequelles sont aussi signalées - une même position éthique devant le vidange du langage et de la décrépitude de la vie dans le modernité. Conclut que cette position assumée c'est, pour eux, le lieu de la religion (les religions de ses temps), au delà de son aspect séparateur entre le sacré et le profane, mais comme possibilité de relire le propre temps dans lequel ils se réncontrent et, de cette manière, ouvrir une nouvelle possibilité de monde quand le monde se montre avec les caracteristiques de l'impossible.

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Cás, Lauro Edson da. "Aspecto lírico-religioso das canções marianas: um estudo sobre as metáforas e metonímias que representam Maria." reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/415.

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Este trabalho analisa o aspecto lírico-religioso de três canções marianas, recolhidas do Cancioneiro Popular do imigrante italiano na Região de Colonização Italiana e se propõe revelar, sob o aspecto das metáforas e das metonímias, a representação de Maria. Para tanto, este estudo dialoga com temas imprescindíveis para a obtenção de resultados, como História, Cultura, Identidade, Regionalidade, Mariologia, Metáforas, Metonímias (a Teoria de Metáforas Conceituais) e música. Assim sendo, a dissertação está estruturada sobre quatro capítulos que norteiam a análise e a interpretação. A saber: o Primeiro Capítulo entrelaça a História e a Cultura, procurando fazer uma revisão de aspectos relevantes da história da imigração italiana na RCI na Região Nordeste do Estado, focando a importância da religião e ou da fé desde os primórdios desse processo. A partir disso, há a análise sobre Região, Identidade e Religiosidade. O Segundo Capítulo destaca o Cancioneiro Popular e assim, o aspecto da Tradição Oral Popular. Aprofunda o aspecto da cultura popular expressada com o canto e traz em evidência a caracterização do Canto Mariano (origens, ritualismo e devoção do imigrante italiano). Demonstra, ainda, aspectos da devoção mariana, tão presente e viva junto ao imigrante, pois Maria é descrita como sendo a mãe que está sempre presente e junto aos seus filhos (povo). O Terceiro Capítulo, por sua vez, concentra a análise dos aspectos da Teoria da Metáfora Conceitual, da Simbologia e, também, da interpretação e pesquisa sobre as Virtudes, objetivando a análise da figura da mulher idealizada , ou ainda, da representação da mãe - Maria (Madonna). Por fim, no Quarto Capítulo, tem-se a Metodologia e a Análise das canções marianas, ou seja, a análise do corpus das canções: Beléssa di Maria; Maria Consolatrice; O Bèla mia Speransa, que motivam este estudo. Esta parte segue o método da análise semântica com base em George Lakoff (e colaboradores) que permeiam o estudo das metáforas conceituais. Há, também, a posição etnográfica, onde é destacada a pesquisa de campo realizada para conhecer opiniões e perspectivas do povo, indo além da análise do pesquisador. Após isso, é feita a síntese com os resultados obtidos pela pesquisa/estudo.
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This study analyzes the religious lyrical aspect of three Marian songs, collected from the book Cancioneiro Popular do Imigrante Italiano na Região de Colonização Italiana, and also intends to clarify, using metaphors and metonymies, the representation of Mary. To do that, this study takes into consideration imprescindible issues such as History, Culture, Identity, Religiosity, and Mariology, Metaphors, Metonymies (Conceptual Metaphor Theory) and music. This dissertation is structured upon four chapters as follows: the first chapter links History and Culture, trying to revise some relevant points of the history of the Italian immigration on the RCI in the Northeast Region of our state, focusing on the importance of religion and/or faith since the beginning of that process. Therefore, there is the analysis about the Region, Identity and Religiosity. The second chapter highlights the Cancioneiro Popular and then, the Popular Oral Tradition. Also, it deepens the aspect of popular culture expressed by the songs and brings into evidence the characterization of the Marian Songs (origins, ritualism and devotion of the Italian immigrant). Moreover, it shows some aspects of the Marian devotion, so present and alive within the immigrant, because Mary is described as the mother who is always with her children (the people). The third chapter, in turn, focus on the analysis of aspects of the Conceptual Metaphor Theory , of the Symbolism, and also of the interpretation and research regarding the Virtues, aiming at analyzing the idealized woman´s portrait , or still, the representation of the mother Mary (Madonna). At last, presented in the fourth chapter are the Methodology and the Analysis of the Marian Songs, that is, the analysis of the corpus of songs: Beléssa di Mary, Mary Consolatrice and O Bela mia Speransa that motivate the study. This part follows the method of semantic analysis, based on George Lakoff (and collaborators) that permeates the study of the conceptual metaphors. There is the ethnographic position as well, where is emphasized the field work carried out to know opinions and perspectives of the people, going beyond the researcher´s analysis. After that, the synthesis is done with the obtained results by the research/study.

