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Journal articles on the topic 'Sonnets italiens'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Pezzini, Sara. "Góngora viajero entre Berni y Ariosto (a propósito de tres sonetos)." Criticón 145-146 (2022): 151–65. http://dx.doi.org/10.4000/12dlf.

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Cet article étudie trois sonnets dans lesquels Góngora combine le motif autobiographique du mauvais voyage avec celui du mépris de la cour et il le fait à la lumière de ses possibles modèles italiens: les capitoli de Francesco Berni et des Berneschi ; et les Satire de l'Arioste. Le motif du mauvais hébergement et l’utilisation de certains procédés rhétoriques renvoient au premier ; au second, le motif horatien du repas frugal et la perspective du poète d’abandonner le lieu. Si, d’une part, cette lecture suggère l’affiliation littéraire de Góngora au thème du voyage (ce qui pourrait impliquer u

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Brūzgienė, Rūta. "Existential Motives and the Musicality of the Form in Vytautas Mačernis’ Cycle of Poems “The Sonnets of the Seasons” [Metų sonetai." Contemporary Issues of Literary Studies - International Symposium Proceedings 17 (December 20, 2024): 47–55. https://doi.org/10.62119/cils.17.2024.8658.

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Vytautas Mačernis (1921-1944), is one of the youngest classical canon authors of Lithuanian literature. He was a student of philosophy, English philology, could read in 7 languages, translated poetry of Ch. Baudelaire, R. Burns, A. Blok, O. Milosz, F. Petrarca. His own writing bears characteristics of a distinctive harmony between archaic Baltic culture (“Vsions”) and modern Western culture as well as manifestations of existential philosophy (“The Sonnets of the Seasons”). Mačernis’ sonnets are distinctive not only because of their structural variations of the Italian, English and French canon

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Aceituno Martínez, Eduardo. "À propos de l’origine du sonnet marotique." Çédille, no. 24 (2023): 189–209. http://dx.doi.org/10.25145/j.cedille.2023.24.11.

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Several contradictory theories have been proposed in an attempt to elucidate the reasons that lead Clément Marot and his followers to introduce the sonnet in France with a rhyme scheme different from those adopted by the Italian sonnet. After submitting these hypotheses to examination, we will offer a new explanation, complementary to those exposed by Jasinski and Vianey: the sonnet marotique is due to an effort to respect the ancestral rules of versification typical of French poetry. Hence, Marot and the other creators of the early French sonnets arranged the rhyme of the tercets according to

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Tranchida, Giuseppe Giorgio. "L'attrito del metro." Polisemie 1 (April 3, 2020): 47–65. http://dx.doi.org/10.31273/polisemie.v1.606.

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This article analyses the use of the sonnet in Valerio Magrelli’s poetry, focusing on the effect of friction produced by metrical choices in relation to the other textual levels. The essay highlights the relationship between the author’s sonnets and free verse production and some models of Italian twentieth-century tradition. The study examines the texts in detail and shows how meter is used to generate short circuits and new paths of meaning under the surface of the text.

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5

Semyonov, Vadim B. "THE FIRST ENGLISH SONNET AND ITS PARODIC ESSENCE." Vestnik of Kostroma State University 30, no. 1 (2024): 100–106. http://dx.doi.org/10.34216/1998-0817-2024-30-1-100-106.

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The article is devoted to the consideration of questions about which sonnet was the first example of a national genre form in English poetry, and about the relationship between its text and previous traditions and specific monuments. The research material was a fragment of the chivalric romance “Amoryus and Cleopes” by John Metham. Topicality of the study is due to the lack of knowledge of this text. The form of graphic organisation of the selected fragment is analysed against the background of comparisons with various ways of setting up classical Italian sonnets, then the meaningful motifs an

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Regan, Stephen. "The Sonnet and its Travels." CounterText 3, no. 2 (2017): 162–75. http://dx.doi.org/10.3366/count.2017.0086.

