Academic literature on the topic 'Orlando (Poem)'
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Journal articles on the topic "Orlando (Poem)"
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Lausten, Pia Schwartz. "Da Roland blev italiener – og forelsket." K&K - Kultur og Klasse 35, no. 103 (2007): 38–67. http://dx.doi.org/10.7146/kok.v35i103.22297.
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Italiensk ridderdigtning mellem epos og roman: M.M.Boiardos Orlando innamorato (1495) When Roland became an Italian – and fell in loveThough marking the invention of the chivalric epic, so famously mocked by Cervantes, Boiardo’s poem Orlando Innamorato (1494) has been overshadowed by the later, more famous works of Ariosto and Tasso, and the very genre of chivalric epic tends often to be forgotten. This article describes the cultural and historical conditions for the rise of the genre in the 15th century at the Este-court of Ferrara where an elitist humanist culture paradoxically enough coexisted with a special preference among the courtiers for medieval chivalric romances. The article presents Boiardo’s poem, its many different literary sources, its socio-political functions, and its reception history. The poem borrows both from the medieval carolingian and arthurian chivalric romances, from the Greek and Latin epic, as well as from the three ‘crowns’ of the 14th century, Dante, Boccaccio and Petrarch. The article argues that it is tempting to consider the work of Boiardo an early, ‘dialogical’ novel since it presents several elements of M. Bakhtin’s definition of the genre, especially its multiplicity of different ‘voices’. But Orlando Innamorato is (just like Ariosto’s and Tasso’s epics) both too classicist and too adventure-like to be considered a modern novel. The genre Boiardo invents and represents thus reflects the complexity of the Renaissance.
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Artico, Tancredi. "Danese Cataneo, «felicissimo spirito» nelle carte tassiane. L’Amor di Marfisa e la Gerusalemme liberata." Italianistica Debreceniensis 23 (December 1, 2017): 8–20. http://dx.doi.org/10.34102/italdeb/2017/4633.
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Published in 1562, Danese Cataneo’s epic-chivalric poem Amor di Marfisa had a wide but undervalued influence in Torquato Tasso’s masterpiece, Gerusalemme liberata. In this short essay I’ll provide the necessary evidences to demonstrate the existence of a deep connection between those two poems, and establish how it is organized. In particular, Cataneo’s literary legacy, which is underlined by a long list of quote, is strongly perceptible for what concerns the expression of feelings and thoughts. Amor di Marfisa, in this regard, gives to the young Tasso an unusual example of epic poem interested in characters’ psychology: aspects such as the self-analysis and the fragmentation of the ego are underrated in Ariosto’s Orlando furioso and all the other Italian poems in ottava rima, whereas they are fundamental in Cataneo’s poem. More than just an example, it represents for Tasso a training ground and a mine, where he founds themes and lexicon that later will be used in Gerusalemme liberata.
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Italiano, Federico. "Die globale Dichtung des Orlando Furioso." Arcadia 47, no. 1 (2012): 16–33. http://dx.doi.org/10.1515/arcadia-2012-0006.
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AbstractThe epic poem of Ludovico Ariosto, Orlando Furioso (1516–1532), one of the most influential texts of Renaissance writing, shows not only a precise cognition of early modern cartographic knowledge, as Alexandre Doroszlaï has illustrated it in Ptolemée et l’hippogriffe (1998), but also performs a complex transmedial translation of cartographic depictions. The journeys around the globe of the Christian paladins Ruggiero and Astolfo narrated by Ariosto are, in fact, performative negotiations between literary and cartographic processes. Riding the Hippograph, the hybrid vehicle par excellence, Ruggiero and Astolfo fly over the Earth as if they were flying over a map. Their journeys do not merely transmedially translate the course to the West pursued by Early Modern Europe. Rather, by translating the map Ariosto performs a new geopoetics that turns away from the symbolic dominance of the East (or “Ent-Ostung”, as Peter Sloterdijk has usefully called it) and offers us one of the first poetic versions of modern globalization.
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Simião, Sara Gabriela. "O Palácio da Loucura: a mente humana retratada por Ariosto." Revista Italiano UERJ 13, no. 1 (2022): 16. http://dx.doi.org/10.12957/italianouerj.2022.70741.
