ARESU-DISSERTATION-2015.Pdf (2.285Mb)

Total Page:16

File Type:pdf, Size:1020Kb

ARESU-DISSERTATION-2015.Pdf (2.285Mb) The Author as Scribe. Materiality and Textuality in the Trecento The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Aresu, Francesco Marco. 2015. The Author as Scribe. Materiality and Textuality in the Trecento. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467386 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Author as Scribe. Materiality and Textuality in the Trecento A dissertation presented by Francesco Marco Aresu to The Department of Romance Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Italian Harvard University Cambridge, Massachusetts May 2015 © 2015 Francesco Marco Aresu. All rights reserved. ! ! Professor Jeffrey Schnapp Francesco Marco Aresu The Author as Scribe. Materiality and Textuality in the Trecento Abstract In this dissertation, I explore the relationship between the material aspects of an editorial artifact and their literary implications for the texts it contains. I show how the interpretation of a text needs to be accompanied by an inquiry into the material conditions of its production, circulation and reception. This study is intended as both an investigation of the material foundations of institutions of literary study and a reflection on some often neglected sides of contemporary theorizations concerning textuality, writing, and media. My purpose is to show a paradigmatic example of the basic coincidence of textual datum and material unit, content and medium, verbal-visual message and physical support. The dissertation is articulated in a theoretical chapter followed by three case studies. In the theoretical introduction, I provide critical reflection on and expressive response to the complex, non-deterministic interplay between cultural constructs and the media within which they are formalized and by which they are formed in the context of medieval Italian literature. First, I briefly outline the theoretical coordinates within which to consider the materiality of textual supports (óstraka, papyry, codices) as a key element for the adequate interpretation of the texts that they preserve. Next, I offer examples of the interdependence between the strictly textual and material characteristics of a literary product. I sketch out the interpretive implications of these connections from the points of view of composition, circulation, and reception. I purposely draw the examples from different textual cultures, mainly classical (Greek and Latin) and medieval (Occitanic and Italian), in order to test the general plausibility of my methodology of inquiry. ! iii ! ! The first case study is conceived as a thematological inquiry. It offers a catalogue raisonné of the metaphors of the book and book production in the Dantean corpus. It studies, therefore, the description of the materiality of the book at the level of the enunciation. Books are a recursive figure in Dante’s macrotext. The reference to the “libro della mente” in the early canzone “E’ m’incresce di me sì duramente” prefigures the “libro della memoria” in the incipit of the Vita Nova. Moreover, the book is the metaphor for the revelation of the cosmos held together by bond of love (“legato con amore in un volume”) at the climax of Dante’s mystical vision in Paradiso 33. Dante’s entire literary production is inscribed within the metaphorics of the book, which is disseminated in poetically and hermeneutically significant places. In this chapter, I begin by charting Dante’s images of and references to books in his corpus. Basing my analysis on Ernst Robert Curtius’ historical study of the book as symbol, and Hans Blumenberg’s gnoseological articulation of the metaphor of the legibility of the world, I then outline the various semantic realms that the metaphorics of the book entails. On one hand, the hints at the book structure serve as meta- textual elements that guide interpretation, since they convey information on the book format, the typology of expected readership, and the expository order of the text. In sum, these metaphors of books and book production are chiefly concerned with the text’s dramatizing its own problematic creation. For instance, the material elements implied in the address to the reader in Paradiso 10, 22 (“Or ti riman, lettor, sovra ’l tuo banco”) underscore a precise choice of book format (the “libro da banco universitario”) and a specific readership (scholars). On the other hand, the metaphorology of the book (and of the Commedia qua book) entails a more radical cognitive experience, since it signifies the reductio ad unum of scattered entities due to its nature as all-compassing semiotic vehicle. The final step of my analysis is to compare the interpretive indications inferred from references to the materiality ! iv ! ! of the book embedded in the text