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As well as being one of the oldest and best known of all poetic forms, the sonnet is also one of the most widely travelled. Critical studies of the sonnet in English have traced its historical development from its Italian predecessors, through its domestication in Elizabethan England, to its remarkable popularity among modern British, Irish, and American poets. There is still much to learn, however, about the geography of the sonnet. This essay looks at some of the ways in which the sonnet has been shaped in places distant from its familiar European cultural domain: in Roy Campbell's South Afr

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Хавжокова, Л. Б. "Poetics of Ruslan Atskanov's sonnets: tradition and innovation." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 1(312) (June 26, 2023): 36–45. http://dx.doi.org/10.53598/2410-3489-2023-1-312-36-45.

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В статье исследуется сонетное творчество кабардинского поэта Руслана Ацканова. Основное внимание уделяется поэтике сонетов с целью установления их соответствия/несоответствия заявленному жанру. Выявляются главные мотивные линии, рассматривается образная система, исследуется метрико-рифмовочный комплекс. Детализированному анализу подвергаются отдельные сонеты, созданные по английской, итальянской и французской формам. Оценивается уровень художественного мастерства поэта, продемонстрированный при освоении этих жанровых форм. В целом в исследовании воссоздается индивидуально-авторский стиль Р. Ац

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8

West, Simon. "EZRA POUND'S CAVALCANTI: Fidelity and the Masculine Spirit." Forum Italicum: A Journal of Italian Studies 39, no. 2 (2005): 421–40. http://dx.doi.org/10.1177/001458580503900206.

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This paper aims to provide a close, rigorous and systematic analysis of Ezra Pound's various English versions of the sonnet 'Chi è questa che vèn' by Guido Cavalcati. Pound's interest in Cavalcanti began as early as 1909 when he started working on translations of the Italian poet during a period in which his own verse was influenced by the Pre-Raphaelites, including the first English translator of Cavalcanti, Dante Gabriel Rossetti. In 1912 he published The Sonnets and Ballate of Guido Cavalcanti. Pound sought a balance between a desire to capture the spirit of Cavalcanti and a desire to achie

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9

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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Salmon, Frank. "Praedatrix Praeda Fit Ipsa Suae: Mary Magdalen, Federico Borromeo And Henry Constable's Spirituall Sonnettes." Recusant History 18, no. 3 (1987): 227–36. http://dx.doi.org/10.1017/s0268419500020572.

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THERE EXISTS, in Harleian MS. 7553 of the British Library, a set of seventeenSpiritual1 Sonnettes to the honour of God and hys Sayntes by H. C..In his 1812 edition of the manuscript, Thomas Park attributed these poems to the Elizabethan courtier-poet and later recusant Henry Constable on the grounds of the ‘regular Italian structure, and the sainted names of those addressed’.’ Three years later, in hisHeliconia,Park substantiated his attribution by reference to Constable's known Roman Catholicism and to a recantation found at the end of his secular sonnet cycleDianain Dyce MS. 44: ‘When I had

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Balsamo, Jean. "Le « pétrarquisme » des Amours de Ronsard." Revue d'histoire littéraire de la France o 98, no. 2 (1998): 179–94. http://dx.doi.org/10.3917/rhlf.g1998.98n2.0179.

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Résumé Examiné dans son histoire, le pétrarquisme (l'imitation du lyrisme amoureux du poète toscan ainsi que la référence à sa persona poétique), n'a, en 1552, en France, rien de traditionne ni d'usé: parla forme du sonnet comme parla conception du poète qui le définit, il représente au contraire,la nouveauté poétique. L'attention que Ronsard, dans les Amours , porte au modèle pétrarquien doit s'estimer dans cette nouveauté, dans l'ordonnance d'une oeuvre dont il avait déjà l'intuition, dans les exigences d'une culture de cour, dans la rivalité , enfin qui l'opposait à du Bellay.Son pétrarquis

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12

Minskevich, S. L. "Adam Mickiewicz’s strategy in translating Petrarch’s sonnets." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (2020): 209–17. http://dx.doi.org/10.29235/2524-2369-2020-65-2-209-217.

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The article examines the VII and X ‘Odessan Sonnets’ by Adam Miсkiewicz, which are translations of the СХІІ and LXI sonnets by Petrarch from the ‘Canzoniere’. A comparative analysis of Polish and Italian texts is carried out. The problem of the loss of VII and X ‘Odessan Sonnets’ by Adam Mickiewicz when translating this cycle into other languages is noted. The study of the translation strategy of Adam Mickiewicz suggests that these sonnets can be considered as original author’s works having intertextual connections with CXII and LXI sonnets of Francesca Petrarch. This circumstance opens up the

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13

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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Whitaker, Harry A. "On Italian and English sonnets." History of Psychology 23, no. 3 (2020): 287–88. http://dx.doi.org/10.1037/h0101775.

