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Journal articles on the topic 'Straparola'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Tratnik, Polona. "Pravljica: družbena resničnost in mirabilis – s posebnim ozirom na renesančne različice pravljice o Pepelki." Studia Historica Slovenica 20 (2020), no. 3 (December 20, 2020): 957–84. http://dx.doi.org/10.32874/shs.2020-27.

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The article focuses on the Renaissance literary tale, specifically from the work Facetious Nights by Gian Francesco Straparola. The collection features a variant of Cinderella's tale, which is a case particularly studied in the article. The author analyses the resemblance techniques used by Straparola to encapsulate the social reality of the time, and studies how the Renaissance episteme, grounded in the principles of resemblance, expresses in his work. The mirroring of nature, best illustrated through the metaphor of a mirror, accentuates the importance of the visual and comprises mirabilis, which is etymologically rooted in mirroring. The author explores the social function of tales in Venetian society and the ways, in which the marvellous was used to achieve this objective. The article shows interrelations between Straparola's works and Slovenian folktales, as well as with older variants of the studied cases.

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2

Mazzoni, Cristina. "Changing the Sex of Cats: Considerations on Tale Type ATU 545, “The Cat as Helper, or, Puss in Boots” between Italy and France." Quaderni d'italianistica 40, no. 2 (October 4, 2020): 7–24. http://dx.doi.org/10.33137/q.i..v40i2.34876.

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When Charles Perrault adapted his French “Puss in Boots” from earlier Italian versions by Giovan Francesco Straparola and Giambattista Basile, he made his feline protagonist a male. The cat, however, was grammatically gendered as feminine in the Italian versions, and several critics have speculated on the reasons for the French author’s change—regarded as purely ideological. This essay examines the cat’s gender in these three tales, and Perrault’s change, from a philological as well as a feminist perspective, with an emphasis on the gender of the dying parent at the beginning of the story: a father in Basile and Perrault, but a mother with a cat-like name in Straparola.

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3

Dan Ben-Amos. "Straparola: The Revolution That Was Not." Journal of American Folklore 123, no. 490 (2010): 426. http://dx.doi.org/10.5406/jamerfolk.123.490.0426.

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4

Dan Ben-Amos. "Straparola: The Revolution That Was Not." Journal of American Folklore 123, no. 490 (2010): 426–46. http://dx.doi.org/10.1353/jaf.2010.0000.

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5

Baras Escolá, Alfredo. "Cuento y refrán en la «Novela del capitán cautivo» de Cervantes: el Honesto y agradable entretenimiento de Francisco Truchado y los Refranes de Hernán Núñez." Anales Cervantinos 50 (December 10, 2018): 137. http://dx.doi.org/10.3989/anacervantinos.2018.005.

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Hasta la fecha han sido mencionados con frecuencia los orígenes folclóricos de la «Novela del capitán cautivo» interpolada en el Quijote de 1605, pero nunca se ha propuesto ningún modelo unitario y completo del cuento en el que Cervantes pudo haberse basado para ensamblar todos los componentes de esta historia con estructura tripartita. Sin embargo, cierto relato latino de Morlini, vertido al italiano por Straparola y, muy especialmente, la libre traducción de este al castellano por Francisco Truchado, nos ofrecen una secuela del cuento popular de «Los tres hermanos hábiles» coincidente en múltiples detalles precisos con el texto cervantino. Debe destacarse que en 1591 el autor visitó Baeza, patria y lugar de trabajo y de residencia de Truchado, donde había sido publicada la versión de Straparola bajo el título de Segunda parte del Honesto y agradable entretenimiento de damas y galanes (Juan Bautista de Montoya, 1581, 1582, 1583).

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6

Pirovano, Donato. "The Literary Fairy Tale of Giovan Francesco Straparola." Romanic Review 99, no. 3-4 (May 1, 2008): 281–96. http://dx.doi.org/10.1215/26885220-99.3-4.281.