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RESUMO: Este artigo tem por objetivo mostrar como o episódio do Palácio de Atlante é construído de modo a traçar uma espécie de retrato da mente humana obcecada, mais especificamente, da loucura, tema fundamental da obra Orlando furioso (1532), de Ludovico Ariosto. Ao longo do poema, as personagens empreendem quêtes próprias, tentando satisfazer as suas pulsões. Com isso, acabam se embrenhando cada vez mais na selva, espaço labiríntico em que se perdem física e mentalmente. Trata-se de uma obra marcada pelo movimento delirante, circular, e, muitas vezes vão, que desemboca em episódios de loucura (apaixonada e furiosa), e o Palácio aparece como uma síntese dessa pulsação incontrolável e delirante. Dentro dessa construção, a confusão sentimental das personagens e o errar são observáveis na perseguição doentia de projeções. O poeta, então, desenha um vai e vem incessante, que ocorre em um tempo e espaço infinitos. O delirante errar das personagens, que nunca alcançam os seus objetos de desejo, exprime os movimentos da loucura, que atingem o vazio. Além disso, as repetições refletem a energia gasta inutilmente atrás das infinitas metas do desejo. Isso reproduz o caráter monomaníaco da mente perdida e obcecada em uma ideia, da qual parece impossível se livrar. O atravessar de diferentes lugares marca, também, a circularidade presente ao longo do poema, que exprime o drama da ilusão e a dialética entre razão e loucura. Assim, circularidade e repetição formam o movimento da loucura humana e se materializam no Palácio.Palavras-chave: Orlando furioso. Palácio de Atlante. Repetições. Circularidade. Representação da loucura. ABSTRACT: Questo articolo si propone di mostrare come l’episodio del Palazzo di Atlante sia costruito per tracciare una sorta di ritratto della mente umana ossessionata, più precisamente della follia, tema fondamentale dell’opera Orlando furioso (1532), di Ludovico Ariosto. Per tutto il poema, i personaggi intraprendono le proprie quêtes, cercando di soddisfare le loro pulsioni. Di conseguenza, finiscono penetrando, sempre di più, la selva, uno spazio labirintico in cui si perdono fisicamente e mentalmente. È un’opera segnata da un movimento delirante, circolare e spesso vano, che porta a episodi di follia (appassionata e furiosa), ed il Palazzo appare come una sintesi di questa pulsione incontrollabile e delirante. All’interno di questa costruzione, la confusione sentimentale dei personaggi e l’errare sono osservabili nella malsana ricerca di proiezioni. Il poeta, quindi, disegna un incessante andirivieni, che si svolge in un tempo e in uno spazio infiniti. L’errare delirante dei personaggi, che non ottengono mai i loro oggetti del desiderio, esprime i movimenti della follia, che raggiungono il vuoto. Inoltre, le ripetizioni riflettono l’energia sprecata inutilmente dietro gli infiniti obiettivi del desiderio. Questo riproduce il carattere monomaniaco della mente perduta e ossessionata da un’idea, di cui sembra impossibile liberarsi. L’attraversamento di luoghi diversi segna anche la circolarità presente in tutto il poema, che esprime il dramma dell’illusione e la dialettica tra ragione e follia. Così la circolarità e la ripetizione formano il movimento della follia umana e si materializzano nel Palazzo.Parole-chiave: Orlando furioso. Palazzo di Atlante. Ripetizioni. Circolarità. Rappresentazione della follia. ABSTRACT: This article aims to show how the Atlantes’s Castle episode is constructed in order to draw a kind of portrait of the human mind obsessed, more specifically of madness, a fundamental theme of the work Orlando Furioso (1532) by Ludovico Ariosto. Throughout the poem the characters undertake quêtes of their own, trying to satisfy their drives. As a result, they end up deeper and deeper into the forest, a labyrinthine space in which they get lost physically and mentally. It is a work marked by a delirious, circular and often vain movement, which leads to episodes of madness (passionate and furious) and the Castle appears as a synthesis of this uncontrollable and delirious drive. Within this construction the characters’ sentimental confusion and the roam are observable in the unhealthy pursuit of projections. Then the poet draws an incessant coming and going, which takes place in infinite time and space. The delirious roam of the characters, who never reach their objects of desire, expresses the movements of madness, which reach the emptiness. Furthermore the repetitions reflect the energy wasted uselessly behind the endless goals of desire. This reproduces the monomaniac character of the lost mind obsessed with an idea, which seems impossible to get rid of. The crossing of different places also marks the circularity present throughout the poem, which expresses the drama of illusion and the dialectic between reason and madness. Thus circularity and repetition form the movement of the human madness and materialize in the Castle.Keywords: Orlando Furioso. Atlantes’s Castle. Repetitions. Circularity. Representation of madness.