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15

He, Yuanhong. "The Uniqueness and Innovation of Shakespeares Sonnets and Their Influence on Society: The Eighteenth Sonnet as an Example." Communications in Humanities Research 3, no. 1 (2023): 886–92. http://dx.doi.org/10.54254/2753-7064/3/2022656.

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Through the study and exploration of the themes, meter, and imagery of Shakespeares sonnets, this paper analyzes the similarities and differences between Shakespeares sonnets and traditional Italian sonnets, as well as the ideological core and main theme of it, focusing on the innovations in meter and imagery and the differences between different schools of thought on the themes of the sonnets. The paper also analyzes Shakespeares multiple identities and past experiences in his poetry in the context of the times. The relevant conclusions are that the themes of the poems favor natural and timel

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Verducci, Erica. "Ellis Island." Polisemie 1 (April 3, 2020): 23–46. http://dx.doi.org/10.31273/polisemie.v1.605.

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Italian-American writer of the third-generation Robert Viscusi tells about the migratory tragedy of Italians in North America in his Ellis Island, a strongly innovative collection which combines history and autobiography. The poem consists of 624 sonnets unfolding through personal memories, historical researches and bold metaphors. The well-known opposition between earth and sea becomes here a match and a very realistic argument on the idea of transformation and mutability typical of a part of humanity that changes through migration. Ellis Island is the final place of changes, just as the poem

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17

Popović, Branka. "Svetlana Savić: Soneti "La Douce Nuit", "Looking on Darkness", "La vita fugge"." New Sound, no. 43-1 (2014): 157–72. http://dx.doi.org/10.5937/newso1443157p.

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Soneti [Sonnets] by Svetlana Savić were composed between 2008 and 2012. The cycle comprises three pieces: "La Douce Nuit" for violoncello, piano, and electronics, as well as "Looking on Darkness" and "La vita fugge" for a female voice, violoncello, piano, and electronics. Here, the work is analysed from the perspective of the author's modernist orientation towards sound as a specific tool of music as a medium, which defined multiple poetic aspects in creating this work and had repercussions on the treatment of the text, the ensemble - both its acoustic and electronic layers - the forming and r

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18

KIKHNEY, LIUBOV, and EVGENIYA RAZDYAKONOVA. "PETRARCH IN THE ARTISTIC INTERPRETATION OF OSIP MANDELSTAM: TRANSLATION STRATEGIES AND DECIPHERING BIOGRAPHICAL SUBTEXTS." Lomonosov Journal of Philology, no. 2, 2023 (May 1, 2023): 153–69. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-2-11.

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Osip Mandelstam translates Francesco Petrarch’s sonnets between December 1933 and January 1934. We consider the reason for the poet’s addressing these sonnets, their place of in his own poetry and the specific features of Mandelstam’s translation. The Russian texts are close to the original in terms of syntax and rhythm, however, lexically, Mandelstam introduces into the text images close to his own poetics. Petrarch wrote sonnets dedicated to Laura during the formation of the literary Italian language: the language that he uses is a kind of interlinguistic substance, a search for a path from

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19

Splendorini, Ilaria. "Giovanni Tesio traduit par Perle Abbrugiati, Quatorze secondes. L’art réfléchi dans un sonnet." Italies, no. 25 (December 2, 2021): 438–39. http://dx.doi.org/10.4000/italies.9755.

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Splendorini, Ilaria. "Giovanni Tesio traduit par Perle Abbrugiati, Quatorze secondes. L’art réfléchi dans un sonnet." Italies, no. 26 (March 28, 2023): 299–300. http://dx.doi.org/10.4000/italies.10959.

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Sasso, Eleonora. "‘[T]his world is now thy pilgrimage’: William Michael Rossetti's Cognitive Maps of France and Italy." Victoriographies 8, no. 1 (2018): 84–99. http://dx.doi.org/10.3366/vic.2018.0296.