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7

Magnanini, Suzanne, and Ruth B. Bottigheimer. "Fairy Godfather: Straparola, Venice and the Fairy Tale Tradition." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 627. http://dx.doi.org/10.2307/20477028.

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8

Adams, Gillian. "A Father of the Literary Fairy Tale: Giovanfrancesco Straparola." Children's Literature 32, no. 1 (2004): 209–15. http://dx.doi.org/10.1353/chl.2004.0002.

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9

Picquet, Théa. "La parade des animaux. Giovan Francesco Straparola, Le piacevoli notti." Italies, no. 12 (December 1, 2008): 45–58. http://dx.doi.org/10.4000/italies.1931.

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10

McGlathery, James M. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Lion and the Unicorn 28, no. 1 (2004): 157–59. http://dx.doi.org/10.1353/uni.2004.0007.

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11

Jan M. Ziolkowski. "Straparola and the Fairy Tale: Between Literary and Oral Traditions." Journal of American Folklore 123, no. 490 (2010): 377. http://dx.doi.org/10.5406/jamerfolk.123.490.0377.

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12

Jan M. Ziolkowski. "Straparola and the Fairy Tale: Between Literary and Oral Traditions." Journal of American Folklore 123, no. 490 (2010): 377–97. http://dx.doi.org/10.1353/jaf.2010.0002.

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13

Carminati, Clizia. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Marvels & Tales 18, no. 2 (2004): 317–20. http://dx.doi.org/10.1353/mat.2004.0026.

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14

Heidmann, Ute. "Expérimentation générique et dialogisme intertextuel : Perrault, La Fontaine, Apulée, Straparola, Basile." Féeries, no. 8 (October 15, 2011): 45–69. http://dx.doi.org/10.4000/feeries.777.

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15

Bottigheimer, Ruth B., and Ole Meyer. "Ruth B. Bottigheimer’s Straparola Thesis and Ole Meyer’s Peau d’Asne Fragment." Fabula 62, no. 1-2 (July 1, 2021): 185–202. http://dx.doi.org/10.1515/fabula-2021-0008.

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16

Coppola, Leonardo. "Libreros y editores foráneos a finales del siglo XVI: huellas francesas en la introducción de los novellieri en Castilla." Creneida. Anuario de Literaturas Hispánicas 6 (December 30, 2018): 341–65. http://dx.doi.org/10.21071/calh.v6i.11551.

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A finales del siglo XVI y principios del XVII, impresores y editores galos, que ya habían apostado en Francia por la traducción/comercialización de los novellieri, abren un nuevo camino literario en España, afirmándose como verdaderos “patrocinadores” del género importado de Italia. Este trabajo revela el importante papel que desempeñaron los libreros franceses no solo en la introducción de los novellieri, sino también en su provecho y éxito comercial en el panorama español, que también parece haber incorporado las estrategias comerciales del país vecino. Una atención particular se reserva a la traducción castellana de Le Piacevoli notti de Straparola.

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17

Otero, Ellan Bethia. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Children's Literature Association Quarterly 28, no. 3 (2003): 180–81. http://dx.doi.org/10.1353/chq.0.1366.

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18

Magnanini (book author), Suzanne, and Stephen Pender (review author). "Fairy-Tale Science: Monstrous Generation in the Tales of Straparola and Basile." Quaderni d'italianistica 30, no. 2 (June 1, 2009): 162–64. http://dx.doi.org/10.33137/q.i..v30i2.11912.

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19

Equestri, Alice. "The Italian Taylor and His Boy or what Robert Armin did to Straparola." Renaissance Studies 30, no. 2 (March 30, 2015): 254–72. http://dx.doi.org/10.1111/rest.12142.

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20

Duggan, Anne E. "The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm (review)." Marvels & Tales 16, no. 2 (2002): 295–98. http://dx.doi.org/10.1353/mat.2002.0016.

