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1
Silva, Felipe Augusto Vieira da. "El Decameron Negro de Leo Brouwer". reponame:Repositório Institucional da UFPR, 2011. http://hdl.handle.net/1884/25972.
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2
Genswein, Eberle Claudia. "La funzione narrativa del cibo nel "Decameron" /". Zürich : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000278465.
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3
Harrison, H. "Gender, language and authorship in Boccaccio's Decameron". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603776.
Texto completo da fonteResumo:
Women and their position in society are placed at the forefront of Giovanni Boccaccio’s Decameron, from the dedication of the work to women in love. While some scholars have focused on the narrators of the brigata, and others have studied individual novelle, the aim of this thesis is to present a global view of the issues and concerns debated by the author regarding female use of language. The thesis consists of five chapters; ‘Gender, Language and Authorship’ positions my work in relation to the wider field of Boccaccio studies. It addresses the difficult issue of the narrative’s first speaker being a woman who speaks in church. ‘Language and Ethics’ examines transgressive feminine speech in the Decameron, particularly when this encroaches on areas of exclusively male learning. ‘When Women’s Words Fail’ revolves around the varying amounts of praise or censure afforded to the Decameron’s women speakers, and the factors which determine the success of an individual’s discourse. ‘Silence and Virtue in the Decameron’ examines the role of silence, investigating the extent to which silence is presented as a rhetorical strategy in itself, and its effectiveness as such. ‘Gendered Narration in the brigata’ addresses the relationship which the members of the brigata have to language, particularly the way in which the presentation of speakers in tales is dependent on both the gender of the brigata narrator, and on the gender of the character they describe. The conclusion asserts that the author appears to have a highly ambivalent view of rhetoric, resulting from a concern not with gender, but from an awareness of the power inherent in words. With this caveat, the presentation of female speakers in the Decameron does appear to advocate reduced restrictions on women’s speech.
4
Rampin, Francesca <1997>. "Un volgarizzamento francese del Decameron: Laurent de Premierfait". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21560.
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La tesi si prefigge di analizzare le tecniche di traduzione della traduzione francese del Decameron di Laurent de Premierfait (1411-1414) con particolare attenzione alla Giornata X e alle problematiche legate alla ricezione della novella di Griselda.
5
Rees, Marcus. "Neo-romantic elements in Leo Brouwer's Le Decameron noir /". [St. Lucia, Qld.], 1999. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20228.pdf.
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6
Hoseini, Kassad Mohammed Hossein <1980>. "Il Decameron e la letteratura d'Oriente: confronti e scambi". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6955/1/Kassad_Hoseini.pdf.
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Il lavoro si divide in quattro capitoli in cui il candidato cerca di stabilire i rapporti intertestuali tra il Sindbad, un libro di matrice orientale, e la Disciplina Clericalis da una parte e il Decameron dall’altra.
1- Nel primo capitolo il candidato ha trattato l’origine e la diffusione del Il libro di Sindbad e della Disciplina Clericalis. Il libro di Sindbad è di indubbia origine orientale. Si diffonde in oriente e poi in Occidente. Giunge in Italia nel Dodicesimo secolo.
L’altra opera è la Disciplina Clericalis, di Pietro Alfonsi, un-opera di origine orientale.
2- Nel secondo capitolo il candidato ha svolto una attenta ricerca sulla visione boccacciano verso il mondo orientale, arabo-islamico in particolare.
3- Nel terzo capitolo il candidato mette a confronto la struttura narrativa del Sindbad con quella del Decameron, rilevando gli elementi principali che accomunano le due strutture delle due opere sono.
Nella parte finale del capitolo il candidato mette in discussione il termine con cui viene definita la struttura narrativa, cioè la cosiddetta cornice, dando una nuova terminologia alla struttura.
4- Nel quarto e ultimo capitolo il candidato cerca di rintracciare le fonti di alcune novelle decameroniane. Le fonti si dividono in due parti: scritte e orali. Nella prima parte mette a confronto alcune novelle del Decameron con racconti della Disciplina Clericalis e del Sette Savi.
La seconda parte invece studia le fonti orali di altre novelle decameroniane le cui radici affondano nella tradizione orientale, arabo-islamica soprattutto. La prima novella è la (I, 5) della marchesana Monferrato. La (V, 9), la (VIII, 2), e l’ultima novella in questa parte è la (X, 3).The work is divided into four chapters in which the candidate seeks to establish the intertextual relationships between Sindbad , a book of an eastern origin, and the Disciplina Clericalis on one side, and the Decameron on the other. 1- In the first chapter the candidate has dealt with the origin and dissemination of the book of Sindbad and Disciplina Clericalis. The book of Sindbad is of undoubted oriental origin. Its spreads in the Orient and then in the West . Arrives in Italy in the twelfth century . The other book is Peter Alfonsi's Disciplina Clericalis, an oriental origin book. This book had had a fundamental importance in the transmission of oriental narrative into the West. 2- In the second chapter, the candidate has done an accurate research about Boccaccio's vision on the Orient, the Arab-Islamic world in particular. 3- In the third chapter, the candidate compares the narrative structure of Sindbad with that of the Decameron. In the final part of the chapter, the candidate questions the terminology which is defined as the narrative structure, that is, the so-called frame. He gave a new terminology to the structure. 4- In the fourth chapter, the candidate tries to track down the sources of some decameronian short stories. The sources are divided into two parts: written and oral. In the first part, the candidate compares some stories of the Decameron with tales from Disciplina Clericalis and The Seven Sages of Rome. The second part studies the oral sources of other decameronian stories with its roots in the Eastern tradition, especially the Arab-Islamic. The first story are: (I, 5), (V, 9), (VIII, 2), and (X, 3).
7
Hoseini, Kassad Mohammed Hossein <1980>. "Il Decameron e la letteratura d'Oriente: confronti e scambi". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6955/.
Texto completo da fonteResumo:
Il lavoro si divide in quattro capitoli in cui il candidato cerca di stabilire i rapporti intertestuali tra il Sindbad, un libro di matrice orientale, e la Disciplina Clericalis da una parte e il Decameron dall’altra.
1- Nel primo capitolo il candidato ha trattato l’origine e la diffusione del Il libro di Sindbad e della Disciplina Clericalis. Il libro di Sindbad è di indubbia origine orientale. Si diffonde in oriente e poi in Occidente. Giunge in Italia nel Dodicesimo secolo.
L’altra opera è la Disciplina Clericalis, di Pietro Alfonsi, un-opera di origine orientale.
2- Nel secondo capitolo il candidato ha svolto una attenta ricerca sulla visione boccacciano verso il mondo orientale, arabo-islamico in particolare.
3- Nel terzo capitolo il candidato mette a confronto la struttura narrativa del Sindbad con quella del Decameron, rilevando gli elementi principali che accomunano le due strutture delle due opere sono.
Nella parte finale del capitolo il candidato mette in discussione il termine con cui viene definita la struttura narrativa, cioè la cosiddetta cornice, dando una nuova terminologia alla struttura.
4- Nel quarto e ultimo capitolo il candidato cerca di rintracciare le fonti di alcune novelle decameroniane. Le fonti si dividono in due parti: scritte e orali. Nella prima parte mette a confronto alcune novelle del Decameron con racconti della Disciplina Clericalis e del Sette Savi.
La seconda parte invece studia le fonti orali di altre novelle decameroniane le cui radici affondano nella tradizione orientale, arabo-islamica soprattutto. La prima novella è la (I, 5) della marchesana Monferrato. La (V, 9), la (VIII, 2), e l’ultima novella in questa parte è la (X, 3).The work is divided into four chapters in which the candidate seeks to establish the intertextual relationships between Sindbad , a book of an eastern origin, and the Disciplina Clericalis on one side, and the Decameron on the other. 1- In the first chapter the candidate has dealt with the origin and dissemination of the book of Sindbad and Disciplina Clericalis. The book of Sindbad is of undoubted oriental origin. Its spreads in the Orient and then in the West . Arrives in Italy in the twelfth century . The other book is Peter Alfonsi's Disciplina Clericalis, an oriental origin book. This book had had a fundamental importance in the transmission of oriental narrative into the West. 2- In the second chapter, the candidate has done an accurate research about Boccaccio's vision on the Orient, the Arab-Islamic world in particular. 3- In the third chapter, the candidate compares the narrative structure of Sindbad with that of the Decameron. In the final part of the chapter, the candidate questions the terminology which is defined as the narrative structure, that is, the so-called frame. He gave a new terminology to the structure. 4- In the fourth chapter, the candidate tries to track down the sources of some decameronian short stories. The sources are divided into two parts: written and oral. In the first part, the candidate compares some stories of the Decameron with tales from Disciplina Clericalis and The Seven Sages of Rome. The second part studies the oral sources of other decameronian stories with its roots in the Eastern tradition, especially the Arab-Islamic. The first story are: (I, 5), (V, 9), (VIII, 2), and (X, 3).