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This paper takes as its starting point the conceptual metaphor ‘life is a journey’ as defined by Lakoff and Johnson (1980) in order to advance a new reading of William Michael Rossetti's Democratic Sonnets (1907). These political verses may be defined as cognitive-semantic poems, which attest to the centrality of travel in the creation of literary and artistic meaning. Rossetti's Democratic Sonnets is not only a political manifesto against tyranny and oppression, promoting the struggle for liberalism and democracy as embodied by historical figures such as Napoleon, Mazzini, Cavour, and Garibal

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Belousova, Anastasia, Juan Sebastián Páramo Rueda, and Paula Ruiz Charris. "Rhythm, Syntax, Punctuation: A Distant Analysis of the European Sonnet." Studia Metrica et Poetica 9, no. 1 (2022): 39–65. http://dx.doi.org/10.12697/smp.2022.9.1.03.

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Elaborating on an analysis of a corpus of more than 1200 sonnets by Italian, French, Spanish, English and Russian authors, this article describes the general rhythmic-syntactic arrangement of thirteenth- and fourteenth-century Italian sonnets, European Petrarchist sonnets, and several experiments with this form in the nineteenth and twentieth centuries. It presents results obtained with the help of a computer program developed for the automated analysis of strophic syntax. The program was created using Boris Tomashevsky’s method based on analyzing the punctuation at the end of poetic lines (th

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Terranova, Michael D. "The Greater Wonder of God's Subjection in John Donne's Holy Sonnet “Why are wee by all Creatures waited on?”." Ben Jonson Journal 24, no. 2 (2017): 205–22. http://dx.doi.org/10.3366/bjj.2017.0194.

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In his deceptively simple, but really extremely rich, sonnet, “Why are wee by all Creatures waited on?”, John Donne uses all the tools of prosody available to him and plays with the English and Italian forms of the sonnet to give a rich meditation on the order of creation, the history of salvation, and the relationship of nature and grace. He begins with what seems an irenic scholastic discussion, asking why humans are able to subjugate elements and animals which are purer and stronger than they. In the third quatrain, however, he shifts to a deep moral plaint. At the same time, he interweaves

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Kurbonova, Nodira Rozikovna, and Makhfuza Mustafoeva. "ORIGIN AND FEATURES OF THE SONNET GENRE." International Journal of Education, Social Science & Humanities. FARS Publishers 11, no. 1 (2023): 141–47. https://doi.org/10.5281/zenodo.7512819.

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The sonnet is ancient, but not old-fashioned. Unlike elegy, hymn or ode, it is not a classical poetic genre. Rather, it was written at the court of Frederick II in Sicily in the 13th century AD. This palace was a cultural center from 1220 to 1250 and created the Sicilian school of poetry, the starting point of the Italian literary tradition. This article examines the characteristics of the sonnet genre and where it originated.

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Samya, Brata Roy. "From Sicily with Love: Does the Sonnet make you an offer you can't refuse?" postScriptum: An Interdisciplinary Journal of Literary Studies ISSN: 2456-7507 6, no. 2 (2021): 171–80. https://doi.org/10.5281/zenodo.5130184.

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The sonnet is one of the most popular forms of poetry and it has been around since the Italian renaissance. But what makes a sonnet, a sonnet (as it has changed in the hands of so many different makers)? What are its defining markers apart from it being a verse of fourteen lines? Are there any markers at all which can tell a sonnet apart from other forms of verse? Can we identify a sonnet if we see, and further, read one? To answer these questions, one must first identify what the sonnet is a part of. This study thus seeks to identify a couple of generic markers of the sonnet and by applying t

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Khrabskova, Danuta, and Iryna Tomicheva. "Mors certa in sonnet «Je n'ai plus que les os…» by Pierre de Ronsard." Bulletin of the Donetsk National University. Series D: Philology and Psychology 5 (December 5, 2024): 115–23. https://doi.org/10.5281/zenodo.14284385.

