Petrarch and Boccaccio Mimesis
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Declinazioni Dei Tòpoi Della Foresta in Le Morte Darthur Di Sir Thomas Malory
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Filologia Moderna Classe LM-14 Tesi di laurea Declinazioni dei tòpoi della foresta in Le Morte Darthur di Sir Thomas Malory Relatore Laureando Prof.ssa Alessandra Petrina Daniele Biffanti n° matr. 1039306 / LMFIM Anno Accademico 2014 / 2015 1 2 INDICE p. 3 PREMESSA p. 7 CAP. 1 – LA FORESTA TRA ETÀ ANTICA E MEDIOEVO 1.1 ORIGINE ED ETIMOLOGIA DEI TERMINI “SELVA”, “FORESTA” E “BOSCO” p. 9 1.2 LA SELVA IN ETÀ GRECO-ROMANA p. 13 1.3 CAMBIAMENTI NELL'ALTO MEDIOEVO p. 21 1.4 LA FORESTA NEL BASSO MEDIOEVO p. 27 1.5 UN CASO SPECIFICO: LA FORESTA NEL MEDIOEVO INGLESE p. 30 CAP. 2 – LA SELVA NELLA LETTERATURA ANTICA 2.1 LA SELVA E LA CITTÀ ANTICA: GILGAMESH E ROMOLO p. 35 2.2 IL RITRATTO DEL SELVAGGIO p. 43 2.3 LA CACCIA NEL BOSCO p. 47 2.4 LA SELVA COME LOCUS AMOENUS E LOCUS HORRIDUS: VIRGILIO E LUCANO p. 56 CAP. 3 – LA FORESTA NELLA LETTERATURA TARDOLATINA E ALTOMEDIEVALE 3.1 IL BOSCO DI GRENDEL IN BEOWULF p. 65 3.2 LA FORESTA COME DESERTUM: FORESTA E DESERTO BIBLICO p. 70 3.3 HYLE E SILVA: LA SELVA COME CAOS E MATERIA PRIMORDIALE p. 74 CAP. 4 – LA FORESTA NEI TESTI DEL BASSO MEDIOEVO 4.1 LA “SELVA OSCURA” E LA “SELVA ANTICA” NELLA DIVINA COMMEDIA p. 79 4.2 IL MOTIVO DELLA “CACCIA INFERNALE” NELLA LETTERATURA ITALIANA MEDIEVALE p. 84 4.3 NASCITA E SVILUPPO DEL CICLO ARTURIANO p. -
Assumption Parking Lot Rosary.Pub
Thank you for joining in this celebration Please of the Blessed Mother and our Catholic park in a faith. Please observe these guidelines: designated Social distancing rules are in effect. Please maintain 6 feet distance from everyone not riding parking with you in your vehicle. You are welcome to stay in your car or to stand/ sit outside your car to pray with us. space. Anyone wishing to place their own flowers before the statue of the Blessed Mother and Christ Child may do so aer the prayers have concluded, but social distancing must be observed at all mes. Please present your flowers, make a short prayer, and then return to your car so that the next person may do so, and so on. If you wish to speak with others, please remember to wear a mask and to observe 6 foot social distancing guidelines. Opening Hymn—Hail, Holy Queen Hail, holy Queen enthroned above; O Maria! Hail mother of mercy and of love, O Maria! Triumph, all ye cherubim, Sing with us, ye seraphim! Heav’n and earth resound the hymn: Salve, salve, salve, Regina! Our life, our sweetness here below, O Maria! Our hope in sorrow and in woe, O Maria! Sign of the Cross The Apostles' Creed I believe in God, the Father almighty, Creator of heaven and earth, and in Jesus Christ, his only Son, our Lord, who was conceived by the Holy Spirit, born of the Virgin Mary, suffered under Ponus Pilate, was crucified, died and was buried; he descended into hell; on the third day he rose again from the dead; he ascended into heaven, and is seated at the right hand of God the Father almighty; from there he will come to judge the living and the dead. -
Twenty-Fourth Sunday in Ordinary Time