8
Renesto, Barbara <1971>. "Decameron: traduzione catalana del 1429: edizione critica e commento". Doctoral thesis, Università Ca' Foscari Venezia, 2004. http://hdl.handle.net/10579/89.
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II mio lavoro consiste nell'edizione critica della traduzione catalana anonima del Decameron del
1429 (la seconda versione in ambito europeo del capolavoro boccacciano) e in uno studio introduttivo
dell'unico manoscritto che la conserva (manoscritto 1716 della Biblioteca de Catalunya di Barcellona).
Nella parte introduttiva, dopo un excursus sulla fortuna di Boccaccio in Catalogna, ho descritto il
manoscritto, ho messo in evidenza le caratteristiche grafiche dei due copisti e gli errori di copia.
Seguono alcune annotazioni sulla storia del codice, di particolare rilevanza dal momento che la
traduzione e anonima.
II confronto tra la traduzione e il testo originale e volto a mettere in evidenza i procedimenti
utilizzati dal traduttore per portare a compimento la propria opera.
Ho, inoltre, confrontato la traduzione con una serie di loci critici tratti dalle collazioni pubblicate negli ultimi anni da Branca, nel tentativo di stabilire se il manoscritto italiano utilizzato dall'anonimo traduttore conservasse la redazione giovanile (attesta dal cod. it. 482 della Bibliotheque Nationale de France e affini o quella degli anni 70 (conservata dall'autografo hamiltoniano e affini).
Sono state presentate le precedenti edizioni dell'opera e le norme editonali utilizzate per la presente edizione, che si conformano ai criteri conservativi della grafia del manoscritto applicati dagli editori di testi catalani medievali per la collana "Els nostres classics" deU'editrice Barcino.
L'apparato riporta la trascrizione diplomatica in tutti quei casi in cui ho ritenuto opportuno eliminare o modificare- la lezione originaria (le mie integrazioni sono invece a testo, tra parentesi quadre); sempre in apparato ho indicato le integrazioni e le espunzioni operate dai copisti e le annotazioni marginali (presenti solamente nella parte iniziale del codice).
Le note al testo sono volte soprattutto a mettere in rilievo particolari questioni linguistiche e i luoghi in cui la traduzione approda ad esiti diversi rispetto al testo italiano.
The purpose of this work is the critical edition of the 1429 Catalan anonymous translation of
the Decameron (the second European version of Boccaccio's masterpiece) accompanied by an
introductory study of the only manuscript that contains it (manuscript 1716 Biblioteca de Catalunya,
Barcelona).
The first part of my work presents an excursus on Boccaccio's critical fortune in Catalonia,
and a description of the manuscript, in which I emphasize the graphical traits of the two copyists
and copying errors. It also considers the history of the codex, which is particularly relevant since the translation is anonymous.
By comparing the translation and the original edition, I aim to reveal the processes adopted
by the translator to accomplish the project.
I also relate the translation to a series of critical loci expounded by Vittore Branca's recent
collations: my goal is to establish whether the anonymous translator employed the Italian manuscript
of the earliest edition of the Decameron (as presented in cod. it. 482 of Bibliotheque National de
France and alia) or the edition of 1370s (autograph manuscript Hamilton 90 and alia).
Preceding editions of the translation are offered, whereas the editorial norms for the present
edition conform to the conservative graphic criteria applied by the editors of Medieval Catalan texts
in the series Els nostres classics, Barcino Publisher.
The apparatus relates the diplomatic transcription in all passages where I consider proper to
eliminate or modify the original lectio (my integrations are in the text, in square brackets); the
apparatus also includes the additions and expunctions made by copyists, and marginal commentaries
(which are present exclusively in the initial part of the codex).
Finally, footnotes are intended to draw attention to particular linguistic problems, and to
emphasize passages where the translation differs from the Italian text.
9
MAINO, PAOLO MARIA GILBERTO. "LA LINGUA DELLA RASSETTATURA DEL DECAMERON DI LIONARDO SALVIATI". Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1802.
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La rassettatura del Decameron compiuta da Salviati nel 1582 è stata oggetto di dure critiche fin dal Settecento (tra i primi critici ad inizio Ottocento è da ricordare Ugo Foscolo): il grammatico fiorentino è sostanzialmente considerato un ‘pubblico assassino di Boccaccio’ che ha trasformato il capolavoro narrativo della letteratura delle origini in un moralistico elenco di vizi da punire e di virtù da ammirare.
Senza ovviamente negare la pesantezza dell’intervento censorio di Salviati (soprattutto per gli occhi di noi moderni), tuttavia l’analisi linguistica e filologica che si presenta in questa tesi di ricerca mostra come il vero intento di Salviati sia quello di salvare più testo possibile del Decameron e anzi di ripristinarne la corretta lezione dopo l’azione grossolana di tanti editori (soprattutto veneziani) della prima metà del 500. Oltre a questo recupero della lingua perfetta del XIV secolo, Salviati, sulla linea delle lezioni di Varchi e Borghini, ha anche inteso riporre al centro dell’italiano la supremazia della favella fiorentina anche nella sua versione moderna da lui spesso considerata come il cosciente completamento di quella del Trecento.Salviati’s rassettatura of the Decameron has been often considered by many critics only a censorship which thoroughly ‘kills’ Boccaccio and his masterpiece. What is nevertheless evident in this research is that Salviati wants, even if he was bound to a brutal censorship, to restore the true version of the Decameron both from the philological point of view and from the linguistic one. In particular Salviati wants to regain the supremacy on Italian language for Florence after Bembo and his Prose della volgar lingua (1525). The research is the result of a systematic and complete collation between Salviati’s Decameron and the sources which Salviati used: Borghini’s rassettatura, Mannelli codex, the first printed edition (the so called Deo Gratias), and the florentine edition of the 1527. From this collation and from the phonetic, morphologal and syntactical analysis of all the variants and in particular of Salviati’s choices it comes out Salviati’s true will which is twofold: first of all he wants to restore the language of the 14th century (the Mannelli codex), a perfect and sweet language, then he also wants to underline the supremacy of modern Florentines, true and only heirs of Dante, Petrarch and Boccaccio’s language and culture.
10
MAINO, PAOLO MARIA GILBERTO. "LA LINGUA DELLA RASSETTATURA DEL DECAMERON DI LIONARDO SALVIATI". Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1802.
Texto completo da fonteResumo:
La rassettatura del Decameron compiuta da Salviati nel 1582 è stata oggetto di dure critiche fin dal Settecento (tra i primi critici ad inizio Ottocento è da ricordare Ugo Foscolo): il grammatico fiorentino è sostanzialmente considerato un ‘pubblico assassino di Boccaccio’ che ha trasformato il capolavoro narrativo della letteratura delle origini in un moralistico elenco di vizi da punire e di virtù da ammirare.