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The article deals with peculiarities of the sonnet "Je n'ai plus que les os..." by Pierre de Ronsard, included in the cycle of "Last Poems". In the Renaissance period, the use of the sonnet in the Italian style became entrenched by French poets such as Pierre de Ronsard. Three weeks before his death, in December 1585, Ronsard, far from his inherent glorification of women, wrote his last poems. The title of the sonnet "Je n'ai plus que les os..." from the very beginning indicates the poet's rejection of worldly vanity and even of poetry. The poem seems to be the artistic climax to the poet. &nb

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27

Gonzálvez-García, Francisco. "Taming iconicity in the Spanish and Italian translations of Shakespeare’s Sonnets." Revisiting Shakespeare's Language 11, no. 1 (2018): 105–40. http://dx.doi.org/10.1075/etc.00006.gon.

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Abstract Building on Tabakowska’s (1993, 2003, 2005, 2009, 2013) full-blown defense of a cognitive linguistic approach to literary translation as well as on previous research dealing with the implementations of Construction Grammar(s) for translation studies (Szymańska 2011a, 2011b; Serbina 2015), this paper critically examines the role of iconicity in selected lines from Shakespeare’s Sonnets capitalizing on the passage of Time-Death and their corresponding translations in present-day Spanish and Italian. Specifically, drawing on Cognitive Construction Grammar (Goldberg 2006) and Contrastive

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Kleinhenz (book author), Christopher, and Francesco Guardiani (review author). "The Italian Sonnet: The First Century (1220-1321)." Quaderni d'italianistica 11, no. 2 (1990): 314–16. http://dx.doi.org/10.33137/q.i..v11i2.10590.

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MOISIIENKO, Anatolii. "Rhyme as a structural component of the sonnet text." Ukrainian Linguistics, no. 54 (2024): 73–95. https://doi.org/10.17721/um/54(2024).73-95.

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Background. The article deals with the description of rhyme structures and their functioning in the Ukrainian sonnet text. Using a wide range of case studies, the author examines rhyme structures that are characteristic of the classical European sonnet, represented by Italian, French, and English forms, as well as the contagion plan for such forms. The author analyzes the role of rhyme in the structural and compositional organization of the stanza and the integral system of sonnet verse, with a projection on the author's own artistic and aesthetic perception of such integrity. Methods. Descrip

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Eriksen, Roy T. "Extant and in choice Italian: Possible Italian echoes inJulius Caesarand sonnet 78." English Studies 69, no. 3 (1988): 224–37. http://dx.doi.org/10.1080/00138388808598571.

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Vasylyshyn, Ihor. "THE PARADIGM OF THE CONCEPT OF DEATH IN THE LYRICS BY O. TARNAVSKY (EXISTENCE AND COEXISTENCE)." Слово і Час, no. 2 (April 10, 2022): 86–99. http://dx.doi.org/10.33608/0236-1477.2022.02.86-99.

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The article considers the paradigm of the concept of death in the lyrics by Ostap Tarnavsky as a subject of his poetic philosophical thinking and interpretations.O. Tarnavsky’s lyrical poetry, in which the poet highlights the problems of human existence, moral and psychological aspects of the finiteness of earthly existence, reveals the dualism of the author's thoughts. The poet sought to comprehend death, on the one hand, as the end of human existence, which implied facing its tragic irreversibility and then overcoming the fear of death for achieving the authenticity of being. On the other ha

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Hainsworth, Peter, and Christopher Kleinhenz. "The Early Italian Sonnet: The First Century (1220-1321)." Modern Language Review 86, no. 2 (1991): 485. http://dx.doi.org/10.2307/3730622.

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Storey, H. Wayne, and Christopher Kleinhenz. "The Early Italian Sonnet: The First Century (1220-1321)." Italica 68, no. 2 (1991): 243. http://dx.doi.org/10.2307/479867.

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Cipolla, Sara. "The Literary «Ekphrasis» of Castel Nuovo: A Contribution to Value the Cultural Identity of the Ideal City Government, Promoted by Aristocratic Courts and Civil Administrations in the XIV Century." Advanced Engineering Forum 11 (June 2014): 483–88. http://dx.doi.org/10.4028/www.scientific.net/aef.11.483.