Cathedral Basilica of Saints Peter and Paul And the Shrine of Saint Katharine Drexel 18th Street and Benjamin Franklin Parkway, Philadelphia, Pennsylvania Most Reverend Charles J. Chaput, O.F.M. Cap., Archbishop of Philadelphia September 15, 2019 Parish Mission Statement As a vibrant Roman Catholic community in Center City, the Cathedral Parish Serves all those who come to the Mother Church of the Archdiocese of Philadelphia. We profess our Catholic Faith, minister to others and welcome all, as founded on the Word of God and the celebration of the Sacraments of Jesus Christ, our Lord and Savior. Adopted by the Parish Council, April 5, 2016 Reverend Gerald Dennis Gill MASS SCHEDULE Rector and Pastor Sunday: 5:15 PM Anticipated Mass on Saturday Reverend Monsignor Arthur E. Rodgers 8:00 AM, 9:30 AM, 11:00 AM in Basilica Rector Emeritus 12:30 PM Spanish in Cathedral Chapel Sta. Misa en español, en la Capilla Reverend Matthew K. Biedrzycki 6:30 PM in Basilica Parochial Vicar Weekdays: 7:15 AM, 12:05 PM in Cathedral Chapel Reverend Monsignor Louis A. D’Addezio Saturdays: 12:05 PM in Cathedral Chapel Reverend Isaac Haywiser, O.S.B. Priests in Residence Holy Days: See website Deacon Epifanio de Jesus SACRAMENT OF PENANCE SCHEDULE Sister Eleanor McCann, R.S.M. Pastoral Associate Sunday: 9:00 AM and 5:30 PM in Basilica 12:00 PM (español) en la Capilla Sister Mary Luchia, P.V.M.I Parish Evangelization Weekdays: 11:30 AM in Basilica Charlene Angelini Saturday: 4:15 to 5:00 PM in Basilica Director of Cathedral Parish Music Please contact the Parish Office to arrange for the: Mark Loria SACRAMENT OF BAPTISM AND MARRIAGE, Principal Organist SACRAMENT OF THE ANOINTING OF THE SICK, Edward J. -
Awkward Objects: Relics, the Making of Religious Meaning, and The
Awkward Objects: Relics, the Making of Religious Meaning, and the Limits of Control in the Information Age Jan W Geisbusch University College London Thesis submitted in partial fulfilment of the requirements for the degree of Doctor in Anthropology. 15 September 2008 UMI Number: U591518 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591518 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration of authorship: I, Jan W Geisbusch, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature: London, 15.09.2008 Acknowledgments A thesis involving several years of research will always be indebted to the input and advise of numerous people, not all of whom the author will be able to recall. However, my thanks must go, firstly, to my supervisor, Prof Michael Rowlands, who patiently and smoothly steered the thesis round a fair few cliffs, and, secondly, to my informants in Rome and on the Internet. Research was made possible by a grant from the Economic and Social Research Council (ESRC). -
Quo Vadis La Prima Opera Transmediale