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Mehltretter, Florian. "Herrscherlob als schöne Kunst betrachtet." Volume 60 · 2019 60, no. 1 (2019): 159–80. http://dx.doi.org/10.3790/ljb.60.1.159.
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The encomiastic efficiency of Ariosto’s tale of Ruggiero and Bradamante in the Orlando furioso could be questioned on the grounds of inconsistency with tradition, fictionality and irony. A glance at other instances of panegyrics, notably in music, as well as an analysis of the moon scene in Ariosto’s epic (canto 35) show, however, that these techniques engender a specific brand of ambiguity that neither cancels nor overemphasizes the intended praise of the dedicatee, but serves to adjust the volume of the encomiastic discourse in order to steer clear of mere flattery. At the same time, by inscribing a specific model reader, Ippolito d’Este (who has to understand this special type of praise), into a text that was to be printed – and thus intended for a general reader – the Orlando furioso transposes part of the pragmatic hors-texte into the aesthetic structure of the poem. Hence, panegyrics can be regarded as a fine art.
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Cleaver, Natalie. "Humanism’s Other Inheritance: The Brutal Intertextuality of Boiardo’s Rocca Crudele." Quaderni d'italianistica 34, no. 1 (2013): 37–63. http://dx.doi.org/10.33137/q.i..v34i1.19872.
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In Book I of the Orlando innamorato, Ranaldo travels from Palazo Zoioso to Rocca Crudele, a distinct adventure that exists almost as a separate novella within the poem. At Rocca Crudele, he encounters an exceptionally violent scene that is composed of the most horrific moments of cruelty drawn from classical and vernacular literature. The intertextual referents of Rocca Crudele are completely stripped of anything redeeming, leaving only atrocities as the poem confronts the problem of the imitation of past evils instead of virtues. This paper argues that Rocca Crudele is a place set apart in the world of the Innamorato, where its normally reverential and humanist approach to the past fails temporarily. Rocca Crudele refuses interpretation as a site of pragmatic or moral instruction and instead reflects upon the potential perils of imitation as a pattern of behavior when the cultural legacy of the past is not always exemplary.
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Delgado, Les. "Praye(red)." Art/Research International: A Transdisciplinary Journal 3, no. 1 (2018): 202–7. http://dx.doi.org/10.18432/ari29333.
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This performance uses a poem autoethnographically to engage the poet-researcher’s lived experiences in order to examine the relationship of their identity intersections (queer, Latinx, gender non-comforming) to their culture(s) through the current events that inform their experiences and identities. Identifying as gender non-comforming, the poet uses terms like “Latinx” and the pronoun “they” to simply state and relate to a line of Sylvia Plath’s the Bell Jar that “I am, I am, I am.” The usage of literature helps the poet become aware of what they are feeling. Using poetic autoethnography, these pieces strive to amplify the emotions—sadness, anger, anxiety, and fear—that stem from their positionality in relation to events like the tragedy in Orlando. Further, using poetry to engage in embodied and often hidden epistemic realities, the poet looks to the relationship of identity, culture, and the gender/queer, Latinx body that carries this cumulative knowledge from lived experience to lived experience to express those feelings. Using these poetic connections, the poet strives to question their existence in the current world, and make sense of their authenticity.
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Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe 1 (May 28, 2021): 59. http://dx.doi.org/10.12688/openreseurope.13663.1.
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To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante’s Divina Commedia and Ariosto’s Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante’s meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.