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21

LAOUTARIS, CHRIS. "Fairy-Tale Science: Monstrous Generation in the Tales of Straparola and Basile - By Suzanne Magnanini." Renaissance Studies 25, no. 4 (August 9, 2011): 590–92. http://dx.doi.org/10.1111/j.1477-4658.2011.00736.x.

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22

Ribeiro Filho, Paulo César. "Sobre a Natureza dos Contos de Fadas." Literartes 1, no. 12 (December 8, 2020): 44–70. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2020.176347.

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A 12ª edição da Revista Literartes, segundo número dedicado a reflexões artísticas, teóricas e críticas acerca do maravilhoso feérico em seus múltiplos suportes e mídias, tem o prazer de entrevistar uma das maiores referências mundiais em termos de pesquisa sobre o conto de fadas: Ruth Bottigheimer, docente junto ao Departamento de Análises Culturais e Teoria da Universidade Pública de Nova York em Stony Brook. Ruth dedicou grande parte de sua formação acadêmica a áreas como Língua e Literatura Germânica, História Medieval, História da Ilustração e História da Bíblia. Formou-se na Universidade de Berkeley, Califórnia, na Universidade de Munique e no Colégio Universitário de Londres. Ao longo de mais de cinquenta anos de magistério, ministrou aulas nas Universidades de Viena, Princeton e Califórnia. É membro da Sociedade Internacional de Pesquisa em Narrativas Folclóricas e da Associação de Literatura Infantil, entre outras. Entre suas principais obras, destacam-se: Grimm’s Bad Girls and Bold Boys: The Moral and Social Vision of the Tales (“As Meninas Más e os Garotos Durões de Grimm: A Visão Moral e Social dos Contos”, Yale University Press, 1987), Fairy Tales and Society: Illusion, Allusion and Paradigm (“Contos de Fadas e Sociedade: Ilusão, Alusão e Paradigma”, University of Pennsylvania Press, 1987), Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (“O Padrinho das Fadas: Straparola, Veneza e a Tradição dos Contos de Fadas”, University of Pennsylvania Press, 2002), Fairy Tales: A New History (“Contos de Fadas: Uma Nova História”, State University of New York Press, 2009), Fairy Tales Framed: Early Forewords, Afterwords, and Critical Words (“Contos de Fadas em Moldura: Prefácios, Posfácios e Notas Críticas”, State University of New York Press, 2012) e Magic Tales and Fairy Tale Magic from Ancient Egypt to the Italian Renaissance (“Contos de Magia e a Magia dos Contos de Fadas do Antigo Egito à Renascença Italiana”, Palgrave Macmillan, 2014). Nesta entrevista, exploramos temas como a história do conto de fadas, as fontes modelares do gênero e os contos de fadas de autoria feminina, convidando nossos leitores a refletirem sobre as mais recentes descobertas feitas nesse campo de estudos.

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23

Coppola, Leonardo. "La proyección de Straparola en la novela española del Siglo de Oro desde una perspectiva editorial." Edad de Oro 33, no. 2014 (2014): 69–85. http://dx.doi.org/10.15366/edadoro2014.33.005.

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24

De la Fuente Marina, Beatriz. "La traducción homofónica del y al latín en contextos cómicos: algunas calas de Plauto a Cervantes." Revista de Filología Románica 37 (October 5, 2020): 55–68. http://dx.doi.org/10.5209/rfrm.71876.