Senza ovviamente negare la pesantezza dell’intervento censorio di Salviati (soprattutto per gli occhi di noi moderni), tuttavia l’analisi linguistica e filologica che si presenta in questa tesi di ricerca mostra come il vero intento di Salviati sia quello di salvare più testo possibile del Decameron e anzi di ripristinarne la corretta lezione dopo l’azione grossolana di tanti editori (soprattutto veneziani) della prima metà del 500. Oltre a questo recupero della lingua perfetta del XIV secolo, Salviati, sulla linea delle lezioni di Varchi e Borghini, ha anche inteso riporre al centro dell’italiano la supremazia della favella fiorentina anche nella sua versione moderna da lui spesso considerata come il cosciente completamento di quella del Trecento.Salviati’s rassettatura of the Decameron has been often considered by many critics only a censorship which thoroughly ‘kills’ Boccaccio and his masterpiece. What is nevertheless evident in this research is that Salviati wants, even if he was bound to a brutal censorship, to restore the true version of the Decameron both from the philological point of view and from the linguistic one. In particular Salviati wants to regain the supremacy on Italian language for Florence after Bembo and his Prose della volgar lingua (1525). The research is the result of a systematic and complete collation between Salviati’s Decameron and the sources which Salviati used: Borghini’s rassettatura, Mannelli codex, the first printed edition (the so called Deo Gratias), and the florentine edition of the 1527. From this collation and from the phonetic, morphologal and syntactical analysis of all the variants and in particular of Salviati’s choices it comes out Salviati’s true will which is twofold: first of all he wants to restore the language of the 14th century (the Mannelli codex), a perfect and sweet language, then he also wants to underline the supremacy of modern Florentines, true and only heirs of Dante, Petrarch and Boccaccio’s language and culture.
11
Baxter, Catherine Elizabeth. "Language and sex in Boccaccio's Decameron : 'Galeotto fu la metafora'". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609251.
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12
Jakobs, Béatrice [Verfasser]. "Rhetorik des Lachens und Diätetik in Boccaccios »Decameron«. / Béatrice Jakobs". Berlin : Duncker & Humblot, 2016. http://d-nb.info/1238353703/34.
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Andrade, Ana Carolina Negrão Berlini de [UNESP]. "Trans-formações (a) temporais em Il Decameron: de Pasolini a Boccacio". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99091.
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O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio
The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction
14
Basile, Thiago Villela 1986. "Alusão ao epicurismo na moldura narrativa de o Decameron, de Boccaccio". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269925.
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Orientador: Carlos Eduardo Ornelas BerrielDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Pretendemos, neste trabalho, verificar, no plano ético, a alusão presente em o Decameron, de Giovanni Boccaccio, ao epicurismo. Para isso, apresentamos a filosofia epicurista, especialmente o conceito de prazer e de clinâmen, para estabelecermos as bases necessárias de comparação. Observamos também a história da fortuna crítica de o Decameron, para entendermos o porquê de só recentemente haver um estudo aprofundado da moral do livro, feito por Marco Veglia, em seu La vita lieta. Em seguida, fazemos uma leitura da moldura narrativa do Decameron para demonstrarmos a alusão ao epicurismo, e, por fim, tentamos compreender que efeito isso traria para a releitura dessa obra de Boccaccio
Abstract: The purpose of this work is to present the Decameron through a philosophical perspective, by comparing the Epicurean philosophy and the narrative frame of the text. To achieve this, we present the Epicurean philosophy, especially the concept of pleasure and clinamen, to establish the necessary bases of comparison. We also take into consideration the history of literary criticism of the Decameron, to understand the reason why only recently there is an in-depth study of the book¿s moral, made by Marco Veglia, in his "La vita lieta". Then, we intend to do a reading of the Decameron narrative frame to demonstrate the allusion to Epicureanism, and finally, we try to understand what effect this would bring to the reading of this work of Boccaccio
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
15
Bonetto, Mirian Salvestrin [UNESP]. "O amor sensual e o celibato clerical no Decameron, de Boccaccio". Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/149729.
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Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem obrigatoriamente a sexualidade, mas eles não desejam renunciar efetivamente a esse aspecto que é inerente à vida humana.
One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio’s treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle’s rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life.
CAPES: 3300415-3
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Andrade, Ana Carolina Negrão Berlini de. "Trans-formações (a) temporais em Il Decameron : de Pasolini a Boccacio /". São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/99091.
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Orientador: Maria Celeste Tommasello RamosBanca: Álvaro Luiz Hattnher
Banca: Maria de Lourdes Baldam
Resumo: O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio
Abstract: The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini's own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron's two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini's work is built hereby cinematographic solutions which allude to Boccaccio's discourse construction
Mestre
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Bonetto, Mirian Salvestrin. "O amor sensual e o celibato clerical no Decameron, de Boccaccio /". São José do Rio Preto, 2017. http://hdl.handle.net/11449/149729.
Texto completo da fonteResumo:
Orientador: Maria Celeste Tommasello RamosBanca: Cláudia Maria Ceneviva Nigro
Banca: Leandro Passos
Resumo: Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem...
Abstract: One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio's treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle's rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life
Mestre
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Essary, Brandon K. Cervigni Dino S. "Religious parody and the economy of significance in Decameron day five". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2395.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages Italian." Discipline: Romance Languages; Department/School: Romance Languages.
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PASCALE, MIRIAM. "Parole e figure della passione. Fonti, temi e lessico dell'affettività nel Decameron". Doctoral thesis, Università degli studi della Basilicata, 2022. http://hdl.handle.net/11563/158046.
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My research focuses on the literary representation of passions in the Decameron, with particular reference to compassion and envy. Boccaccio’s depiction of these emotional states has been investigated not only in its rhetorical-formal aspects, but also in terms of the philosophical and literary sources to which the author may have drawn. This pair of passions was selected on the basis of two criteria. In the first place, I have tried to give priority to those emotive impulses that are narrative relevant, that is, they play a leading role in the diegetic construction of the plot. Among these, those passions with a certain consistency in the metatextual dimension of the novel book have been selected, as keys to interpretation of the text theoretically involved in the author’s interventions. The emotional states subject to this study, in fact, are not only widely represented within the novellas, but also play a central role in metatextual areas of the Decameron, such as the Proemio and the Introduction to the Fourth Day. In this perspective, considerations of compassion and envy can be taken as a vehicle for Boccaccio’s reflection on his work and his own literary work.
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Muto, Lisa M. "The parabola of pleasure : a study of the cornice of the Decameron". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74631.
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In this dissertation I examine the narrative parts of the so-called cornice of the Decameron. The core of my interpretation is to be found in Chapter I where I show that the frame story--the novella portante, as it has been called--with its "parabolic" rather than "rectilinear" progression is intended to illustrate the brigade's pursuit of pleasure, without any ulterior motive such as, for instance, the restructuring of the decaying Florentine society. A careful study of the members of the brigade (Chapter II) and of their songs (Chapter III) obviously forms an integral part of any analysis of the frame story. The Appendix deals with the illustrations of the cornice: the rich iconographic tradition of the Decameron, at least before this century, appears to have accorded more significance to the frame story than has literary criticism.
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Thompson, Nigel Stuart. "Love's debate : a comparative study of the Decameron and the Canterbury Tales". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315944.
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Almeida, Natali Gaudio de. "O pequeno Decameron de Luigi Capuana: proposta de tradução comentada e anotada". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-29062016-135754/.
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A presente dissertação tem como objetivo apresentar uma tradução comentada e anotada, para a língua portuguesa, de Il Decameroncino [O pequeno Decameron], do escritor italiano Luigi Capuana (1839-1915), obra publicada em 1901 na Itália. Juntamente a esta tradução comentada, apresentamos um estudo sobre o papel desempenhado por Capuana tanto na literatura, quanto na cultura italiana, tendo se destacado como uma das personalidades que mais contribuíram para a modernização e a atualização da literatura de seu país, através da participação ativa nos debates que se fizeram após o advento da Unificação Italiana.This paper aims at presenting a commented and annotated translation to Portuguese of Il Decameroncino, by the Italian writer Luigi Capuana (1839-1915), published in 1901 in Italy. Along with this commented translation, I have presented a study on the role played by Capuana in both Italian literature and culture, as he emerged as one of the most important personalities in modernization and updating process of Italian literature, through taking an active part in the debates which happened after the Unification of Italian States.
23
Bolsinger, Claudia. "Das Decameron in Deutschland : Wege der Literaturrezeption im 15. und 16. Jahrhundert /". Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb388142415.
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CAMASSA, LELIO. "Dio, l'oscurità e il talento. Le novelle di 'cose catoliche' del Decameron". Doctoral thesis, Università degli studi della Basilicata, 2021. http://hdl.handle.net/11563/149767.