with actual renditions of some early witnesses of the Vita Nova. In the second case study, I explore the editorial and intertextual relations between Giovanni Boccaccio’s autograph of the Teseida and two exemplars of the poem (a manuscript and an incunabulum, both produced in Ferrara in the 1470s and kept at Houghton Library, Cambridge, MA). First, I delineate the complex system of authorial personae that Boccaccio impersonates in the manuscript. Then, I describe how visual and verbal elements in the autograph cooperate to engage the reader in a multi-sensorial aesthetic experience. Next, I investigate to what extent the material configuration of the Ferrara exemplars comply with the hermeneutic guidelines materially embedded by Boccaccio into his autograph as a means of managing the reception and controlling the interpretation of the poem. I outline how these two exemplars reveal the importance of Boccaccio’s editorial project in successfully inscribing his literary production within the canon of authoritative texts. In fact, the rich paratextual apparatus with which Boccaccio furnishes his autograph is the foundation upon which the Teseida grew into a classic and sprouted the proliferation of comments and accretions that surrounded the text of the poem. The third case study focuses on Francesco Petrarca’s Rerum vulgarium fragmenta. Petrarca’s songbook has been a privileged object of analysis for material philology since the publication of the fac-simile of the manuscript that preserves the autograph of the collection (ms. Vat. lat. 3195). The study of the autograph shows Petrarca’s editorial project of associating the poet’s activity with the scribe’s in an ideal coincidence of literary expression and script, text and book, composition and folio. Basing my inquiry on the fac-simile, I argue that the autograph should be considered as an organized form of visual poetry. In fact, this exemplar can be thought of as an entity that systematically conjugates a linguistic/verbal ! v ! ! message with an iconic formation. The two are not simply juxtaposed, but rather they coexist in a sort of hypostasis, in which the iconic element affects the linguistic substance. On one hand, the verbal text brings about meanings that are of a linguistic type. On the other hand, it is structured as a medium that conveys meanings that are generally portrayed by the other order of representation (the visual). Therefore, the autograph delineates a project of integration between graphical and linguistic elements, in compliance with the classical and medieval tradition of visual poetry (from Simias’ taechnopagnia and Optatianus’ carmina figurata to the calligraphic production of the Schola Palatina). In the case of Petrarca’s songbook, the iconic element does not imply an apparatus of images, given the extreme essentialism of his editorial endeavors. Instead, it is chiefly limited to the graphic execution of the linguistic sign: its system of majuscules and minuscules, its layout, the regulation of written lines and blank spaces, and the relation between verse and line. I will therefore indicate how the iconic character of the autograph can be interpreted as a series of logical relations between the poetic language and its graphic rendition through writing. My purpose is to show that this series of relations conveys a specific set of visual guidelines that lead the reader through the decoding and interpretation of the text. ! vi ! TABLE OF CONTENTS ABSTRACT III TABLE OF CONTENTS VII DEDICATION VIII ACKNOWLEDGMENTS IX INTRODUCTION – HOW TO DO WORDS WITH THINGS 1 1. IN LIMINE 1 2. PARADIGMS FOR AN ANALYSIS OF MATERIALITY AND TEXTUALITY 3 3. (IM-)MATERIALITY AND COMPOSITION 17 4. READING MATERIALS 24 5. TRANSMISSION, CIRCULATION, RECEPTION 28 6. MATERIALITY AND TEXTUALITY IN THE TRECENTO 33 1 – DANTE’S VITA NOVA: A METAPHOROLOGY OF THE BOOK 41 1. INTRODUCTION 41 2. A MODEL FOR THE MIND 50 3. METATEXT, TEXTUAL CRITICISM, AND EDITORIAL PRACTICE 65 4. THE COPYIST AS AUTHOR 76 5. CONCLUSIONS 87 2 – TEXTUAL CONDITION AND MATERIALITY IN BOCCACCIO’S TESEIDA 91 1. INTRODUCTION 91 2. BOCCACCIO’S DESK: BOOK FORMS AND TEXTS 93 3. THE TESEIDA BETWEEN AUTOGRAPHY AND HERMENEUTICS 96 4. TESEIDA AND THEBAID 105 5. MORPHOLOGY OF BOCCACCIO’S SELF-COMMENTARY 108 6. THE TESEIDA BETWEEN VERBAL AND VISUAL 115 7. PRELIMINARY CONCLUSIONS: NOTIONS OF AUTHORIALITY 122 8. THE TEXTUAL PROLIFERATION OF THE TESEIDA: FERRARA, 1466-1475 127 vii 8.1. CAMBRIDGE (MASS.), HOUGHTON LIBRARY, MS. TYP 227 129 8.2. CAMBRIDGE (MASS.), HOUGHTON LIBRARY, INC 5735 (28.2) 132 8.3. PIETRO ANDREA DE’ BASSI COMMENTARY TO THE TESEIDA 136 9. CONCLUSIONS 142 3 – VISUAL ARGUMENTATION IN PETRARCA’S SESTINAS 144 1. INTRODUCTION 144 2. PROTO-HISTORY OF THE SESTINA 146 3. A POETICS OF MANUSCRIPTS 157 4. MICRO- AND MACRO-POETICS IN THE FRAGMENTA 165 5. CARMINA FIGURATA 171 6.