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La traducción homofónica ha desempeñado un papel significativo desde los orígenes de la literatura occidental, especialmente como recurso humorístico en textos cómicos y paródicos. Consiste en explotar la semejanza fónica de determinados vocablos o segmentos (homofonía o parofonía) entre dos lenguas distintas, los cuales aluden sin embargo a conceptos divergentes e incluso contrapuestos. Se produce así una tensión dinámica entre el significante y el significado, dando como resultado textos polifónicos y polisémicos con múltiples resonancias, que raramente admiten una sola lectura y, aún menos, una sola traducción. Proponemos un recorrido a través de una serie de escenas de traducción homofónica en las que interviene la lengua latina, ya sea como lengua de salida o como lengua meta. Partimos del comediógrafo latino Plauto (254-184 a.C.) y terminamos con El Quijote de Cervantes (1605-1615), pasando por Bartolomé de Torres Naharro (ca. 1485-1530 d.C.) y Giovan Francesco Straparola (ca. 1480-1557), con menciones a algunos de sus traductores.

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25

Mainil, Jean. "The Classic Fairy Tales/The Great Fairy Tale Tradition, from Straparola and Basile to the Brothers Grimm." Féeries, no. 1 (February 1, 2004): 209–12. http://dx.doi.org/10.4000/feeries.91.

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26

Grzelka, Michalina. "Representation of Disability in Fairy Tales from the Perspective of the Social Model of Disability. A Case Study of Fairy Tales by Jacob and Wilhelm Grimm, Hans Christian Andersen, Oscar Wilde, Charles Perrault, Giovanni Francesco Straparola, and Jeanne-Marie Leprince de Beaumont." International Journal of Pedagogy, Innovation and New Technologies 6, no. 1 (June 24, 2019): 107–14. http://dx.doi.org/10.5604/01.3001.0013.2881.

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Beginning from the position of disability understood as a social and cultural construct, this paper aims to analyze and compare representations of disability in fairy tales by such authors as the Grimm brothers, Hans Christian Andersen, Oscar Wilde, Charles Perrault, Giovanni Francesco Straparola, and Jeanne-Marie Leprince de Beaumont. Despite the prevalence of disabled characters in many fairy tales, there exists just a handful of articles on disability in fairy tales within the field of disability studies (Schmiesing 2014). Therefore, this study attempts to fill in a knowledge gap in the area of disability studies by looking at disability and characters with disabilities in fairy tales from the perspective of the social model of disability. In this paper I seek to explore variations in the way different authors describe disability/sickness/deformity and to discuss such subjects related to the area of disability studies as overcoming disability and the question of cure (understood, in the context of fairy tales, as a supernatural restoration to the able-bodied state). In addition, I attempt to see if there exist any differences in how sick/disabled/deformed fairy tales characters are portrayed depending on their gender.

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27

Truchado, Francisco. "Le piacevoli Notti(1550/53) von Giovan Francesco Straparola, ihre italienischen Editionen und die spanische ÜbersetzungHonesto y agradable Entretenimiento de Damas y Galanes(1569/81)." Fabula 34, no. 1-2 (January 1993): 45–65. http://dx.doi.org/10.1515/fabl.1993.34.1-2.45.

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28

Long, Kathleen. "Suzanne Magnanini. Fairy-Tale Science: Monstrous Generation in the Tales of Straparola and Basile. Toronto: University of Toronto Press, 2008. x + 222 pp. index. illus. bibl. $45. ISBN: 978–0–8020–9754–5." Renaissance Quarterly 62, no. 1 (2009): 209–10. http://dx.doi.org/10.1086/598399.

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29

Bottigheimer, Ruth B. "Giovan Francesco Straparola. The Pleasant Nights: Volume 1. Ed. Donald Beecher. Trans. W. G. Waters. The Lorenzo da Ponte Library Series. Toronto: University of Toronto Press, 2012. viii + 764 pp. $110. ISBN: 978-1-4426-4426-7. - Giovan Francesco Straparola. The Pleasant Nights: Volume 2. Ed. Donald Beecher. Trans. W. G. Waters. The Lorenzo da Ponte Library Series. Toronto: University of Toronto Press, 2012. vii + 672 pp. $95. ISBN: 978-1-4426-4427-4." Renaissance Quarterly 67, no. 1 (2014): 330–31. http://dx.doi.org/10.1086/676249.