CONFERENZE 137 QUO VADIS LA PRIMA OPERA TRANSMEDIALE INDICE ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 137 QUO VADIS LA PRIMA OPERA TRANSMEDIALE Atti del convegno Roma 14-15 novembre 2016 a cura di ELISABETTA GAGETTI E MONIKA Woźniak ROMA 2017 Pubblicato da AccAdemiA PolAccA delle Scienze BiBliotecA e centro di Studi A romA vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Pubblicazione finanziata dall’Accademia Polacca delle Scienze con il supporto dell’Università di Wrocław nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia “Narodowy Program Rozwoju Humanistyki” Nr 0136/NPRH4/H2b/83/2016 Recensione: ANDREA CECCHERELLI Traduzioni: ALESSANDRA PINI (DALL’INGLESE) – TESTI DI M.WYKE, J. STUBBS, A. DYKMAN ELISABETTA GAGETTI (DALL’INGLESE) – TESTO DI M. M. WINKLER SALVATORE GRECO (DAL POLaccO) – TESTI DI E. SKwaRA, B. Szleszyński, R. SUCHOWIEJKO, M. BOKSZCZANIN, D. ŚWIERCzyńskA Progetto grafico: ANNA WawRZYNIAK MAOLONI Redazione tecnica: ELISABETTA GAGETTI Impaginazione e stampa: EDO – JAKUB ŁOŚ ISSN 0239-8605 ISBN 978-83-63305-41-3 © Accademia Polacca delle Scienze Biblioteca e Centro di Studi a Roma INDICE PIOTR SALWA PREMESSA 9 QUO VADIS E L'ANTICA ROMA ADAM ZIÓŁKOWSKI SIENKIEWICZ E LA TOPOGRAFIA DI ROMA ANTICA. IL MISTERO DELL’OSTRIANUM IN QUO VADIS 13 EWA SKWARA AMARE AL MODO DEI CLASSICI. ISPIRAZIONI ANTICHE PER LA RAPPRESENTAZIONE DELL’AMORE NEL QUO VADIS DI HENRYK SIENKIEWICZ 29 BARTŁOMIEJ SZLESZYŃSKI QUO VADIS: LE FOLLE E I DIVERTIMENTI. IL ROMANZO DI HENRYK SIENKIEWICZ COME TESTIMONIANZA SULLE MASSE E SUGLI SPETTACOLI PER LE MASSE 41 QUO VADIS IN ALTRI MEDIA RENATA SUCHOWIEJKO QUO VADIS DI JEAN NOUGUÈS E FELIKS NOWOWIEJSKI. -
Brethren Band Mutual Kumquat Sings from the Soul
. .. -,!'l' ' ,:J~-~,.-,e'~..,;:,1':,., :. , . ., . ' . ' . Church of the Brethren Brethren band Mutual Kumquat sings from the soul DECEMBER 2009 VOL.158 NO. 11 WWW.BRETHREN.ORG a . publish with the voice of thanksgiving, and tell of all thy wondrous worksn (Psa. 26: 7b KJV). Editor: Walt Wiltschek Publisher: Wendy McFadden News: Cheryl Brumbaugh-Cayford Subscriptions: Diane Stroyeck Design: The Concept Mill want a revolution. Well you know, We all want to change the world." That desire still continues for many more than four decades later, and the infectious spirit of "good times revolution music" lives on in popular Brethren band Mutual Kumquat. Cover photo by Heidi Beck. 8 Some like it 'quat: A visit with Mutual Kumquat Mutual Kumquat carries its Brethren roots into its music, and it has developed a dedicated following in parts of the denomination. As the band prepares to mark its 10th anniversary in 2010, it has a renewed focus and several new projects in the works. 12 Making a joyful noise How could a small church choir be re-energized? Psalm 100 provided an answer. 14 Lighting a lamp for peace The town of Taybeh is one of the few predom inantly Christian towns remaining in Palestine. It shared with an ecumenical "Living Letters" delegation one of the ways it is keeping hope alive. DEPARTMENTS 16 Revelation: An apocalyptic el)ding 2 From the Publisher Graydon F. Snyder says Revelation, with all its 3 In Touch symbols and imagery, may be the most com Editor's note: We apologize for 6 Reflections plex book in the Bible. -
T Cristalcdbooklet 00602537612