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La tesi analizza le novelle di 'cose catoliche' del Decameron (I 1, I 2, I 3, II 1, II 2, III 1), in cui Boccaccio dipana una riflessione coerente e sistematica di carattere teologico nella veste di sei storie comiche. Il costante dialogo con la Bibbia, i Padri della Chiesa e le auctoritates boccacciane, volgari e latine, si intreccia con le principali questioni al centro del dibattito teologico dell'epoca, come l'intervento di Dio ad extra. Il lavoro, oltre a indagare questi aspetti, fornisce anche un contributo filologico relativo a due novelle: la II 1, per la quale si porta alla luce una possibile fonte della novella, e la II 2, a proposito della quale si trascrive la leggenda di san Giuliano redatta da Boccaccio in uno zibaldone.
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Forey, Austin Charles. "Reading through Boccaccio : a study of narrative practice and interpretation in the Decameron". Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253965.
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Daniels, Rhiannon Jane. "Reading and meaning : the reception of Boccaccio's Teseida, Decameron and De mulieribus claris to 1520". Thesis, University of Leeds, 2003. http://etheses.whiterose.ac.uk/198/.
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Much of the twentieth-century research carried out on the reception of Boccaccio in medieval and Renaissance Italy has focused on the Decameron to the exclusion of all other works. This thesis puts existing research into context by considering two additional works by Boccaccio alongside the Decameron, and by using an innovative methodology to analyse the evidence for reception in Italy before 1520. The Teseida and De mulieribus differ sufficiently from the Decameron in terms of their influences, style, and date of composition to offer a broader view of Boccaccio's fortuna. The thesis is divided into two parts, each reflecting a different methodological approach, the theoretical implications of which are discussed in some detail in the introduction. Part I analyses critical responses found in a wide range of sources, such as poetry, letters, and biographies. The discussion opens with a consideration of the authorial image which Boccaccio projected in his literary works and letters (Chapter 1), followed by an evaluation of the responses of Boccaccio's acquaintances(Chapter 2 ), and of the responses of those that had no personal contact with Boccaccio( Chapter 3 ), to this projected authorial persona. In Part II I uncover responses to Boccaccio made by a wider section of the reading public, using the evidence for reception inherent in the physical structure and presentation of books. Chapter 4 acts as an introduction to the second part of the thesis, defining and outlining the significance of the three categories of evidence used: materiality, paratexts, and traces of reading. Chapter 5 complements the first chapter by evaluating how the presentation of Boccaccio's autograph manuscripts reflects his intended readership. In Chapters 6-8 I proceed to discuss the reception of the Teseida, Decameron, and De mulieribus, focusing on the physical structure and presentation of a sample of manuscripts and printed books containing these texts. The final conclusion draws together Parts I and II, illustrating the complementary nature of the evidence discussed in each part of the thesis. My research challenges commonly held views about the reception of the Decameron, and offers new insights into the fortuna of the Teselda and De mulieribus in a period marked by changing, and often conflicting, cultural and intellectual concerns, and as manuscript culture gave way to print. The Appendices list the locations of manuscripts I have viewed, provide bibliographic descriptions of the editions of the Teselda, Decameron, and De mulieribus printed before 1520, and offer transcriptions of paratexts from editions of each work.
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Crago, Bartholomew. "Some rhythmic theories compared and applied in an analysis of El decameron negro by Leo Brouwer". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22456.
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In the first section of this thesis rhythmic theories of Leonard Meyer and Grosvenor Cooper, Wallace Berry, William Benjamin, Joel Lester, Fred Lerdahl and Ray Jackendoff, and Jonathan Kramer are discussed. Each theortician's treatment of meter and grouping is compared. The appropriateness of each theory as an analytic tool for the analysis of El Decameron Negro by Leo Brouwer is evaluated.The analysis itself concerns a section of music in which written meter changes at almost every barline. Within the measures binary and ternary rhythmic groups occur in the context of a continuous pulse. The analysis explicates the metric organization of the section. Suggestions are given for a performance which will project the underlying organization of the section of music.
28
Blandeau, Agnès. "The Canterbury Tales et Il Decameron visualisés par Pasolini : quand le récit prend corps en image". Paris 4, 2002. http://www.theses.fr/2002PA040110.
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Tournant décisif dans le paysage littéraire médiéval occidental, peu après Il Decameron, The Canterbury Tales consacrent la richesse d'une langue vernaculaire à travers l'expérimentation stylistique et rhétorique, tout en soulignant la narrativité mais aussi l'écriture du texte en train de se faire. Pier Paolo Pasolini puise dans le corps des oeuvres de Boccace et Chaucer l'esprit d'un moyen âge (fantasmé), dont il célèbre la vie. Il y voit également le théâtre privilégié d'une pratique de l'art jubilatoire du récit. L'adaptation ou plutôt vision pasolinienne des Tales, mis en regard avec Il Decameron dans une trilogie colorée, relève en vérité d'une visualisation personnelle et poétique qui, paradoxalement, enrichit la lecture des textes, malgré les écarts commis.
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Pita, Vanessa Fernandes Queiroga. "O Decamerão de Jorge Furtado: adaptação e comédia na TV". Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6196.
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Previous issue date: 2012-03-16Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Esta dissertação abrange as áreas de Ficção televisiva, Literatura e Produção de sentido, e tem o intuito de realizar um processo de análise e interpretação discursiva da adaptação audiovisual do livro Decamerão, de Giovanni Boccaccio, veiculada em 2009, pela Rede Globo. A microssérie Decamerão: a comédia do sexo é um projeto do diretor Jorge Furtado e foi inspirada nas temáticas e novelas toscanas presentes na obra do autor italiano. A nossa proposta consiste em identificar como as duas obras dialogam nessa adaptação, destacando os pontos em comum com texto fonte, mas também ressaltando outros pontos sugeridos por Jorge Furtado ao reinterpretar o Decamerão, e também em observar a presença do elemento cômico na teleficção, tendo em mente a construção de um discurso ficcional televisivo e a sua consequente produção de sentido. Para tal intento, desenvolvemos a nossa pesquisa por meio da análise do discurso ficcional, realizando um estudo interdisciplinar, onde aliamos as teorias da Comunicação, especificamente sobre a televisão, e da Narrativa, articuladas a aspectos de outros campos do conhecimento das ciências humanas, como a Literatura, o Cinema e a Sociologia. Desse modo, foi possível comentar aspectos do Decamerão, como o contexto da Peste Negra, a estrutura das novelas toscanas e a manifestação do elemento cômico; e ainda observar a microssérie a partir dos formatos teleficcionais que a compõem e da influência cênica exercida pela commedia dell arte na construção da sua dramaturgia. Assim, na última etapa da nossa dissertação, almejamos destacar em Decamerão: a comédia do sexo os principais elementos de uma adaptação teleficcional e os fatores presentes devido à logística de funcionamento da televisão. Por fim, analisamos o nosso corpus, o piloto Comer, amar e morrer, e realizamos o estudo de correlação com os outros quatro episódios que compõem a microssérie. Diante disso, objetivamos realizar uma pesquisa com interesse estético e comunicacional sobre um importante momento da produção teleficcional brasileira, configurado, em nossa dissertação, no estudo de Decamerão: a comédia do sexo.
Esta dissertação abrange as áreas de Ficção televisiva, Literatura e Produção de sentido, e tem o intuito de realizar um processo de análise e interpretação discursiva da adaptação audiovisual do livro Decamerão, de Giovanni Boccaccio, veiculada em 2009, pela Rede Globo. A microssérie Decamerão: a comédia do sexo é um projeto do diretor Jorge Furtado e foi inspirada nas temáticas e novelas toscanas presentes na obra do autor italiano. A nossa proposta consiste em identificar como as duas obras dialogam nessa adaptação, destacando os pontos em comum com texto fonte, mas também ressaltando outros pontos sugeridos por Jorge Furtado ao reinterpretar o Decamerão, e também em observar a presença do elemento cômico na teleficção, tendo em mente a construção de um discurso ficcional televisivo e a sua consequente produção de sentido. Para tal intento, desenvolvemos a nossa pesquisa por meio da análise do discurso ficcional, realizando um estudo interdisciplinar, onde aliamos as teorias da Comunicação, especificamente sobre a televisão, e da Narrativa, articuladas a aspectos de outros campos do conhecimento das ciências humanas, como a Literatura, o Cinema e a Sociologia. Desse modo, foi possível comentar aspectos do Decamerão, como o contexto da Peste Negra, a estrutura das novelas toscanas e a manifestação do elemento cômico; e ainda observar a microssérie a partir dos formatos teleficcionais que a compõem e da influência cênica exercida pela commedia dell arte na construção da sua dramaturgia. Assim, na última etapa da nossa dissertação, almejamos destacar em Decamerão: a comédia do sexo os principais elementos de uma adaptação teleficcional e os fatores presentes devido à logística de funcionamento da televisão. Por fim, analisamos o nosso corpus, o piloto Comer, amar e morrer, e realizamos o estudo de correlação com os outros quatro episódios que compõem a microssérie. Diante disso, objetivamos realizar uma pesquisa com interesse estético e comunicacional sobre um importante momento da produção teleficcional brasileira, configurado, em nossa dissertação, no estudo de Decamerão: a comédia do sexo.