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Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe 1 (February 23, 2023): 59. http://dx.doi.org/10.12688/openreseurope.13663.2.
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To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante’s Divina Commedia and Ariosto’s Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante’s meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.
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Pelias, Ronald J. "After Orlando." Qualitative Inquiry 23, no. 7 (2017): 527–28. http://dx.doi.org/10.1177/1077800417718294.
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Following in the tradition of poetic inquiry, I offer a series of poems to explore the aftermath of Orlando, Florida shooting on June 12, 2016. The poems call upon the speculative and the imaginative to make its empathic case. The poems, offering distinct perspectives directly connected to the shooting, rely upon news accounts, but do not contain the specific words of any individual.
Dissertations / Theses on the topic "Orlando (Poem)"
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Dorigatti, Marco. "The significance of Boiardo in the making of Orlando Furioso : with special reference to the 1516 edition of Aristo's poem." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282063.
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Condina, Alessandro. "Più donne che cavalieri. Orlando furioso: il poema di Bradamante." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/668503.
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Este trabajo aborda por primera vez de forma sistemática y monográfica el papel desempeñado por los personajes femeninos en el Orlando furioso (1532) de Ludovico Ariosto (1474-1533), evidenciando su carácter profundamente innovador respecto a la tradición, incluida la caballeresca ferraresa, y en buena medida también respecto al contexto cultural de las cortes renacentistas en Italia. Con tal fin se conjuga el enfoque comparatista y de fuentes con el análisis descriptivo e interpretativo para elaborar una tipología de las distintas figuras definiendo sus funciones tanto individualmente como en su interacción recíproca y respecto al conjunto de la trama. Desde este último punto de vista se demuestra también el papel de auténtica protagonista desempeñado por Bradamante, la figura femenina a la que el poema de Ariosto dedica no solo más espacio, sino también una mayor continuidad en la acción, y a la que asigna una riqueza superior de intervenciones en el plano privado y público. La tesis se estructura en tres partes, precedidas por una introducción metodológica que plantea el problema y delinea el status quaestionis, que muestra el carácter parcial de los estudios realizados sobre el tema hasta el momento. En la primera parte se analiza la presencia de los personajes femeninos en la tradición épica occidental – desde los poemas homéricos hasta la Chanson de geste, pasando por la Eneida y la Tebaida – y en las principales obras que mantienen una relación de intertextualidad con el Furioso, como las Metamorfosis y las Heroidas de Ovidio; paralelamente se toman en consideración algunos lugares fundamentales de la representación femenina en otros géneros y épocas de la literatura occidental, para llegar, a través de la poesía provenzal y las obras de Dante, Petrarca y Boccaccio, a la querelle des femmes, que especialmente desde la segunda mitad del siglo XV involucró a intelectuales y escritores. Este recorrido permite delinear los precedentes y el contexto cutural del que partió Ariosto, eligiendo una vía eminentemente original. La segunda parte está dedicada al análisis detallado de los personajes femeninos del poema, vistos individualmente y clasificados en grupos y subgrupos temáticos: en cada uno de los cuales se ponen de manifiesto tipologías, relaciones intertextuales y características siguiendo un orden que culmina con las figuras más significativas: las de Angelica y Bradamante. Por último, en la tercera parte se estudian las funciones de los distintos personajes dentro de los episodios en los que intervienen, teniendo en cuenta su relación con otras figuras – masculinas y femeninas – y la perspectiva de la trama en su conjunto así como del telos del poema. Un espacio se dedica asimismo a las figuras femeninas históricas citadadas en el Furioso y a las damas de corte que configuran el público elegido por el poeta para su obra. En las conclusiones se evidencia, en fin, la complejidad de la óptica ariostesca sobre la mujer, encaminada a desenmascarar cualquier postura unívoca y cualquier prejuicio, mostrando las dos caras de los falsos contrarios (de aquí también la presencia subterránea de duplicaciones y figuras desdobladas). Los resultados de este análisis hacen aflorar, pues, aspectos hasta ahora descuidados de la obra maestra del Renacimiento literario italiano y despejan el campo de los intentos de encuadrar a Ariosto en los estrechos márgenes de la filoginia o la misoginia.