CONCEPTIONCONCEPTION ETET DIRECTIONDIRECTION ARTISTIQUEARTISTIQUE DUDU SPECTACLESPECTACLE :: MYLÈNEMYLÈNE FARMERFARMER ETET LAURENTLAURENT BOUTONNATBOUTONNAT PRODUCTIONPRODUCTION DUDU SPECTACLESPECTACLE :: THIERRYTHIERRY SUCSUC CONCEPTIONCONCEPTION DUDU DÉCORDÉCOR :: MARKMARK FISHERFISHER ETET RICRIC LIPSONLIPSON DIRECTIONDIRECTION MUSICALEMUSICALE DUDU SPECTACLESPECTACLE :: YVANYVAN CASSARCASSAR ARRANGEMENTSARRANGEMENTS POURPOUR LALA SCÈNESCÈNE :: YVANYVAN CASSARCASSAR POURPOUR :: “COMME“COMME J’AIJ’AI MAL”,MAL”, “SLIPPING“SLIPPING AWAY”,AWAY”, “OUI“OUI MAIS…MAIS… NON”,NON”, “MAD“MAD WORLD”,WORLD”, “LES“LES MOTS”,MOTS”, “BLEU“BLEU NOIR”,NOIR”, “DIABOLIQUE“DIABOLIQUE MONMON ANGE”,ANGE”, “SANS“SANS CONTREFAÇON”,CONTREFAÇON”, “JE“JE T’AIMET’AIME MÉLANCOLIE”,MÉLANCOLIE”, “INSÉPARABLES”“INSÉPARABLES” ETET “RÊVER”“RÊVER” CRÉATIONCRÉATION DESDES COSTUMESCOSTUMES :: JEAN-PAULJEAN-PAUL GAULTIER GAULTIER CONCEPTIONCONCEPTION DESDES IMAGESIMAGES :: EVEEVE RAMBOZRAMBOZ,, LUCLUC FROEHLICHERFROEHLICHER,, LASZLOLASZLO BORDOSBORDOS CONCEPTIONCONCEPTION DESDES LUMIÈRESLUMIÈRES :: DIMITRIDIMITRI VASSILIUVASSILIU SONSON SALLESALLE :: STÉPHANESTÉPHANE PLISSONPLISSON POURPOUR LALA SOCIÉTÉSOCIÉTÉ MAWMAW CHORÉGRAPHIESCHORÉGRAPHIES :: MYLÈNEMYLÈNE FARMERFARMER ETET CHRISTOPHECHRISTOPHE DANCHAUDDANCHAUD POURPOUR :: “DÉSENCHANTÉE”,“DÉSENCHANTÉE”, “JE“JE T’AIMET’AIME MÉLANCOLIE”,MÉLANCOLIE”, “SANS“SANS CONTREFAÇON”,CONTREFAÇON”, “C’EST“C’EST UNEUNE BELLEBELLE JOURNÉE”JOURNÉE” FRANCKFRANCK DESPLANCHESDESPLANCHES POURPOUR :: “À“À L’OMBRE”L’OMBRE” DAVIDDAVID LEIGHTONLEIGHTON -
Optimistique-Moi 1
Optimistique-moi 1 „Je me fous de tes détresses Comme de tout et du reste...“ C'est ça le temps qui passe „Je me fous de tes angoisses elles m'ont nourrie mais me lassent...“ C'est ça, c'est le temps qui passe „Je fais fi de tes ‚je t'aime‘, Ils sont des cris qui m'enchaînent...“ C'est ça l'amour C'est quoi l'amour ? „Tu ne vis pas c'est morbide“ En somme, je suis pathétique, c'est ça l'amour Papa n'était pas comme ça, quand... Il disait tout bas : „Petit bouton de rose, Au pétales humide, Un baiser je dépose“ Optimistique-moi, Papa Optimistique-moi, quand j'ai froid Je me dis, tout bat Quand rien ne s'interpose, Qu'aussitôt, tes câlins Cessent toute ecchymose Optimistique-moi, Papa Optimistique-moi, reviens-moi... „Tu te fous de mes ténèbres Comme de tout, et comme du reste...“ C'est ça, le temps qui passe „Fais fi des signes du ciel Seuls les faits, sont ton bréviaire...“ C'est ça le temps qui passe Tu dis : „assez des histoires Ton passé est préhistoire...“ C'est ça l'amour C'est quoi l'amour ? Crucifie-moi Ponce Pilate Noie-toi dans l'eau écarlate L'amour est loin Papa était plus malin quand ... Mylène Farmer, vom Album «Innamoramento» 1999 Mach mich optimystisch / Optimistifizier mich 2 „Ich schere mich einen Dreck um deine Herzensangst/Hilflosigkeit Ebenso wie um alles und um den Rest...“ So ist's, die Zeit die vergeht „Ich schere mich einen Dreck um deine Ängste Sie haben mich genährt aber ermüden/langweilen mich...“ So ist's, das ist die Zeit die vergeht „Ich verabscheue deine »Ich liebe dich«s Es sind Schreie, die mich an die Kette legen...“ So ist sie, die Liebe Was ist das, die Liebe? „Du lebst nicht, das ist morbide/krankhaft“ Insgesamt bin ich rührselig/pathetisch (klingt auch wie: breiig), So ist sie, die Liebe Papa ist nicht so gewesen, als.. -
In Versions of Saint Brendan's Travels