Recommended publications
  • Indipendenza
    ItinerariItinerari PIAZZE FFIRENZEIRENZE e 17th may 2009 nell’nell’800 MUSICA Piazza dell’Indipendenza The 19th Century Florence itineraries: Squares and Music ThTTheh brass band of the Scuola Marescialli e Brigadieri deddeie Carabinieri is one of the fi ve Carabinieri bands whwwhoseh origin lies in the buglers of the various Legions TheTh 19th19th CenturyC t FlorenceFl ititinerariesi i – 17th1717 h may 2009200009 of the Carabinieri, from which the fi rst bands were designed signifi cantly to coincide with Piazza later formed with brass and percussion instruments. the150th anniversary of the unifi cation of dell’Indipendenza, Today the Brass Band – based in Florence at the Tuscany to the newly born unifi ed state (1859 11.00 am-12.30 am School with the same name – is a small band with – 2009) – will take citizens and tourists on the a varied repertoire (symphonies, operas, fi lm sound discovery of the traces of a Century that left a Fanfara (Brass tracks as well as blues and jazz), especially trained for profound impression on the face of Florence. band) of the its main activity: the performance of ceremonies with The idea is to restore the role of 19th Century Scuola Marescialli assemblies and marches typical of military music. The band wears the so-called Grande Uniforme Speciale, a Florence within the collective imagination, e Brigadieri alongside the Florence of Medieval and very special uniform with its typical hat known as the Renaissance times. This is why one of the dell’Arma dei “lucerna” (cocked hat) and the red and white plume Carabinieri that sets it apart from the musicians of other units of Century’s typical customs will be renewed: the Carabinieri (red-blue plume).
    [Show full text]
  • Petrarch and Boccaccio Mimesis
    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
    [Show full text]
  • UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento De Filología Italiana
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Italiana CRISIS POLÍTICA EN EL CANZONIERE DE PETRARCA MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR María José Rodrigo Mora Bajo la dirección de la doctora María Hernández Esteban Madrid, 2002 ISBN: 978-84-8466-370-6 © María José Rodrigo Mora, 1994 TESIS DOCTORAL CRISIS POLÍTICA EN EL CANZONIERE DE PETRARCA AUTORA: MARÍA JOSÉ RODRIGO MORA DIRECTORA: MARÍA HERNANDEZ ESTEBAN DEPARTAMENTO’ DE FILOLOGÍA ITALIANA FACULTAD DE FILOLOGÍA UNIVERSIDAD COMPLUTENSE MADRID -1994- P&..W tqg.336 Pdg.341 Ests tcais hn sido clabornda cn los alrededores dc ArquB, punto de, pcregrinecion tul vez obligndo pura nqucllos que sdmirrn en In pocsln de Pctrnrcn la sublimacion de un cttnto que por sus perfectns corrcspondcncins internas y por su unidad temlticr, hn sido g,Iorificado pnrn sicmprc. Si Montnigne afirmaba que el verdndero espejo dc nucsîros pensamientos es el curso de nucstrn vidn, EL untt poesia que celcbrn las sutiles diferencias de los m6s Icvcs estndos de Animo, pero que cnrwe de “historitt”, le corresponderin un valor igual a cero en el cttso de que R travcs de elltt se intcntnse vislumbrrr urrt~ aventura humnnr insertada cn una dcterminnda epoca, La tumba nl nire libre, y ligeramente elevada sobre unoa pilnres, de Ir plnzn dr ArquB, no seria sino la mistificacibn nrquitcctonicn m8s idbnea para quien cscribii, sin obscrvnr In tierra. A finales de IR dkctrda anterior se sentía un cierto desasosiego al constatar como y en qu(! manern se trataban algunos de los aspectos del Csrtrurtlore, o ciertas actitudes del poeta cn cuanto il autor-personaje.