30
Palacios, Guevara Luis Fernando. "Análisis del comportamiento del consumidor basado en el modelo de los cinco factores en los huéspedes del Hotel Decameron de Punta Sal". Bachelor's thesis, Universidad Católica Santo Toribio de Mogrovejo, 2019. http://hdl.handle.net/20.500.12423/2209.
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En la actualidad, una de las formas de poder competir de manera diferenciada en cualquier mercado es tener un servicio de excelencia, más aún cuando el contacto con los clientes es constante, se necesita plantear estrategias que ayuden a minimizar los errores. En el caso de los hoteles hay una exigencia similar, son cada vez más los huéspedes que buscan mejores experiencias y mejores servicios. Por ello, esta investigación se desarrolló en el Decameron, hotel turístico ubicado en la zona norte del Perú, en Punta Sal exactamente. Para eso se tomaron 150 encuestas a huéspedes de distintas edades, el tipo de investigación tuvo un enfoque cuantitativo, de nivel descriptivo, no experimental y transversal. Así mismo, el trabajo utilizó el modelo de los Cinco Factores, propuesto por Yoo & Gretzel (2011). Los resultados determinaron que, de las cinco dimensiones en estudio, la apertura a la experiencia, la amabilidad, la consciencia y la extroversión, estuvieron de acuerdo en que se cumple en la organización, pero sobre el carácter del neuroticismo, los huéspedes indicaron no sentir ningún tipo de influencia, por el contrario, la estadía no afecta ese lado emocional. Las conclusiones así lo aseguran y refieren que los factores personales son importantes conocerlos pues al proponer una empresa con distintos servicios, juega mucho el rol psicológico que pueda tener.Tesis
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Azuela, Christina. "Les ruses de la parole dans la nouvelle a la fin du moyen age : les cent nouvelles nouvelles. les contes de canterbury et le decameron". Paris 4, 1991. http://www.theses.fr/1991PA040198.
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Les nouvelles etaient prises des recits traditionnels du moyen age. Leur interet ne reside donc pas dans des intrigues que tout le monde connaissait deja, mais dans la maniere de les developper, dans leur tissu verbal. Du reste, la presentation meme d'un "cercle conteur" qui donne lieu aux recits des recueils met en lumiere l'importance de l'activite langagiere dans le genre. Les constants jeux avec les mots affirment l'utilisation du langage dans des buts eloignes de la representation fidele de larealite. La parole sert a construire des versions remaniees des evenements qui arrivent a remplacer la realite, tout comme le langage litteraire cree des mondes fictifs. Les personnages autant que les narrateurs des recits font des jeux des mots et se servent de la parole de facon equivoque pour duper soit les autres personnages, soit le lecteur. L'insistance sur la pluralite de significations pour un mot ou pour un recit rehausse le role de l'interpretation. La multiplication des interpretations suggere, de plus, l'impossibilite de dispenser un enseignement unique a travers la litterature. Celui-ci dependra toujours du lecteur. La valeur esthetique et ludique de la litterature est ainsi revendiquee a l'encontre de son but purement edifiantThe "nouvelles" came from traditional stories. Their interest lies not in their plot, which everybody would already know, but in the ways of telling it, in their uses of language. Verbal activity is at the core of the genre from its presentation as a reunion of story-tellers. Language in the "nouvelles" is generally used in playful ways leading to punning, to telling lies, to building versions that substitute reality in a way similar to literature creating fictional worlds through words. This reveals a potential of words far away from simple reproduction of reality. Characters and narrators use words in equivical ways to trick either other characters or the reader. The insistence of many layers of meaning -for single words of whole stories- shifts the attention towards those who will interpret them. Plurality of interpretation implies as well the impossibility for literature of conveing a unique moral. Interpretation will always depend on the reader. Esthetic and ludic values for literature are thus emphasized against its edifying purposes
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Malagnini, Francesca. "Mondo narrato e mondo commentato: studi sul Decameron e la prosa toscana tra la seconda metà del XIII secolo e la prima metà del XIV". Doctoral thesis, Università Ca' Foscari Venezia, 2001. http://hdl.handle.net/10579/194.
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Schonbuch, Mathias. "Le "récit de paroles" dans le Décaméron de Boccace". Paris 3, 2003. http://www.theses.fr/2003PA030063.
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La part du discours direct dans le Décaméron est chiffrée nouvelle par nouvelle, et des statistiques permettent de comparer différentes données. L'analyse littéraire proprement dite se penche en particulier sur les cas où la parole des personnages triomphe. L'examen des structures rhétoriques des différents types d'argumentations permet d'en dégager un certain nombre de traits communs. La recherche de persuasion passe aussi par la séduction: à travers les différentes étapes du discours amoureux, l'observation des stylèmes parfois stéréotypés montre comment la pulsion est exprimée dans le langage des personnages. D'autres imposent leur point de vue par la force, et la pulsion agressive se traduit là encore dans le langage. La ruse et le mensonge, qui visent à circonvenir un interlocuteur, sont étudiés dans le récit de paroles en fonction des procédés employés. Les mots d'esprit et autres jeux de langage, célébrés par Boccace, sont également analysés en détail dans leur fonctionnementThe part of direct speech in the Decameron is numbered tale by tale, and the application of statistics allows for comparison of various data. The literary analysis proper places a particular emphasis on examples in which the characters' spoken words prevail. Therefore, by examining the rhetorical structures of these arguments, a number of common characteristics begin to emerge. The path to conviction goes through seduction: The observation of sometimes stereotyped stylemes demonstrates how the drive is expressed in the characters' language through various stages of the discourse of love. Others impose their views by force and, once again, the aggressive drive is reflected in the language used. Deception and lies aimed at circumventing an interlocutor are examined according to the techniques used in the narrative language. The witticisms and other word games so prized by Boccacio are also analyzed in detail in the way they work
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Rickel, Rachel D. "The Black Death and Giovanni Bocaccio's The Decameron's Portrayal of Merchant Mentality". Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1467369515.
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Viet, Nora. "Du Décaméron de Boccace au Cameron d'Antoine Vérard : les mutations de la nouvelle au début de la Renaissance française". Paris 4, 2008. http://www.theses.fr/2008PA040186.
