DOCSLIB.ORG

Rhythmical Figures in Dante's Commedia: a Study of Memory And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhythmical Figures in Dante's Commedia: a Study of Memory And Rhythmical Figures in Dante’s Commedia: A Study of Memory and Composition after Gianfranco Contini Ryan Robert Pepin Pembroke College This thesis is submitted for the degree of Doctor of Philosophy February 2020 This thesis is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my thesis has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. Abstract Rhythmical Figures in Dante’s Commedia: A Study of Memory and Composition after Gianfranco Contini Ryan Pepin This thesis takes Contini’s 1965 study ‘Un’interpretazione di Dante’, and its discussion of repeated lines and part-lines, as its point of departure in order to pursue new understanding of the compositional processes of Dante’s Commedia. It shows how the repetition of similar items, or ‘figures’, relates to orality both in a transmissional, or textual-critical sense, as well as in a compositional, or oral-formulaic, sense. Recollected language in the poem is discovered to be more pervasive than hitherto thought, and this data is then interrogated, revealing a conception of heterogenous units of rhythm and syntax susceptible of re-use. This challenges the frameworks for prosodic description that have been used to date to describe the poem, while setting up a new historical understanding of rhythm as ‘shape’. These intertwined rhythmical- syntactical units, revealed through line-by-line comparison of the entire poem, are then shown to be historically emplaced – a product of the language-learning practices of the medieval grammatica. Figurae uerborum, a medieval conception of syntax and rhythm belonging to the grammatica, and Contini’s ‘figure ritmiche’ together raise an interpretive challenge: they ask for an autonomous way of speaking about achievements of syntax and rhythm, with reference to new critical categories – particularly memorability and authority. A final section proposes a rhythmical-critical experiment: a practical-critical analysis of a specific rhythmical shape, exploring how the new compositional dynamics discovered in the course of the thesis change how the critic relates to the newly conceived poetic object. From medieval grammarians to twentieth-century philologists, this thesis uncovers a tradition of thought that sees rhythm not as an accident of poetic language, but as a grammatical phenomenon, best exemplified in the poets. Acknowledgements My conversations about Dante and Contini with Robin Kirkpatrick, Claudio Ciociola, and Kenneth Clarke have been the inspiration for this work. I would also like to thank my advisor, Catherine Pickstock, for engaging with this work in its early stages, and for setting it enthusiastically going. I would like to thank my examiners, Simone Marchesi and Kenneth Clarke, for this exceptionally kind feedback. My wife, Rosa van Hensbergen, made finishing this project possible. I am grateful to my friends for their conversation: to Tom Weber, Christian Coppa, Andrea Lazzarini, Laura Kilbride. I would also like to thank mom and dad for so many years of support and encouragement. I am indebted to the Cambridge Trust, Pembroke College, and to Sam Blyth for making my education and my doctoral research possible. Contents Introduction 1 Textual Criticism 32 Orality 68 Figure et mémoire. Contini and Valéry 118 Figura and Grammatica 137 Dignum et iustum est 173 Conclusion 192 Bibliography 195 Introduction What does a decent memory of Dante’s Commedia hear as it reads? A few terzine from the fifth canto of Purgatorio are enough to give a sense of how memory uncovers echoes between parts of the poem: Che potea io ridir, se non « Io vegno »? Dissilo, alquanto del color consperso che fa l’uom di perdon talvolta degno. E ‘ntanto per la costa di traverso venivan genti innanzi a noi un poco, cantando ‘Miserere’ a verso a verso. Quando s’accorser ch’i’ non dava loco per lo mio corpo al trapassar d’i raggi, mutar lor canto in un « oh! » lungo e roco; (Purg. 5.19-27)1 At the top of this quote Dante responds to Vergil’s injunction to follow, and to disregard the whisperings about him: ‘Vien dietro a me, e lascia dir le genti’ (Purg. 5.13). Dante has been reprimanded by Vergil once before now for his prurient regard for gossip. He remarked at that point how the reprimand lingered still