    [Show full text]
  • Scrivere Leggere Interpretare
    UNIVERSITÀ DEGLI STUDI DI TRIESTE SCRIVERE LEGGERE INTERPRETARE STUDI DI ANTICHITÀ IN ONORE DI SERGIO DARIS A CURA DI FRANCO CREVATIN E GENNARO TEDESCHI TRIESTE 2005 © Università degli Studi di Trieste - 2005 URL: www.sslmit.units.it/crevatin/franco_crevatin_homepage.htm In copertina foto di P.Daris inv. 98 (Alceo; Ia-Ip) Nota dei Curatori Ci sono momenti in cui dimensione accademica e fatti umani si intrecciano inestricabilmente: assieme ad altri Amici e Colleghi abbiamo desiderato fissare uno di tali momenti, nel quale la stima scientifica e la gratitudine per l’insegnamento ricevuto diventano parte della nostra storia condivisa. A Sergio Daris, che esce dai ruoli universitari, non occorre dire “arrivederci”, perché già sappiamo che la nostra consuetudine e lo scambio di idee continueranno come nel passato. F.C. G.T. I N D I C E ISABELLA ANDORLINI, Note di lettura ed interpretazione a PSI IV 299: un caso di tracoma, pp. 6 ANGELA ANDRISANO, La lettera overo discorso di G. Giraldi Cinzio sovra il comporre le satire atte alla scena: Tradizione aristotelica e innovazione, pp. 9 MARIA GABRIELLA ANGELI BERTINELLI – MARIA FEDERICA PETRACCIA LUCERNONI, Centurioni e curatori in ostraka dall'Egitto, pp. 44 GINO BANDELLI, Medea Norsa giovane, pp. 32 GUIDO BASTIANINI, Frammenti di una parachoresis a New York e Firenze (P.NYU inv. 22 + PSI inv. 137), pp. 6 MARCO BERGAMASCO, ¥(Upereth\j a)rxai=oj in POsl III 124, pp. 9 LAURA BOFFO, Per il lessico dell’archiviazione pubblica nel mondo greco. Note preliminari, pp. 4 FRANCESCO BOSSI, Adesp. Hell. 997a, 5 Ll.-J.-P., pp. 2 MARIO CAPASSO, Per l’itinerario della papirologia ercolanese, pp.
    [Show full text]
  • Saggio Casa-Petrarca 2020
    Questo saggio è dedicato a tutte le splendide persone che si sono unite alla nostra battaglia di civiltà. La nostra gratitudine agli indimenticabili amici GIANMARIO MAGGI FRANCO MORGANTI PHILIPPE DAVERIO LUIGI ZANZI GIAMBATTISTA VIDA ANNA ANDREOLI compagni di avventura e campioni di coraggio nella difesa ad oltranza della petrarchesca Solitudine di Linterno. Stima e riconoscenza al mecenate CLAUDIO DE ALBERTIS all’origine del recupero del monumento. 3 SAGGIO STORICO DIVULGATIVO CURATORE, COORDINAMENTO DEL PROGETTO, RICERCHE ICONOGRAFICHE E GRAFICA MAssIMO DE RIGO AUTORI DEL SAGGIO: MAssIMO DE RIGO ROBERTO GARIBOLDI ANNA ANDREOLI MARCO A. RIGHINI MARCO GIULIO CASTELLI GIANBATTISTA VIDA REVISORE DEI TESTI: ERALDO ALENGHI SUPERVISIONE: ROBERTO GARIBOLDI FOTOGRAFIE E RICERCHE SULLE IMPRESE VISCONTEE: RENATO BOSONI SI RINGRAZIANO: GIANMARIO MAGGI THEO DE RIGO FRANCO MORGANTI FABRIZIO MINUNNI PHILIPPE DAVERIO ERNESTINA GHILARDI LUIGI ZANZI GIORDANO PIROLA MONS. GIOVANNI BALCONI DANIELE DE RIGO ANNA MARIA AMROSIONI MARA DE RIGO CLAUDIO DE ALBERTIS MARCO RONCHI MARCO ERMENTINI ROBERTO TARANTO FILIPPO DEL CORNO FRANCO ZAMBONI MARCO BESTETTI EUGENIO LUXARDO FRANCESCO PERLI MARIA MAFFUCCI MARCO GIACHETTI ANNALISA ANDREOLI EMANUELA BIssOLI GIANCARLO DALTO LAURA DE NARDI SIMONE SELLERIO LUCA QUARTANA STEFANO CRIPPA ANTONIO IOSA ANNA MARIA VERDE VINCENZO LOIACONO LUIGI MEREGHETTI NERIO DE CARLO ISIDORO SPIROLAZZI ERMANNO ARSLAN RICCARDO DE BENEDETTI MARIA CRISTINA VANNINI SIRO PALESTRA GIUSEPPE FRAssO PER I BRANI DELL’INTRODUZIONE TRATTI DA “FRANCESCO PETRARCA. LA BIOGRAFIA PER IMMAGINI” TOURING CLUB ITALIANO AssOCIATION D’AMITIÉ FRANCO-ITALIENNE REDAZIONE DE “IL RILE” REDAZIONE DI “MILANOAMBIENTE” ISTITUTO COMPRENSIVO STATALE “LUCIANO MANARA” UN SENTITO RINGRAZIAMENTO AGLI STRAORDINARI VOLONTARI IN PRIMA LINEA DEL CSA PETRARCA ONLUS MILANO, SETTEMBRE 2020 4 INDICE INTRODUZIONE.