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Au début de la Renaissance (1485-1545), le Décaméron de Boccace circulait en France sous une forme insolite. Sous le titre de Livre de Cameron, Antoine Vérard fit imprimer, en 1485, une version française du Décaméron qui défigurait totalement l'original, en l'amputant d'une bonne partie de son récit-cadre et en ajoutant des morales finales aux nouvelles. Fustigée dès le XVIe siècle pour les déformations qu'elle faisait subir à l'œuvre de Boccace, supplantée en 1545 par une traduction nouvelle, cette version du Boccace connut pourtant un succès d'édition remarquable, et contribua à la fortune d'une œuvre qui allait s’imposer comme "parangon" de la nouvelle renaissante. Quel était ce Décaméron que la France édita et imita dans la première partie du XVIe siècle ? Quelles transformations l'adaptateur français imposa-t-il au canon de la nouvelle que proposait le Décaméron original ? Et comment ces transformations éclairent-elles les traditions d’écriture du récit bref français à la fin du XVe siècle ? Par ce questionnement, nous avons tenté de déterminer le rôle du Livre de Cameron dans l’histoire de la nouvelle et du récit brefIn the beginning of the Renaissance (1485-1545), Boccaccio's "Decameron" circulated in France in an unusual form. In 1485, Antoine Vérard had a French version of the "Decameron" printed that was entitled "Livre de Cameron" and that completely distorted its original by erasing major parts of its framed narrative and adding "final moral stances" to the novellas. Heavily criticised since the 16th century for adulterating Boccacio's œuvre, and replaced by a new translation in 1545, this version was nevertheless published successfully and temporarily set up as "paragon" of the Renaissance novella. What is the forgotten "Decameron" that France edited and imitated in the first half of the 16th century about ? What kind of transformations did the French reviser impose on the canon of the novella proposed by the original "Decameron" ? And how do these transformations illuminate the form and traditions of the French tale at the end of the 15th century? The goal of this study was to determine the role of the "Livre de Cameron" in the history of the novella and tale
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Gupta, Pritika. "Lo scontro delle tre realtà nel Decameron, la peste, la brigata e le novelle la corruzione morale rappresentata dalla peste e trovata nelle novelle contro l'ambiente morale della brigata /". Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3705.
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Nayrand, Bérangère. "Sources et ressources de la mise en images du Décaméron dans un ensemble de manuscrits enluminés italiens et français (XIVe et XVe siècles)". Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30071.
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Le corpus, qui regroupe seize manuscrits italiens et français (avec la traduction de Laurent de Premierfait), permet d’élaborer une étude sur les rapports entre une œuvre littéraire, foisonnante et complexe comme le Décaméron, et les nombreuses illustrations que ces ouvrages contiennent. Pour être efficace et effective, l’image a besoin de se fonder sur le texte de Boccace. Cependant, les illustrateurs doivent aussi contenter leurs commanditaires et se conformer à leurs volontés, quitte à s’éloigner de l’œuvre originelle.La présente recherche se centre ainsi sur le passage du texte à l’image — en s’intéressant particulièrement à la littérarité de l’illustration, souvent fondée sur les potentialités visuelles du texte. Les manuscrits enluminés sont systématiquement replacés dans leur contexte culturel, social et historique, compte tenu du rôle joué par le lecteur/commanditaire, essentiel pour la compréhension de chaque miniature.Cette étude s’efforce ainsi d’analyser les ressources dont disposent les enlumineurs. Elle met en lumière l’incroyable adaptabilité dont font preuve ces artistes à part entière pour illustrer le texte qui constitue leur principale sourceThe corpus consisting of 16 manuscripts (with the translation by Laurent de Premierfait) allows us to elaborate a study on the relationship between a piece of literature as abundant and complex as the Decameron, and the numerous illustrations that these works contain. To be efficient and effective, an image needs to be based on Boccaccio’s text. However illustrations must also satisfy their commissioner and comply with their wishes, even away from the original work.This research focuses as well on how to move from text to image — with particular attention on the literariness of illustration, often based on visual potential of the text. The illuminated manuscripts are systematically placed in their cultural, social and historical background, taking into account the essential role played by the reader and commissioner to understand each miniature.This study thus attempts to analyse the illuminators’ ressources. It highlights the incredible adaptability shown by these artists in their own right to illustrate the texte as their main source
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Pionchon, Pauline. "Les humanistes italiens face à la nouvelle : traduction, réécriture, création". Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL050/document.
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L'attrait exercé par le Décaméron sur quelques grandes figures de l'humanisme (telles qu'Antonio Loschi, Leonardo Bruni, Enea Silvio Piccolomini, Leon Battista Alberti, ou Bartolomeo Facio) et quelques représentants de second plan (par exemple Filippo Beroaldo, Benedetto Colucci, ou encore Francesco Tedaldi) a donné naissance au XVè siècle à un véritable corpus de récits originaux et de traductions latines de nouvelles isolées de Boccace, qui témoigne d'une fertilisation réciproque des cultures vernaculaire et humaniste. Dans le contexte du XVè siècle, marqué en ce qui concerne la littérature en langue vulgaire par l'ancrage de la nouvelle dans sa tradition populaire, le corpus humaniste se distingue par la volonté des auteurs d'élever le genre. Sur le plan stylistique, la prose latine, riche de réminiscences antiques, est appelée à rehausser l'écriture, tandis que sur le plan des contenus et des finalités, l'accentuation de la dimension historique et éducative des nouvelles doit ennoblir le genreDuring the 15th century, the attraction of the Decameron on both some of the most prominent figures of humanism (Antonio Loschi, Leonardo Bruni, Enea Silvio Piccolomini, Leon Battista Alberti, or Bartolomeo Facio) and some lesser authors (such as Filippo Beroaldo, Benedetto Colucci, and Francesco Tedaldi) gave rise to a whole corpus of original stories and Latin translations of isolated short stories by Boccace, which testifies of the cross-fertilization at work between vernacular and humanist cultures. In the context of the 15th century, more particularly of 15h century literature written in the vernacular, which was marked by the propensity of short stories to be rooted in popular tradition, the humanist corpus is characterized by the willingness of its authors to bring the genre to a higher level. As regards the style, Latin prose, which is highly reminiscent of antiquity, is called on to elevate the writing, while from the point of view of the content and the goals to be reached, putting the stress on the historical and educational dimension of short stories is to ennoble the genre
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Muslim, Zahim Mohammed. "Lessing und der Islam". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16147.
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„Lessing und der Islam“ beschäftigt sich unparteiisch mit Lessings Auseinandersetzung mit dem Islam. Die Arbeit setzt sich das Ziel, den Leser und den Literaturkennern sowie der deutschen Bibliothek der Germanistik etwas von Lessings Auseinandersetzung mit dem Islam in die Hand zu geben, die bis heute als großes Modell für die interkulturelle und interreligiöse Menschheitstoleranzdebatte im Gedächtnis der deutschen Literatur vorhanden ist. Im ersten Teil widmet sich die vorliegende Arbeit den historisch-traditionellen literarischen Hintergründen und Vorkenntnissen Lessings zur islamischen Kultur, und deren Wirkung auf die deutsche Aufklärung im 18. Jahrhundert. In den nächsten Teilen (2-6) beschäftigt sich die Arbeit mit dem Islam in Lessings Werk und den historischen Texten von Voltaire und Marin. Sie konzentriert sich z. B. auf die dramatischen Schaffen und philosophisch-theologischen Schriften dieses deutschen Aufklärers über den Islam wie „Rettung des Hieronymus Cardanus“(1754), „Fatime“- Trauerspiel (1759) und „Nathan der Weise“ (1759) usw. Am Ende wird das Treffen der Religionsvertreter von - Judentum, Christentum und Islam - in „Nathan“ mit der erforderlichen, interkulturellen und interreligiösen Toleranzdebatte als aktuelle Weltfrage verbunden, die als Resultat für diese wissenschafts-literarische Darstellung von Lessings Auseinandersetzung mit dem Islam betrachtet werden kann.„Lessing and Islam“ deals impartially with Lessings discussion with Islam. The work aims to itself to give the reader and the literature experts as well as the German library of the German studies to somewhat of Lessings discussion with Islam in the hand which exists till this day as a big model for the intercultural and interreligious human tolerance debate in memory of the German literature. In the first part the present work devotes itself to the historical-traditional literary backgrounds and foreknowledge Lessings to the Islamic culture, and their effect on the German clarification in the 18th century. In the next parts (2-6) the work deals with Islam in Lessings to work and the historical texts of Voltaire and Marine. She concentrates, e.g., upon the dramatic creating and philosophical-theological writings of this German reconnaissance plane about Islam like „Rescue Hieronymus Cardanus“(1754), "Fatime" (1759) and „Nathan of the manner“ (1779) etc. At the end is connected the meeting of the religious representatives from - Judaism, Christianity and Islam - in "Nathan" with the necessary, intercultural and interreligious tolerance debate as a topical world question which can be looked as a result for this science-literary representation of Lessings discussion with Islam.