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Maxson, Brian Jeffrey. "Book Review of Pagan Virtue in a Christian World: Sigismondo Malatesta and the Italian Renaissance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2663.

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Review of Anthony F. D’Elia. Pagan Virtue in a Christian World: Sigismondo Malatesta and the Italian Renaissance. Cambridge: Harvard University Press, 2016. x + 355 pp. $39.95 (cloth), ISBN 978-0-674-08851-1.

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9

Shannon, Kelly E. "Religion in Tacitus' Annals : historical constructions of memory." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:89df3c1b-46d6-431e-af4c-aaf6f9023657.

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I examine how religion is presented in the Annals of Tacitus, and how it resonates with and adds complexity to the larger themes of the historian’s narrative. Memory is essential to understanding the place of religion in the narrative, for Tacitus constructs a picture of a Rome with ‘religious amnesia.’ The Annals are populated with characters, both emperors and their subjects, who fail to maintain the traditional religious practices of their forebears by neglecting prodigies and omens, committing impious murders, and even participating in the destruction of Rome’s sacred buildings. Alongside this forgetfulness of traditional religious practice runs the construction of a new memory – that of the deified Augustus – which leads to the veneration of living emperors in terms appropriate to gods. This religious narrative resonates with and illuminates Tacitean observations on the nature of power in imperial Rome. Furthermore, tracing the prominence of religious memory in the text improves our understanding of how Tacitus thinks about the past, and particularly how he thinks about the role of the historian in shaping memory for his readers. I consider various religious categories and their function in Tacitus’ writings, and how his characters interact with them: calendars (do Tacitus’ Romans preserve or change the traditional scheduling of festivals?), architecture (what determines the building of or alterations to temples and other religious monuments?), liturgy (do they worship in the same ways their ancestors did?), and images (how do they treat cult statues?). I analyze the patterns of behaviour, both in terms of ritual practice and in how Tacitus’ characters think about and interpret the supernatural, and consider how Rome’s religious past features in these patterns. The thesis is structured according to the reigns of individual emperors. Four chapters chart Tiberius’ accession, Germanicus’ death, its aftermath, and Sejanus’ rise to power; one chapter examines the religious antiquarian Claudius; and the final chapter analyzes Nero’s impieties and their consequences.

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Vukovic, Kresimir. "The Roman festival of the Lupercalia : history, myth, ritual and its Indo-European heritage." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:2765ebe9-20ef-47c0-9d48-63c7e8a2fb34.

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The Roman festival of the Lupercalia is one of the most discussed issues in the field of pre-Christian Roman religion. Hardly a year goes by without an article on the subject appearing in a major Classics journal. But the festival presents a range of issues that individual articles cannot address. This thesis is an attempt to present a modern analysis of the phenomenon of the Lupercalia as a whole, including literary, archaeological and historical evidence on the subject. The first section presents the ancient sources on the Lupercalia, and is divided into five chapters, each analysing a particular aspect of the festival: fertility, purification, the importance of the wolf and the foundation myth, the mythology of Arcadian origins, and Caesar's involvement with the Lupercalia of 44 BC. The second section places the Lupercalia in a wider context, discussing the festival's topography and the course of the running Luperci, its relationship to other lustration rituals, and its position in the Roman calendar, ending with an appraisal of the changes it underwent in late Antiquity. The third section employs methods from linguistics, anthropology and comparative religion to show that the Lupercalia involved a ritual of initiation, which was also reflected in the Roman foundation myth. The central chapter of this section discusses the methodology used in comparative Indo-European mythology, and offers a case study that parallels the god of the festival (Faunus) with Rudra of Vedic Hinduism. The last chapter considers other parallels with Indian religion, especially the relationship between flamen and brahmin. The thesis challenges a number of established theories on the subject and offers new evidence to show that the festival has Indo-European origins, but also that it played an important role throughout Roman history.