    [Show full text]
  • Petrarch and Boccaccio Mimesis
    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
    [Show full text]
  • Rewriting Dante: the Creation of an Author from the Middle Ages to Modernity
    Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _______________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 ABSTRACT Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _________________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 Copyright by Laura Banella 2018 Abstract Rewriting Dante explores Dante’s reception and the construction of his figure as an author in early lyric anthologies and modern editions. While Dante’s reception and his transformation into a cultural authority have traditionally been investigated from the point of view of the Commedia, I argue that these lyric anthologies provide a new perspective for understanding how the physical act of rewriting Dante’s poems in various combinations and with other texts has shaped what I call after Foucault the Dante function” and consecrated Dante as an author from the Middle Ages to Modernity. The study of these lyric anthologies widens our understanding of the process of Dante’s canonization as an author and, thus, as an authority (auctor & auctoritas), advancing our awareness of authors both as entities that generate power and that are generated by power.
    [Show full text]
  • Il Modello Autobiografico Delle Familiares Di Petrarca
    Antognini- fronte-396-5 22-12-2008 10:18 Pagina 1 STUDI E RICERCHE Roberta Antognini IL PROGETTO AUTOBIOGRAFICO DELLE FAMILIARES DI PETRARCA ISBN 978-88-7916-396-5 Copyright 2008 Via Cervignano 4 - 20137 Milano Catalogo: www.lededizioni.com - E-mail: [email protected] I diritti di traduzione, di memorizzazione elettronica e pubblicazione con qualsiasi mezzo analogico o digitale (comprese le copie fotostatiche e l’inserimento in banche dati) sono riservati per tutti i paesi. _________________________________________________________________________ Le fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume o fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Le riproduzioni effettuate per finalità di carattere professionale, economico o commerciale o comunque per uso diverso da quello personale possono essere effettuate a seguito di specifica autorizzazione rilasciata da: AIDRO, Corso di Porta Romana n. 108 – 20122 Milano E-mail [email protected] - sito web www.aidro.org __________________________________________________________________________________________ In copertina: Francesco Petrarca, Epistolae familiares (editio princeps), a cura di Sebastiano Manilio Venezia, Giovanni e Gregorio de Gregori, 13 settembre 1492 (Milano, Biblioteca Ambrosiana, Inc. 604 c. 1r) Diritti Biblioteca Ambrosiana. Vietata la riproduzione. Aut. F 146/08ce Videoimpaginazione e redazione grafica: Claudio Corvino Stampa: Digital Print Service SOMMARIO Premessa 11 1. Fortuna e sfortuna delle ‘Familiares’ 15 1.1. Storia editoriale delle ‘Familiares’ (p. 15) – 1.2. La questione del titolo (p. 18) – 1.3. La critica e le ‘Familiares’ (p. 21) – 1.4. Autobiografi a nel Medioevo? (p. 24) 2.