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Schumacher, Katrin [Verfasser], Elisabeth [Akademischer Betreuer] Lienert e Thomas [Akademischer Betreuer] Althaus. "Von lebenden Toten und anderen Grenzgängern. Ordnungsdiskurs und Liminalität in höfischen, exemplarischen, schwankhaften und grotesken Mären, in der Binnenerzählung III,8 des 'Decameron' und im Fastnachtspiel 'Der Bauer im Fegefeuer' / Katrin Schumacher. Gutachter: Elisabeth Lienert ; Thomas Althaus. Betreuer: Elisabeth Lienert". Bremen : Staats- und Universitätsbibliothek Bremen, 2014. http://d-nb.info/1072157802/34.
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Schwall-Hoummady, Christine. "Bilderzählung im 15. Jahrundert : Boccaccios Decamerone im Frankreich /". Frankfurt am Main ; Berlin ; Bern ; New York ; Paris ; Wien : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb38849934n.
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Ståhle, Sjönell Barbro. "Johan Albrecht Schmidts Landt-Nöjet – vår första svenska Decamerone". Uppsala : Svenska Litteratursällskapet, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201011.
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Comini, Marcelo. "O Decamerão sob o olhar de Pasolini". Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101658.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2013-07-15T22:53:55Z (GMT). No. of bitstreams: 0
Este trabalho tem seu foco na análise da adaptação da literatura para o cinema. Especificamente, essa relação entre literatura e cinema é abordada através do estudo da adaptação cinematográfica do livro Decamerão, de Giovanni Boccaccio, realizada por Pier Paolo Pasolini, em seu filme homônimo. Baseado nas teorias da literatura e nas teorias do cinema configura-se Boccaccio na literatura e Pasolini no cinema e, dessa forma, situa o Decamerão como manifestação artística. Baseado nas teorias da adaptação, discute as observações relativas à essa adaptação em especial, de maneira a analisar o processo de conversão das palavras de Boccaccio para as imagens do filme de Pasolini. As conclusões dessa transformação do texto em audiovisual servem para corroborar a idéia de que a adaptação consiste em uma espécie de tradução do literário para o cinematográfico.
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Kitano, Ken. "Crystallographic studies of decameric protein complexes with pentagonal symmetry". 京都大学 (Kyoto University), 2001. http://hdl.handle.net/2433/150848.
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Walker, John Roman. "Structural studies of two macromolecular complexes, the synaptic complex of Cre recombinase and the decameric structure of rattlesnake venom lectin". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0015/NQ53805.pdf.
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Sotgiu, Antonio. "Le Décaméron de Boccace au prisme des « théories du roman »". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA140.
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Ce travail se compose de deux parties. La première décrit et évalue, dans les premiers deux chapitres, l’interprétation du Décaméron de Boccace dans les travaux de Schlegel, Hegel, Lukács, Bakhtine et Auerbach. Ensuite, à partir de cette opération de comparaison, un troisième chapitre analyse des nouvelles perspectives interprétatives et historiques sur le roman, et pose les bases herméneutiques pour une nouvelle lecture du Décaméron.La deuxième partie aborde, dans un premier chapitre, la réécriture boccacienne de l’épisode de Paolo et Francesca de la Commedia de Dante (Enfer V). Dans le cadre de ce même chapitre, on analyse la théorie de la « fable » développée par Boccace dans les Genealogie deorum gentilium en montrant surtout les aspects liés aux d’allégorie, de connaissance et de consolation. À cela fait suite une analyse de la structure narrative du Filocolo et une hypothèse sur la fonction de l’épisode des « Questioni d’amore » dans l’économie globale de l’œuvre. Le deuxième chapitre propose une lecture du Décaméron qui prend appui sur la notion de « compassion » et qui offre une analyse du récit-porteur à partir d’instances éthiques et philosophiques. Les sous-chapitres centraux explorent les modalités de mise en jeu des croyances. Le chapitre se termine par une analyse de la notion de « fortune », sa théorisation et sa représentation dans le Décaméron. Le troisième chapitre est consacré à l’interprétation individuelle d’un groupe de cinq nouvelles (IV, 4 ; V, 1 ; II, 7 ; II, 9 ; X, 10)This work is composed of two parts. In the first one, I critically analyze how Boccaccio was read by the main theorists of the novel (Schlegel, Hegel, Lukács, Bakhtine, Auerbach); once described individually, these authors are later confronted with each other. A third chapter deals with new perspectives in the theory of the novel, which provide the foundation for a new interpretation of Boccaccio’s Decameron.The second part is devoted to Boccaccio’s works in themselves. First, I analyze Boccaccio’s rewriting of the dantean episode of Paolo and Francesca (Inf. V). In the same chapter I also discuss Boccaccio’s theory of the fabula as it is developed in his Genealogie deorum gentilium, by focusing on crucial issues such as allegory, knowledge and consolation. I conclude the chapter with an inquiry on the Filocolo’s narrative framework; particular attention is devoted to the episode of the «Questioni d’amore» and to its functions in the economy of the whole work. The second chapter puts forward a new reading of the Decameron, based on the notion of ‘compassion’; I analyze the Decameron’s narrative framework on the ground of philosophical and ethical categories. I also explore how the beliefs’ device is shaped by Boccaccio; the chapter ends with an enquiry around the concept of fortune, its theorization and representation in the Decameron. The third and final chapter is devoted to the individual interpretation of five novellas (IV, 4; V, 1; II, 7; II, 9; X, 10)
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Catalano, Sara. "La Comedia delle Ninfe fiorentine. Revisione dell'edizione e commento". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA008.
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La thèse se propose, dans une première partie, d’analyser et d'actualiser la tradition manuscrite de la Comedia delle Ninfe Fiorentine, œuvre de jeunesse de Giovanni Boccaccio, composée immédiatement après le retour à Florence de la cour angevine de Naples.L'édition actuelle de Comedia delle Ninfe, est due à Antonio Enzo Quaglio et remonte à 1963. Elle fournit, comme il était d'usage à l'époque, une description brève et peu précise des témoins interrogés. Les manuscrits sont donc classés selon un critère socioculturel (copie a prezzo et copie per passione), datant des codex au quart de siècle. Quand cela est possible, un profil biographique des copistes est fourni. Le travail est complété par les fiches de chacun des témoins individuels acceptés dans le corpus.La deuxième partie de la thèse est un travail de commentaire d’historie littéraire divisé par thèmes. La composition de la Comedia delle Ninfe est liée à l'expérience biographique de son auteur et au développement de son expérience littéraire.L’histoire du dédicataire de l’œuvre, Niccolò di Bartolo del Buono, nous permet de fournir des repères chronologiques pour chacune des deux rédactions de la Comedia.La proposition de mettre en relation Caccia di Diana, Comedia et Amorosa Visione nous donne l’occasion de comparer trois œuvres de Boccaccio, en considérant l’utilisation du capitolo ternario comme premier dénominateur commun.Le chapitre sur le prosimètre donne un aperçu des sources possibles auxquelles Boccaccio peut, ou ne peut pas, faire référence pour cette forme particulière (prose et vers).Enfin, l'analyse de la production bucolique de Boccace et de son évolution amène à considérer le Comedia comme une première œuvre de ce genre avec l’utilisation du vulgaireThe aim of this thesis is to analyze and updating the manuscript tradition of the Comedia delle Ninfe Fiorentine, written by a young Giovanni Boccaccio in Florence, as he came back there from Naples. The current edition by Antonio Enzo Quaglio (1963) only provides, as was customary at the time, a brief and inaccurate description of the witnesses surveyed. For that reason, in this work manuscripts have been dated a divided into a prezzo and per passion copies. Where possible, a biographical profile of the copyists have been included. Moreover, each copy has its own detection form.The second part of the thesis consists of a historic-literary commentary: the Comedia delle Ninfe is has been interpreted on the basis of the biography of the author and of his literary production. The two draftings of the Comedia have been also dated according to the biography of Niccolò di Bartolo del Buono, to whom this opera was dedicated. Besides, the Comedia has been compared to the Caccia di Diana and the Amorosa Visione, on the basis of the use of the capitolo ternario. A chapter on the prosimetrum provides some hypoteses on the literary sources Boccaccio may have, or may not, referred to. At last, by analysing the bucolic literary works by Boccaccio, the Comedia can be considered the first example in this genre, regarding the use of the vernacular
La tesi si propone, nella prima parte, di analizzare, aggiornandola, la tradizione manoscritta della Comedia delle Ninfe Fiorentine, opera della giovinezza di Giovanni Boccaccio, composta subito dopo il ritorno del Certaldese a Firenze dalla corte angioina di Napoli. L’edizione esistente della Comedia delle Ninfe, datata 1963 per la cura di Antonio Enzo Quaglio, fornisce, come d’uso all’epoca, una descrizione sommaria e poco accurata dei testimoni censiti. Si classificano quindi i manoscritti secondo un criterio socioculturale (copia a prezzo e copia per passione), datando i codici al quarto di secolo. Si fornisce, ove possibile, un profilo biografico dei copisti. Il lavoro è completato dalle schede di rilevamento dei singoli testimoni accolti nel corpus, redatte secondo un criterio stabilito a priori.La seconda parte della tesi è un lavoro di commento letterario suddiviso per tematiche. La composizione della Comedia delle Ninfe viene messa in relazione con l’esperienza biografica del suo autore e con il dipanarsi della sua esperienza letteraria. La vicenda del dedicatario dell’opera, Niccolò di Bartolo del Buono, permette di collocare con riferimenti cronologici l’identificazione delle due redazioni della Comedia.Occasione di confrontare tre opere del Boccaccio è la proposta di mettere in relazione Caccia di Diana , Comedia e Amorosa Visione considerando come primo denominatore comune l’utilizzo del capitolo ternario.Il capitolo sul prosimetro fornisce una rassegna sulle possibili fonti alle quali Boccaccio può, o non può, aver fatto riferimento nella composizione dell’opera con questa particolare forma.Infine l’analisi della produzione bucolica del Boccaccio, e della sua evoluzione, propone di considerare la Comedia come un’opera prima in questo genere per l’utilizzo del volgare
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Fordred, Benedetta. "Les erreurs de Boccace ˸ les bévues de copiste, les fautes de l’auteur, la variété de la langue du Trecento". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA028.