in his memory: ‘volsimi verso lui con tal vergogna, / ch’ancor per la memoria mi si gira’ (Inf. 30.135-6). At the bottom of the above quote we also 1 Dante, La Commedia secondo l’antica vulgata, ed. by Giorgio Petrocchi, 4 vols (Florence: Le Lettere, 1994). All further canto and line references will be given in this format: canticle (Inf., Purg. Par.), followed by Arabic numerals for canto and line. Line references only will be given in the case of successive references to a particular passage. All further references to Dante’s Commedia will be to Petrocchi’s text, in the Le Lettere edition of 1994. Subsequent citations often include, however, my amendments to Petrocchi’s text, which are always explained in accompanying footnotes. 1 find the second instance in Purgatorio so far of a scene that repeats throughout the canticle.2 Dante’s shadow, his body which is impermeable to light, has startled a crowd, bringing its previous activity to a halt. Both of these actions then already have a layered significance, or are more like a second night than a début. But narrative analogies of this kind are not the only ones to emerge. Lines and part- lines, too, recall other lines and part-lines of the Commedia. Textually then as well, the poet works by putting new wine in old wineskins. Line 21 above – ‘che fa l’uom di perdon talvolta degno’ – is a shape of line the poet often makes with ‘degno’, placing the adjective at the end of the line with ‘di’ + nominal before it. So this line recalls the poet’s description of purgatory, a place ‘dove l’umano spirito si purga / e di salire al ciel diventa degno’ (Purg. 1.5-6). Sordello’s appeal to Vergil a few canti on comes also to mind: ‘S’io son d’udir le tue parole degno, / dimmi se vien d’inferno, e di qual chiostra’ (Purg. 7.20-1). All three purgatorial lines in turn recall a half-line from Inferno, in which Pier della Vigna swears that ‘già mai non ruppi fede / al mio segnor, che fu d’onor sì degno’ (Inf. 13.74-5). These textual echoes can be found throughout the passage. Line 23 above, in which a new set of purgatorial souls appear – ‘venivan genti innanzi a noi un poco’ – is a narratival, matter-of-fact replaying of Vergil’s words to the bewildered souls of Purg. 2. There, the newly arrived ‘nova gente’ (58) turn to the pilgrims for direction, and Vergil replies: …Voi credete forse che siamo esperti d’esto loco ma noi siam peregrin come voi siete. 2 The first being Purg. 2.67-75. Seeing Dante breathe, ‘s'affisar quelle / anime fortunate tutte quante, / quasi oblïando d'ire a farsi belle’ (73-5). 2 Dianzi venimmo, innanzi a voi un poco per altra via, che fu sì aspra e forte, (Purg. 2.61-5)3 The second hemistichs of these lines are identical (‘voi’ becomes ‘noi’), but the movement of venire back makes a pause-less line out of a strongly bifurcated one. There are other part-lines that a decent memory recognises, perhaps with a subtler sense of acquaintance, from elsewhere. Sometimes the recall seems beyond comment, because reused bits of language can be merely phrasal or idiomatic. That is the case with the second hemistich of line 24, ‘a verso a verso’. Singing ‘Miserere’ ‘line by line’ or ‘part by part’ seems natural enough. But does one also hear, in this phrasing, the iracondi of Inf. 7 employing all their limbs, ‘troncandosi co’ denti a brano a brano’ (Inf. 7.114)? Or Vergil’s duty in leading Dante ‘per lo ‘nferno qua giù di giro in giro’ (Inf. 28.50)?4 The initial gerund of this same line – ‘cantando “Miserere” a verso a verso’ – might also mark out a kind of line that is characteristic of this poet. Wrestlers fight, ‘avvisando lor presa e lor vantaggio’ (Inf. 16.24). A metamorphosed snake-man, ‘fiera divenuta / suffolando si fugge per la valle’ (Inf. 25.136-7). The poet asks that Calliope ‘alquanto surga / seguitando il mio canto’ (Purg. 1.9-10). Counting up to this point in Purgatorio, there are over twenty- five lines that begin with a gerund. Can common syntactical organisation, of that kind, also make for memorial association? Sometimes a prior instance of a particular word, used before in some significant way, is what is recollected in reading. Stronger still, though, is the memory of hearing the word in the same spot, or the same location in the line. So Adam’s words on the fall in Paradise, 3 I use bold type throughout when calling attention to an argumentatively relevant part of a citation from the Commedia.