<br>This dissertation studies, for the first time in a systematic and monographic way, the role of female characters in Ludovico Ariosto’s Orlando Furioso (1532), highlighting its extremely innovative characteristics compared to tradition, included the chivalric tradition of Ferrara, and in part also compared to the cultural context of the Italian courts of Renaissance. The fundamental role of Bradamante, to whom Ariosto reserves a more constant presence and richer interventions both on private and on public level, is proved as well. The dissertation is divided in three parts, each preceded by a methodological introduction delineating the status quaestionis, from which the incomplete nature of the existing studies on the subject emerges. The first part of the work analyses the presence of female characters in the Western epic tradition and in the main works which are in a relationship of intertextuality with the Furioso. Simultaneously, some fundamental passages of the representation of women in Western literature are retraced up to the fifteenth/sixteenth century querelle des femmes. This path allows to delineate the precedents and the cultural context from which Ariosto moved. The second part of the dissertation is dedicated to a detailed analysis of the female characters of the poem, which are classified in groups and subgroups: for each of them the typologies, the relationship of intertextuality and the characteristics are analysed. Finally, in the third part, the functions of the different characters in the single episodes are faced, in relation with the other – male and female – figures both from the plot perspective and in the epic telos of the poem. The conclusions underline the complexity of Ariosto’s approach, aimed at unmasking every univocal position and every prejudice, and to show the two sides of false opposites (from which duplications and double figures originate). The results of this analysis show hitherto neglected aspects of the masterpiece of Italian literary Renaissance and clear the air of any attempt to enlist Ariosto among the misogynists or the philogynists.
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Ohlsson, Lena. "Oggetti e aiutanti magici nell´Orlando Furioso di Ludovico Ariosto." Thesis, Högskolan Dalarna, Italienska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3837.
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Favaro, Maiko. "Alla prova della realtà : l’eroe rinascimentale tra epica e storia." Doctoral thesis, Scuola Normale Superiore, 2014. http://hdl.handle.net/11384/86098.
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Anconetani, Raffaella. "La memoria del «Filostrato» e del «Teseida» nell’«Orlando Furioso»." Doctoral thesis, 2014. http://hdl.handle.net/11573/1107627.
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La ricerca illustra luoghi di memoria poetica delle due prime opere ottave di Boccaccio nell’Orlando furioso, individuati muovendo dai rilievi presenti nelle Fonti dell’«Orlando furioso» di Pio Rajna, nei commenti al poema e nella letteratura critica, e attraverso un raffronto testuale compiuto anche con l’ausilio di strumenti informatici. La memoria del Filostrato e del Teseida nel tessuto del poema ariostesco, puntuale e pervasiva, investe le zone connotative del genere letterario (il proemio, il congedo), le trame principali (l’amore passionale e la follia di Orlando, l’attesa elegiaca e la gelosia di Bradamante) e numerosi altri luoghi (i più rilevanti: la selva romanzesca del primo canto, la permanenza di Ruggiero presso Alcina, l’episodio delle «femine omicide», l’incontro notturno di Doralice e Mandricardo, il duello tra Ruggiero e Rodomonte che chiude il poema); il Filostrato e il Teseida offrivano inoltre ad Ariosto il modello di un narratore personaggio ed amante che delinea una chiara corrispondenza tra la propria sofferta esperienza d’amore e quella del suo protagonista, da cui discende una competenza in materia erotica espressa attraverso interventi gnomici e precettistici che interrompono la narrazione in luoghi decisivi. La consonanza tra le voci narranti, verificabile su un piano contestualmente tematico e strutturale, conferma ed evidenzia comuni sistemi di senso e pervasive affinità ideologiche tra le opere, già chiaramente rivelate dalle intersezioni tra il tessuto narrativo boccacciano e la fabula ariostesca: l’irrazionalità totalizzante dell’esperienza erotica, innanzitutto; l’inconsistenza dei giudizi umani; la difficoltà nel rapporto tra i sessi; l’opportunità (in amore) di una conoscenza relativa. Da un canto, Boccaccio si rivela imprescindibile auctoritas erotica nella costruzione del poema; dall’altro, i paralleli testuali conferiscono una definitiva evidenza alla funzione modellizzante esercitata dalle opere in ottave di Boccaccio sul successivo percorso del poema cavalleresco rinascimentale, un dato acquisito dalla storiografia letteraria fin dal XVI secolo, ma poi non indagato nelle sue effettive connessioni testuali.