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Books on the topic "Italian Religious literature"

1

Orioles, Filippo. Il riscatto d'Adamo nella morte di Gesù Cristo. Rovito (Cosenza), Italy: Marra editore, 1995.

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Maria, Antonio. La Spagna, il teatro, la Sardegna: Antonio Maria da Esterzili : "comedias" e frammenti dramatici. Cagliari: CUEC, 1992.

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Catholic attitudes to evolution in nineteenth-century Italian literature. Venezia: Istituto veneto di scienze, lettere ed arti, 1995.

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"Anime divote" e "tragici deliqui": Lirica e teatro nelle metamorfosi della "letteratura spirituale" tra Seicento e Settecento. Alessandria: Edizioni dell'Orso, 2018.

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Ciro, Riccio, ed. La letteratura religiosa in Italia. Napoli: Loffredo, 2000.

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Biase, Carmine Di. Letteratura religiosa del Novecento: Sondaggi. Napoli: Edizioni scientifiche italiane, 1995.

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Esegesi infinita: Raccolta di saggi. Alessandria: Edizioni dell'Orso, 2018.

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editor, Delpiano Patrizia, Formica Marina editor, and Rao, Anna Maria, 1949- editor, eds. Il Settecento e la religione. Roma: Edizioni di storia e letteratura, 2018.

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Michele, Maccarrone, Vauchez André, and Centre d'études franco-italien, eds. Echanges religieux entre la France et l'Italie: Du Moyen Age à l'époque moderne. Genève: Editions Slatkine, 1987.

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Merida, Raphael. La lingua della prosa sacra del Seicento. Pisa: Fabrizio Serra editore, 2018.

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Book chapters on the topic "Italian Religious literature"

1

Torre, Andrea. "‘What Are These Wounds?’ Stigmata and/as Memory in Italian Religious Literature." In The Wounded Body, 385–402. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91904-7_17.

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Ardissino, Erminia. "A Daily Devotion of the Long Fifteenth Century. Italian Literature on the Rosary." In Religious Practices and Everyday Life in the Long Fifteenth Century (1350–1570), 129–50. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.nci-eb.5.123210.

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De Gregorio, Mario. "«Un arancio in gennaio». La Vita del beato Giovanni Colombini di Feo Belcari da racconto agiografico a testo di lingua." In Le vestigia dei gesuati, 117–31. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.10.

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Composed between 1448 and 1449, the Vita del beato Giovanni Colombini by Feo Belcari was printed for the first time in 1477 and was destined to growing publishing success over the following centuries both as an independent text and in miscellany dedicated to the blessed. It will be the third edition of the Accademia della Crusca Vocabolario, published in 1691, to increase its affirmation by admitting the entire poetic and prose work of Belcari among the privileged references for the Tuscan vernacular and the Italian language. A recognition that will lead to a Veronese edition of the work in 1817, edited by authoritative scholars of Italian humanistic literature, which will condition many reprints of the work during the first half of the nineteenth century and which will persist even later, when it will be included in series very different, between religious and linguistic / literary interests.

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"9. The Religious Experimentalism of Amelia Rosselli." In The Revolt of the Scribe in Modern Italian Literature. Toronto: University of Toronto Press, 2010. http://dx.doi.org/10.3138/9781442686175-011.

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"1. Semiotic Ideology and Religious Themes in Italian Fiction." In Religious Narratives in Italian Literature after the Second Vatican Council, 14–45. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-003.

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"Acknowledgements." In Religious Narratives in Italian Literature after the Second Vatican Council, V—VI. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-001.

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"Introduction." In Religious Narratives in Italian Literature after the Second Vatican Council, 1–13. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-002.

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"2. Literary Representations of Rituals and Liturgical Latin." In Religious Narratives in Italian Literature after the Second Vatican Council, 46–83. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-004.

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"3. The Thematic Role of the Pope, between Immanence and Transcendence." In Religious Narratives in Italian Literature after the Second Vatican Council, 84–120. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-005.

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"4. Atypical Models of Sanctity." In Religious Narratives in Italian Literature after the Second Vatican Council, 121–61. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110497830-006.

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