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30

Carney, Jo Eldridge. "The Pleasant Nights. Giovan Francesco Straparola. Ed. and trans. Suzanne Magnanini. The Other Voice in Early Modern Europe: The Toronto Series 40; Medieval and Renaissance Texts and Studies 481. Toronto: Iter Press; Tempe: Arizona Center for Medieval and Renaissance Studies, 2015. xxiii + 502 pp. $49.95." Renaissance Quarterly 71, no. 1 (2018): 385–86. http://dx.doi.org/10.1086/697862.

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31

Elias, Cathy Ann. "Musical performance in 16th-century Italian literature: Straparola's Le piacevoli notti." Early Music XVII, no. 2 (May 1989): 161–74. http://dx.doi.org/10.1093/earlyj/xvii.2.161.

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32

Bottigheimer, Ruth B. "France's First Fairy Tales: The Restoration and Rise Narratives of Les facetieuses nuictz du Seigneur Francois Straparole." Marvels & Tales 19, no. 1 (2005): 17–31. http://dx.doi.org/10.1353/mat.2005.0001.

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33

González Ramírez, David. "Francisco Truchado reinvents Straparola's Le piacevoli notti: new editorial proposals of an old translation." Studia Aurea 14 (December 7, 2020): 617. http://dx.doi.org/10.5565/rev/studiaaurea.412.

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34

Meyer, Ole. "The First Oral Folk Tale Ever?" Fabula 61, no. 3-4 (November 25, 2020): 316–34. http://dx.doi.org/10.1515/fabula-2020-0017.

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AbstractMs. Uppsala E.8 contains an incomplete version of the wonder tale ATU 510B, Donkey-Skin, taken down from oral performance in 1612. Though briefly mentioned in reference works it is largely ignored and has not been translated before. Other than being the first known version of the tale and of the motif Three Magical Dresses known from the Cinderella cycle it is probably the first record anywhere of a folktale taken down from an oral source, as demonstrated by its form. It also appears to be the only folktale manifestation of the motif Three Animal Opponents, known prominently from Dante’s Commedia. Complete versions of the tale come from Scandinavian nineteenth-century folk tradition in Sweden, Denmark and Norway. Some of these have the incest motif (The Unnatural Father) common to ATU 510 B, while others, including the 1612 fragment, do not: these tell of a farmer or similar who wants to give his daughter to a man she does not want, not of a widowed king pretending a marriage with his own child. In both cases the heroine escapes from home, assisted by a magical Animal Helper. An early fourteenth-century version as a non-magical novella is found in the Florentine collection Il Pecorone; there is also a loose connection to Straparola’s novella Tebaldo – the latter with, the former without the incest motif. Furthermore, the existence of the tale is one of several obstacles to Ruth B. Bottigheimer’s controversial theory that wonder tales were a sixteenth-century urban creation in print rather than a European oral tradition.

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35

"Fairy godfather: Straparola, Venice, and the fairy tale tradition." Choice Reviews Online 40, no. 08 (April 1, 2003): 40–4490. http://dx.doi.org/10.5860/choice.40-4490.

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36

Eichel-Lojkine, Patricia. "Confondre les sages : échos évangéliques dans un conte facétieux de Straparola." Féeries, no. 16 (November 18, 2020). http://dx.doi.org/10.4000/feeries.2586.

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37

Federici, Marco. "La huella de Boccaccio en el Renacimiento español y la recepción de "Le piacevoli notti" de Straparola." Dicenda. Cuadernos de Filología Hispánica 32 (November 27, 2014). http://dx.doi.org/10.5209/rev_dice.2014.v32.47141.

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38

Messerli, Luisa Rubini. "Der Autor als Gespenst:Anverwandlung von Straparolas Märchen in der deutschen Literatur des Barock." Fabula 57, no. 3-4 (January 25, 2016). http://dx.doi.org/10.1515/fabula-2016-0039.

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