Books on the topic "Orlando (Poem)"
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Bailey, L. Scott. Wheeling the "General Orlando M. Poe" on the Great Lakes. Bailey, 2006.
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Bailey, L. Scott. Wheeling the "General Orlando M. Poe" on the Great Lakes. Bailey, 2006.
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Orlando furioso: La fortuna del poema ariostesco nelle edizioni illustrate. Palombi editori, 2016.
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La lezione di Boiardo: Il poema cavalleresco dopo l'Inamoramento de Orlando (1483-1521). Vecchiarelli editore, 2018.
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Merivale, John Herman. Orlando in Roncesvalles: A Poem in Five Cantos. Creative Media Partners, LLC, 2018.
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Everson, Jane E., Andrew Hiscock, and Stefano Jossa, eds. Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.001.0001.
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The volume assesses the changing impact on English culture over 500 years of Ariosto’s poem, the Orlando Furioso, first published in Italy in 1516, and subsequently in an expanded version in 1532. Individual chapters address the recurring presence of Ariosto’s poem in English literature, but also the multimedial nature of the transmission of the Furioso into English culture: through the visual arts, theatre, music and spectacle to video games and the internet, as well as through often heated critical debates. The introduction provides an overview of the history of criticism and interpretation of the Furioso in England. Within the four main sections – entitled: Before reading – the image; From the Elizabethans to the Enlightenment; Gothic and Romantic Ariosto; Text and translation in the modern era – individual studies explore key moments in the reception of the poem into English culture: the adaptation and translation of the poem among the Elizabethans; Milton’s detailed appreciation of the work; and the ambivalent attitudes of eighteenth-century writers and critics; the influence of illustrations to the poem; and its transformation into opera for the English stage. Emphasis is also placed on: the dynamic responses of Romantic writers to Ariosto; the crucial work of editors and translators in the nineteenth and twentieth centuries; and the stimulating adaptations and rewritings by modern authors. The volume concludes with a comprehensive bibliography.
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Schott, Penelope Scambly. Penelope: The Story of the Half-Scalped Woman : A Narrative Poem (Contemporary Poetry Series (Orlando, Fla.).). University Press of Florida, 1998.
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Boole, Roland Ashley. Rated and Popular Poems of Orlando Belo and Tex T. Sarnie. Boole, Roland A, 2018.
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Payne, Mary. Christmas Jewels And Winding Roads: The Poems Of Rev. H. Orland Payne. Xlibris Corporation, 2004.
Find full textBook chapters on the topic "Orlando (Poem)"
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Staveley, Alice. "Bibliographic Parturition in Orlando: Books, Babies, Freedom and Fame." In Sentencing Orlando. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414609.003.0010.
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In this chapter’s account of Woolf’s labour as a writer and publisher at the Hogarth Press, Alice Staveley connects the labour of mothers and writers, and the delivery of babies and books. Reading the converging deliveries of Orlando’s poem ‘The Oak Tree’, her son, and the manuscript of Orlando, Staveley analyses Woolf’s invocation of her own 1919 short story ‘Kew Gardens’ in the novel’s final pages. Sounding the resonances of this story’s published forms, particularly the limited luxury edition issued in 1927, Staveley argues that the Kew Gardens scene turns the ‘narratological modernist motif of closure-as-return into a materialist tribute’.
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Degl’Innocenti, Luca. "Reading the Poem ‘in the Very Picture’." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0003.