PARADISE (?) IN VERSIONS OF SAINT BRENDAN’S TRAVELS Leif Søndergaard Syddansk Universitet Abstract Travel accounts were the most popular genre during the Middle Ages. Travelling went in all directions but preferably to the East, where Paradise was believed to be located. Paradise was hidden behind an ocean, a wall of fire or insurmountable mountains and thus inacces- sible. Saint Brendan’s voyage went west and the vast majority of scholars have claimed that Saint Brendan arrived in Paradise even if the various texts lack evidence for it, and in several ways. I characterize this apparent Paradise in the Navigatio version as a “fake Paradise,” because it is located to the west in contrast to the long tradition of Paradise descriptions and the mappae mundi where Paradise is always situated to the east. I call the Promised Land in the vernacular Voyage version a “pseudo-Paradise” despite the Christian elements, primarily because of its location and because Saint Brendan claims that he had been there. Key words: Travel account, Saint Brendan, Paradise, Promised Land, Garden of Eden, Mappa mundi, Land of Cockaigne. Resumen Los relatos de viajes fueron el género más popular durante la Edad Media. El viajero partía 13 en todas direcciones, pero preferiblemente hacia el este, donde se creía que se localizaba el Paraíso. Éste se escondía tras un océano, una muralla de fuego o montañas inaccesibles, por lo que era inalcanzable. El viaje de San Brendano se dirigió hacia el oeste, y una amplia mayoría de especialistas ha destacado, aun sin textos que lo evidencien, que el santo llegó al Paraíso. -
For People Who Love Early Maps Early Love Who People for 143 No
143 INTERNATIONAL MAP COLLECTORS’ SOCIETY WINTER 2015 No.143 FOR PEOPLE WHO LOVE EARLY MAPS JOURNAL ADVERTISING Index of Advertisers 4 issues per year Colour B&W Altea Gallery 57 Full page (same copy) £950 £680 Half page (same copy) £630 £450 Art Aeri 47 Quarter page (same copy) £365 £270 Antiquariaat Sanderus 36 For a single issue 22 Full page £380 £275 Barron Maps Half page £255 £185 Barry Lawrence Ruderman 4 Quarter page £150 £110 Flyer insert (A5 double-sided) £325 £300 Collecting Old Maps 10 Clive A Burden 2 Advertisement formats for print Daniel Crouch Rare Books 58 We can accept advertisements as print ready artwork saved as tiff, high quality jpegs or pdf files. Dominic Winter 36 It is important to be aware that artwork and files Frame 22 that have been prepared for the web are not of sufficient quality for print. Full artwork Gonzalo Fernández Pontes 15 specifications are available on request. Jonathan Potter 42 Advertisement sizes Kenneth Nebenzahl Inc. 47 Please note recommended image dimensions below: Kunstantiquariat Monika Schmidt 47 Full page advertisements should be 216 mm high Librairie Le Bail 35 x 158 mm wide and 300–400 ppi at this size. Loeb-Larocque 35 Half page advertisements are landscape and 105 mm high x 158 mm wide and 300–400 ppi at this size. The Map House inside front cover Quarter page advertisements are portrait and are Martayan Lan outside back cover 105 mm high x 76 mm wide and 300–400 ppi at this size. Mostly Maps 15 Murray Hudson 10 IMCoS Website Web Banner £160* The Observatory 35 * Those who advertise in the Journal may have a web banner on the IMCoS website for this annual rate. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
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