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The research work concerns the development in the Italian literature of the French theme of Neuf Preux, and Particularly Took into account a crown of sonnets of nine famous men linked to an alleged cycle of paintings attributed to Giotto's in the palace of Castel Nuovo in Naples. The survey highlighted how in medieval Italian literature, beyond the more or less explicit recovery of the French literary tradition, occupies a prominent place the function that these poems take in the view of the literature of the time. The survey actually shows the two faces of the series of famous heroes, which o

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Ślarzyńska, Małgorzata. "Foscolo w „Kłosach” w 1872 roku: polski epizod pośmiertnej wędrówki." Przegląd Humanistyczny 61, no. 4 (459) (2018): 139–50. http://dx.doi.org/10.5604/01.3001.0012.0671.

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The aim of the article is to present the issue of reception of Ugo Foscolo’s works in Poland. A particular attention is paid to the multipart article in Kłosy from 1872 (No. 374–386) devoted to the Italian artist in connection with the transfer of the poet’s remains – many years after his death in England in 1827 – to the Basilica of Santa Croce in Florence in 1871. The paper discusses the strategies adopted in the description of elements of the poet’s biography, including a sentimental key related to the figure of Quirina Mocenni Magiotti, an economic key and a moralizing key. Emphasizing the

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Marangon, Giorgia. "La traduzione di poesia: una sfida in fieri. Studio di caso: In morte del fratello Giovanni, una proposta di traduzione in spagnolo." Romanica Cracoviensia 22, no. 1 (2022): 7–16. http://dx.doi.org/10.4467/20843917rc.22.001.15633.

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The Translation of Poetry: A Challenge in Progress. Case Study: In the Death of His Brother Giovanni (In morte del fratello Giovanni). A Proposal for Translation into Spanish Speaking and writing about translation appears to be a fashionable topic not only because of the heated debates it generates, but also because of its origins. However, talking about the translation of poetry becomes almost a quixotic task. What apparently appears to be a simple change of linguistic code entails, in reality, a transposition that brings together the Weltaschauung that underlies the text. We have chosen for

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Jack, Brandão. "The rupture of the mimetic epistemological model." Revista Letras Raras 10, no. 1 (2023): 184–203. https://doi.org/10.5281/zenodo.10261365.

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Mimesis as an epistemological model originated in ancient Greece when artists imitated their masters and followed preestablished models. Humanism, in turn, rescues this model and improves it: just as Vergil imitated Homer, Dante imitated Vergil; if Petrarch sought in the classics the source of inspiration for his poetry, Camões, in turn, makes the sonnets from the Italian as his model, to mention a few examples. However, such a procedure did not represent plagiarism, as it was a way to honor the masters. This model reached its peak in the 17th century, declining in the following centuries, esp

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LOCKEY, NICHOLAS. "ANTONIO VIVALDI AND THE SUBLIME SEASONS: SONORITY AND TEXTURE AS EXPRESSIVE DEVICES IN EARLY EIGHTEENTH-CENTURY ITALIAN MUSIC." Eighteenth Century Music 14, no. 2 (2017): 265–83. http://dx.doi.org/10.1017/s1478570617000070.

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ABSTRACTAntonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. Moving away from religious and mythological allegory, they exemplify a growing interest in descriptive representation of nature's power and in humanity's complex physical and emotional relationship with elements beyond its control. Positing new connections to Arcadian reform ideals of verisimilitude, this article addresses important questions concerning Vivaldi's pairing of sonnets with concertos and the aesthetic factors behind his

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Alduy, Cécile. "Lyric Economies: Manufacturing Values in French Petrarchan Collections (1549–60)*." Renaissance Quarterly 63, no. 3 (2010): 721–53. http://dx.doi.org/10.1086/656927.

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AbstractBetween 1549 and 1560, French Petrarchan sonnet sequences proliferated in the wake of Du Bellay'sDefense and Illustration of the French Tongueand Ronsard'sAmours. Yet this proliferation relied on a remarkable economy of means, in large part due to the constant recycling of metaphors, tropes, and forms. In fact, the genre can be read as a cost-efficient system that addressed the economic anxiety of a generation of poets caught between the aspiration to impose the autonomy of their art and their social dependence on a patron. It also preemptively solved the potential credit crisis that c

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Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.

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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic?

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Tyryshkina, Tyryshkina Elena. "“Rus', You are but a Kiss in the Cold!” (1921) by V. Khlebnikov: Text as a Combinatory Model / Dynamic Construction." Philology & Human, no. 1 (February 4, 2024): 128–36. http://dx.doi.org/10.14258/filichel(2024)1-09.