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The international success of the Orlando Furioso would be hard to describe without the accompanying images. Virtually no early modern edition of Ariosto’s poem was published without a visual paratext. The English reception of the Orlando Furioso was no different, as illustrations were a vital component in the first edition of Harington’s translation (1591), whose 46 full-page plates imitated those published in Venice in 1584, with few and yet very significant changes. This essay discusses some new findings about the visual sources of the scenes added to the plate for Book 28, which shed new light on Harington’s approach to the Orlando Furioso and to Italian literature and culture. On the one hand, the picture shows that he knew an edition of the anonymous excerpt of canto 28 which circulated in Italy under the title of Historia del Re di Pavia, thus confirming the prominence and possibly also the priority of that canto in Harington’s work on the poem. On the other hand, some obscene additions aimed at enhancing the visibility of Ariosto’s most lascivious novella in defiance of the Puritan attacks against the Italianate vogue, appear so clearly related to the underground circulation of Aretino’s Sonetti lussuriosi in Elizabethan England as to urge a reconsideration of the balance between moralism and hedonism in Harington’s theory and practice of poetry.
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Kopley, Emily. "Orlando’s Celebration of “prose not verse”." In Virginia Woolf and Poetry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198850861.003.0005.
Full textAbstract:
In Woolf’s literary history, the eighteenth century saw the male writer and poetry begin to cede power and popularity to the female writer and the novel. Orlando (1928) personifies this literary history with the title character, a nobleman-poet who turns from man to woman in the eighteenth century, while his/her poetry turns from tolerable to bathetic. Some of the adventures of the newly female Orlando take their inspiration from the novels of Daniel Defoe and the life of Lady Mary Wortley Montagu. Woolf draws on Defoe and Lady Montagu to underscore the mutual ascent of women and prose. Orlando is based primarily, of course, on Vita Sackville-West. Allusions in the novel to Sackville-West’s long poem The Land (1926) betray Woolf’s dim view of her lover’s poetry and the conventional, sentimental poet figure more generally, and argue that a woman poet after the eighteenth century writes in a form poorly suited to her era and her sex.
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Bolzoni, Lina. "The Visualization of the Orlando Furioso." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0002.
Full textAbstract:
Orlando Furioso by Ludovico Ariosto, published in 1516 (and later in 1521 and 1532), very quickly became a bestseller, the first great classic of modernity. An important part of this success was due to the fact that illustrations began to be produced for the poem almost immediately. We will see how the early illustrated editions of the Orlando Furioso clearly attempted to influence its reception and the memory of the reader, while at the same time addressing the themes and narrative structure of the text. This essay will analyse the enduring popularity of the visual imagery of the poem, beginning with the emblems that frame the text in the editions prepared for publication by the author himself and concluding with an example of video art that reinterprets the illustrations from the Valgrisi edition published in 1556.
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Narayan, Gaura. "Sex and Literary History in Orlando." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0018.
Full textAbstract:
My paper examines Virginia Woolf's review of British history and literary heritage in Orlando (1828) which was published in the context of the scandal created by Radclyffe Hall's The Well of Loneliness. I ask if Woolf's lightness of touch is a response to the maelstrom generated by Hall's novel which had powerful figures like Stanley Baldwin, Winston Churchill, and Sir William Joynson-Hicks work to supress it so as to prevent the injurious spread of lesbianism. A few years later, in 1931, Freud published his essay on "Female Sexuality" which theorized lesbianism as the inability of the woman to move to sexual maturation. In this context it is significant that Woolf's novel plays with notions of gender fluidity and queer sexuality only to seemingly abandon them at narrative's end. Her narrative choices recall Coleridge's "Christabel" (1816) which is entirely fitting given Woolf's remark about Coleridge and the androgynous mind in A Room of One's Own. Coleridge's poem places non-normative female sexuality in a Gothic narrative and deploys notions of demonicity to occult it. The poem forces its reader to ask two key questions: Is Geraldine a demon? Do women have sex with each other? Affirmative answers to these questions dovetail into a single anxiety that the narrative end of the poem resolves by triagulating the erotic relationship and setting aside queer sexuality. My paper considers the ideologies that control both narratives as both texts allow space for so-called deviance and both texts also contain these radical spaces forcing a return to so-called normalcy.
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Everson, Jane E., Andrew Hiscock, and Stefano Jossa. "Introduction." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0001.