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Ce travail vise à tracer l’évolution de la question des « erreurs » de Boccace, du XVIe siècle jusqu’à nos jours, selon différentes approches : historique, ecdotique, linguistique et stylistique. Le travail se compose d’un premier chapitre divisé en trois sous-parties. Les deux premières sont consacrées à la perception du modèle de Boccace pendant les querelles linguistiques du XVIe siècle. La troisième vise à réfléchir sur la façon dont les lettrés de l’époque ont associé la définition d’ « erreurs » à la syntaxe du Décaméron.Nous nous attarderons sur les commentaires de Ruscelli, Borghini, Salviati et Beni. Le deuxième chapitre porte sur la tradition manuscrite du Décaméron et sur les propositions ecdotiques les plus récentes émises par les philologues modernes. Le troisième chapitre est entièrement consacré à la description des phénomènes de répétition de « che », du « che » suivi d’un infinitif, de la parahypotaxe et de la coordination entre subordonnées aux modes personnels et impersonnels, selon une approche comparative en italien ancien et ancien français. Le dernier chapitre se propose de réfléchir sur la présence (et l’absence) de ces constructions syntaxiques dans le Décaméron, afin de comprendre les choix de Boccace écrivain, selon les contextes d’élocution et les niveaux diégétiques des nouvellesThe present work aims to describe the evolution of Boccaccio’s “mistakes” from 16th century on through the use of different approaches (namely historical, ecdotic, linguistic, and stylistic). The dissertation starts with a chapter divided in three sections: the first two sections deal with the perception of Boccaccio’s model in the linguistic controversy characterizing the 16th century. The third section analyses how the syntax of the Decameron came to be considered incorrect by scholars of the time.I will concentrate on the commentaries by Ruscelli, Borghini, Salviati and Beni. The second chapter is about the manuscript tradition of the Decameron and on the most recent ecdotic theories formulated by modern philologists on the issue. In the third chapter I focus on such linguistic phenomena as the repetition of “che”, para-hypotaxis, “che” followed by the infinitive, and the coordination between dependent clauses with both finite and nonfinite verbs. In this part of my dissertation, I make use of a comparative method, bringing together Old Italian and Old French. In the last chapter I intend to reflect on the presence (and absence) of these linguistic phenomena in the Decameron, in order to understand Boccaccio’s writing choices, and taking into account other elements such as elocution and the different diegetic levels acting in the novellas
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Swann, Kristen Renner. "Historicizing Maternity in Boccaccio's Ninfale fiesolano and Decameron". Thesis, 2012. https://doi.org/10.7916/D89028HM.
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This dissertation explores the representation of maternity in two of Boccaccio's works, the early idyllic poem, the Ninfale fiesolano, and the author's later magnum opus, the Decameron, through readings in the social history of women and the family and medieval medical literature of obstetrics and gynecology. I create a dense historical context from which to examine the depiction of generative processes, maternity, and mother-child interactions in these works, allowing us to better understand the relationship between Boccaccio's treatment of these subjects and the author's larger stance on women and gender. In Chapter One, I explore Boccaccio's uncommon interest in the events between conception and birth in the Ninfale fiesolano; I demonstrate the conformity of the Ninfale's literary depictions of conception, pregnancy, and childbirth to the medical literature of obstetrics and gynecology and social practices in the late Middle Ages. In the second chapter, I explore how the Ninfale, traditionally seen as an idyllic, mythological poem, reflects the practices and ideologies of the normative form of family structure in fourteenth-century Tuscany, the patrilineage. I first show how the poem's pervasive discourse on resemblance exposes, and undercuts, the importance of the paternal line; I then consider how Mensola's joyful maternity - her beautifully rendered interactions with baby Pruneo - contains an implicit critique of the role and function of maternity in patrilineal society. With Chapter Three, I turn to Boccaccio's prose works; I explore how Boccaccio incorporates specific and historicized beliefs about generative physiology - the biological pre-conditions for maternity - into commonplaces of the misogynistic tradition in the Corbaccio and Decameron V.10. Chapters Four and Five focus specifically on the Decameron. In the fourth chapter, I consider how Boccaccio uses a distinctly gendered language of generation in Decameron III.8, V.7, X.4, and, most spectacularly, X.10 to underscore the marginality of women to family and line. In the fifth, and final, chapter, I explore the profound cultural embeddedness of Boccaccio's treatment of maternity by placing the Decameron's depictions of motherhood - whether unwanted, farcical, or affective - within the greater social context of Renaissance natalism. Throughout this project, I consider how representations of maternity and generative processes in Boccaccio's texts comment on the realities of motherhood - and womanhood - in the patrilineal society of fourteenth-century Tuscany.
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FERRACIN, Antonio. "Codice Vaticano Rossiano 947: il "Decameron" di Domenico Caronelli". Doctoral thesis, 2014. http://hdl.handle.net/11562/696559.
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Studio del cod. Vaticano Rossiano 947, copia del Decameron vergata a Conegliano nel 1395 da Domenico Caronelli, che ricostruisce: la storia della famiglia del copista e la sua biografia; la fattura materiale e il contenuto del codice; i rapporti filologici con i due più importanti testimoni della tradizione manoscritta del Decameron (cod. Parigino Italiano 482 e cod. Hamilton 90), mediante una duplice collazione concernente un quarto dell’opera. Successivamente si illustrano i rapporti fino ad ora sconosciuti con i codici Italiano X, 14 (6950) della Biblioteca Marciana e 952 della Biblioteca del Seminario Patriarcale di Venezia, scoprendo l’esistenza di una tradizione di area veneta, che in parte spiega la natura dei singolari interventi operati dal Caronelli sul testo del Boccaccio.Study about codex Vaticano Rossiano 947, copy of the Decameron, transcribed in Conegliano in 1395 by Domenico Caronelli, reconstructing: the copyst’s family history and his biography; the material manufacture and content of the codex; the philological relations with the two most important witness of the manuscript tradition relatively Decameron (cod. Parigino Italiano 482 e cod. Hamilton 90), by means of a dual collating in relation to a quarter of the work. Unknown connections are shown with the manoscripts Italiano X, 14 (6950) of the Biblioteca Marciana and 952 of Biblioteca of Seminario Patriarcale in Venice, proving the existence of a tradition in the Veneto area, partly explaining the nature of Caronelli’s particular interventions in Boccaccio’s work.