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The paper is devoted to analysis of the poem by Velimir Khlebnikov “Rus', you are but a kiss in the frost!” (1921) as part of a study of transformation of the sonnet genre in the poet’s verses. Velimir Khlebnikov elaborates his version of a lyrical story of ‘a kiss in the frost’, originating from the poem by Alexander Pushkin “Winter. What do we do in the village?…” (1829). The love scene is represented as a natural phenomenon, embedded not only in the winter landscape but also in the Universe. There are no persons in the Nature’s integrity, and the couple of lovers are designated only by demo

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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision." Ramus 40, no. 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.

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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a ques

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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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Lafrance, Maude B. "L’écoute en scène : les espaces sonnants dans Inferno de Romeo Castellucci." L’Annuaire théâtral, no. 56-57 (August 30, 2016): 107–14. http://dx.doi.org/10.7202/1037331ar.

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Le metteur en scène italien Romeo Castellucci fait un usage tout à fait singulier des matériaux scéniques, parmi lesquels l’environnement sonore occupe une fonction centrale et atypique. Le spectacle Inferno marque en ce sens une nouvelle appropriation par la scène des possibilités du sonore. S’affranchissant de sa fonction de bruitage et dépassant le registre musical, le son se mêle aux actions scéniques de manière dynamique. Cette création témoigne d’un processus de « dé-référentialisation » de la dimension sonore. Ne renvoyant plus qu’à elles-mêmes, les présences sonores peuvent entrer en d

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Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.

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The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means

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Eriksen, Roy. "Kroppslighet og jomfrukur i Hans E. Kincks tragedie Den sidste Gjest (1910)." Nordlit 15, no. 1 (2011): 55. http://dx.doi.org/10.7557/13.1805.

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In his play on Pietro Aretino (1492-1556), the Norwegian dramatist and novelist Hans E. Kinck (1865-1926) focuses on his character's relationship to the body and use of young women, in particular the young girl, Perina. A writer of great repute among his contemporaries Aretino is today known for his letters, plays, scandalous dialogues and pornographic sonnets in which grotesque images of the body are frequent. Kinck turns the Italian letterato both into a tragic victim of his own drives and a ruthless victimizer, although he in the process must avoid many aspects of Aretino's writing and char

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Storey, H. Wayne. "The Translation of two Stages in the Development of the Italian Sonnet in the XIIIth Century." Forum Italicum: A Journal of Italian Studies 21, no. 2 (1987): 147–64. http://dx.doi.org/10.1177/001458588702100201.

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Janjić, Danijela. "KNjIŽEVNOST I UMETNOST FIRENCE U STVARALAŠTVU MILOŠA CRNjANSKOG." Nasledje, Kragujevac XX, no. 54 (2023): 149–60. http://dx.doi.org/10.46793/naskg2354.149j.

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Miloš Crnjanski dedicated the chapter About Florentine Beatrice in his travelogue Love in Tuscany (Ljubav u Toskani) to Florence and Dante Alighieri’s Vita Nuova. The experience of Florence is progressively elaborated through interpretation and translation of prose and verses of the celebrated Italian writer and it is different from images of the other cities that Crnjanski created in his travelogue, because it is the only one completely deprived of physical descrip- tions or narration of the events from past or present. The surroundings of Florence appear in the poem Stražilovo, written befor

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Perugi, Maurizio. "O envio da canção camoniana ‘Tão suave, tão fresca e tão fermosa’." Revista do Centro de Estudos Portugueses 29, no. 42 (2009): 209. http://dx.doi.org/10.17851/2359-0076.29.42.209-277.

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<p>A canção camoniana <em>Tão suave, tão fresca, tão fermosa </em>coloca algumas questões importantes no plano filológico. O seu esquema métrico é, como já foi indicado por Emmanuel Peireira Filho, de origem provençal : trata-se, com efeito, de um poema em ‘coblas unissonans’ e ‘dissolutas’, ao qual no índice do Padre Pedro Ribeiro se atribui o curioso nome de <em>septina</em>, proveniente talvez da terminologia musical. A propósito desta canção, o comentário de Faria e Sousa apresenta um dos exemplos mais conhecidos de tradição indirecta, que concerne ao envio. A

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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.

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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his

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