Full textAbstract:
The introduction presents the Orlando Furioso, tracing briefly its gestation and identifying its major themes and concerns – love, war, moral, social and ethical issues. It assesses the importance of the first edition, published in 1516, and discusses its continuing presence in the subsequent versions of the poem, and hence its influence on later adaptations and reactions to Ariosto’s poem. The chapter introduces the four principal sections of the volume – the Furioso in the visual arts; from the Elizabethan period to the Enlightenment; from Gothic to Romantic; and text and translation in the modern era. In presenting each of these, the introduction surveys the wider cultural contexts for the reception and influence of the Furioso in art, literature and music, the varying critical responses displayed over the centuries to Ariosto’s poem, and the myriad ways in which creative writers, artists and musicians in the English-speaking world have mined the Furioso as a never-ending source of inspiration.
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Everson, Jane E. "Ariosto in England in the Eighteenth Century." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0008.
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This essay explores the changing fortunes of Ariosto’s poem in England in mid- to late eighteenth-century criticism through an examination of select passages of the Letters on Chivalry and Romance, by Bishop Richard Hurd (1762), and a close reading of the introduction, notes and commentaries appended to the two translations published in this period: that of William Huggins (1755) with facing-page text and translation into ottava rima; and that of John Hoole (1783) into English heroic couplets. While Huggins is full of enthusiasm for virtually every aspect of the Furioso, both Hurd and Hoole display a certain ambivalence towards Ariosto and his poem, reflecting the negative views of earlier, especially French, critics, the neo-classical preference for Tasso, and the influence of Dryden on the theory and practice of translation of poetry.
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Dorigatti, Marco. "Antonio Panizzi, Textual Editor of Ariosto." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0012.
Full textAbstract:
Today Antonio Panizzi is remembered mostly for his edition of Orlando innamorato, which restored Boiardo’s original text after a period of oblivion lasting nearly 300 years. His initial intention, however, was to publish an edition of Ariosto’s poem. But since he believed (as did Tasso before him) that the two poems formed a single, indivisible work, he came to realize that an edition of Ariosto’s work would not be complete without also incorporating that of his predecessor. As a result, his monumental edition – the only one of its kind – spans nine volumes published over four years (1830–4). Although ample attention has been given to the Boiardo side, the story of the Ariosto four-volume edition, which appeared in 1834, has never been told, and so the present study aims to fill this gap by chronicling its making and setting its achievement within the wider context of the Ariosto editorial tradition.
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Lucioli, Francesco. "Popular Rewritings of the Orlando Furioso as Forms of Criticism." In The Places of Early Modern Criticism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834687.003.0004.
Full textAbstract:
Editions, paratextual apparatuses, translations, theoretical treatises, and dialogues influenced the critical debate about Ariosto’s Orlando furioso, and rapidly became the main route to its canonization. However, immediately after its publication, the Furioso also catalysed the production of new literary texts, which aimed to offer rewritings of and critical insights into the poem. This chapter focuses on this specific form of creative reception, thus far neglected in scholarly studies of Ariosto. It aims to highlight some of the critical readings and interpretations of the Furioso that such popular pamphlets offered to a wide readership in early modern Italy. It reveals a strong continuity across critical commentaries and rewritings of the poem. Both interpretations and adaptations of the Furioso reveal a commitment to pursuing contemporary cultural debates, for instance about the nature of women, influenced by Ariosto and his words: there is a dialogue between popular rewritings and erudite readings of the poem.
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McLaughlin, Martin. "The Furioso in Translation." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0013.
Full textAbstract:
The year 1974, the 500th anniversary of Ariosto’s birth, inaugurated an unprecedented upsurge of interest in the Orlando Furioso both in Italy and in English-speaking countries. In the UK Peter Brand published the first post-war English monograph on the poet. The same year also saw the publication of Guido Waldman’s prose translation of the poem for Oxford University Press, while Barbara Reynolds’ two-volume verse translation for Penguin appeared in 1973 and 1977. This chapter asks what sort of Furioso do British readers encounter in these two twentieth-century translations? There is as yet no substantial comparison of these two versions, so this essay attempts to fill that gap by sampling the renderings of some problematic erotic episodes from Ariosto’s epic. What emerges is a range of translation errors, omissions and euphemisms but also some intelligent, felicitous solutions that combine intertextual allusions to British culture, the British imaginary and its literary traditions.