    [Show full text]
  • Books About Music in Renaissance Print Culture: Authors, Printers, and Readers
    BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book.
    [Show full text]
  • 1 LUGLIO XXX Ravenna Festival - Ore 21:30 Ravenna, Chiostro Della Biblioteca Classense Quartetto Echos
    2019 1 LUGLIO XXX Ravenna Festival - ore 21:30 Ravenna, Chiostro della Biblioteca Classense Quartetto Echos dal 15 al 19 VILLA LA FONTE - Execution Time LUGLIO European University Institute ore 13.
    [Show full text]
  • Civic Genealogy from Brunetto to Dante
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 The Root Of All Evil: Civic Genealogy From Brunetto To Dante Chelsea A. Pomponio University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Medieval Studies Commons Recommended Citation Pomponio, Chelsea A., "The Root Of All Evil: Civic Genealogy From Brunetto To Dante" (2016). Publicly Accessible Penn Dissertations. 2534. https://repository.upenn.edu/edissertations/2534 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2534 For more information, please contact [email protected]. The Root Of All Evil: Civic Genealogy From Brunetto To Dante Abstract ABSTRACT THE ROOT OF ALL EVIL: CIVIC GENEALOGY FROM BRUNETTO TO DANTE Chelsea A. Pomponio Kevin Brownlee From the thirteenth century well into the Renaissance, the legend of Florence’s origins, which cast Fiesole as the antithesis of Florentine values, was continuously rewritten to reflect the changing nature of Tuscan society. Modern criticism has tended to dismiss the legend of Florence as a purely literary conceit that bore little relation to contemporary issues. Tracing the origins of the legend in the chronicles of the Duecento to its variants in the works of Brunetto Latini and Dante Alighieri, I contend that the legend was instead a highly adaptive mode of legitimation that proved crucial in the negotiation of medieval Florentine identity. My research reveals that the legend could be continually rewritten to serve the interests of collective and individual authorities. Versions of the legend were crafted to support both republican Guelfs and imperial Ghibellines; to curry favor with the Angevin rulers of Florence and to advance an ethnocentric policy against immigrants; to support the feudal system of privilege and to condemn elite misrule; to denounce the mercantile value of profit and ot praise economic freedom.
    [Show full text]
  • American Dante Bibliography for 2011
    American Dante Bibliography for 2011 Richard Lansing This bibliography is intended to include all publications relating to Dante (books, articles, translations, reviews) written by North American writers or published in North America in 2011, as well as reviews of books from elsewhere published in the United States and Canada. Translations Alighieri, Dante. La “Commedia” di Dante Alighieri. With commentary by Robert Hollander. Translated and edited by Simone Marchesi. Florence: Olschki, 2011. Alighieri, Dante. The Divine Comedy of Dante Alighieri, Volume 3: Paradiso. Translated by Robert M. Durling. Oxford: Oxford University Press, 2011. Alighieri, Dante. Dante’s Inferno. A New Translation in Terza Rima. Translated by Robert M. Torrance. Bloomington, Ind.: Xlibris, 2011. Studies Special Issue on Dante. Lettere Italiane 63, no. 2 (2011). Edited by Carlo Ossola. “Accessus ad Auctores”: Studies in Honor of Christopher Kleinhenz. Edited by Fabian Alfie and Andrea Dini. Tempe, Ariz.: ACMRS, 2011. Aleksander, Jason. “Dante’s Understanding of the Two Ends of Human Desire and the Relationship between Philosophy and Theology.” The Journal of Religion 91, no. 2 (2011): 158–87. Aleksander, Jason. “The Problem of Theophany in Paradiso 33.” Essays in Medieval Studies 27, no. 1 (2011): 61–78. Alfie, Fabian. “Diabolic Flatulence: A Note on Inferno 21.139.” Forum Italicum 45, no. 2 (2011): 417–27. Alfie, Fabian. “Sixteenth–Century Criticism of Dante’s Tenzone with Forese Donati: Vincenzo Borghini’s ‘De’ poeti antichi toscani.’” In Alfie and Dini, “Accessus ad Auctores,” 137–53. Alfie, Fabian. Dante’s Tenzone with Forese Donati: The Reprehension of Vice. Toronto: University of Toronto Press, 2011. Allaire, Gloria.
    [Show full text]