Load more

Recommended publications
  • History and Emotions Is Elsa Morante, Goliarda Sapienza and Elena
    NARRATING INTENSITY: HISTORY AND EMOTIONS IN ELSA MORANTE, GOLIARDA SAPIENZA AND ELENA FERRANTE by STEFANIA PORCELLI A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 STEFANIA PORCELLI All Rights Reserved ii Narrating Intensity: History and Emotions in Elsa Morante, Goliarda Sapienza and Elena Ferrante by Stefania Porcell i This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ________ ______________________________ Date [Giancarlo Lombardi] Chair of Examining Committee ________ ______________________________ Date [Giancarlo Lombardi] Executive Officer Supervisory Committee: Monica Calabritto Hermann Haller Nancy Miller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Narrating Intensity: History and Emotions in Elsa Morante, Goliarda Sapienza and Elena Ferrante By Stefania Porcelli Advisor: Giancarlo Lombardi L’amica geniale (My Brilliant Friend) by Elena Ferrante (published in Italy in four volumes between 2011 and 2014 and translated into English between 2012 and 2015) has galvanized critics and readers worldwide to the extent that it is has been adapted for television by RAI and HBO. It has been deemed “ferocious,” “a death-defying linguistic tightrope act,” and a combination of “dark and spiky emotions” in reviews appearing in popular newspapers. Taking the considerable critical investment in the affective dimension of Ferrante’s work as a point of departure, my dissertation examines the representation of emotions in My Brilliant Friend and in two Italian novels written between the 1960s and the 1970s – La Storia (1974, History: A Novel) by Elsa Morante (1912-1985) and L’arte della gioia (The Art of Joy, 1998/2008) by Goliarda Sapienza (1924-1996).
    [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]
  • Download File
    Sì come dice lo Filosofo: Translating Philosophy in the Early Italian Lyric Akash Kumar Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ©2013 Akash Kumar All rights reserved ABSTRACT Sì come dice lo Filosofo: Translating Philosophy in the Early Italian Lyric Akash Kumar This study pushes back to the origins of the Italian lyric tradition in order to demonstrate that the impulse to distill the highest levels of intellectual culture into the vernacular love lyric was present from the very inception of the poetic vernacular. I aim to nuance our understanding of the divide between the early schools of poetry as determined by Dante in his role as a literary historian by analyzing early experiments in vulgarizing philosophy and science in the lyric production of Giacomo da Lentini, Guido delle Colonne, Guittone d’Arezzo, and Guido Guinizzelli. By isolating both formal elements of Scholastic argumentation and complex renderings of philosophical/scientific ideas, I develop a broad understanding of the early vernacular poetic engagement with Aristotelian philosophy that encompasses such areas as sensory perception, meteorology, and ethics. I trace the progression of this engagement from its Sicilian beginnings to the poetry of Guido Guinizzelli that is informed by the university culture of Bologna and posit that this early lyric form of vernacular humanism has profound implications for Dante’s poetic identity as well as the development of a vernacular intellectual identity that feeds in to such developments as Humanism and the Scientific Revolution. TABLE OF CONTENTS Chapter 1 Prime Mover: Giacomo da Lentini and the Philosophy of Vernacular Innovation p.
    [Show full text]
  • Mario Fubini
    Intellectuals Displaced from Fascist Italy © Firenze University Press 2019 Mario Fubini Go to personal file Professorship at the age of thirty-seven. Expelled at age thirty-eight. A Link to other connected Lives on the move: reserved man of studies, the Italianist Mario Fubini made a few attempts to find work abroad and leave the country, as did his colleagues and his wife’s Alessandro Levi relatives. Having not emigrated in time, a chance for refuge in Switzerland meant salvation for him, his wife, and his children; and for him, it also meant an experience full of study and instruction. Even more difficult, maybe, was an attempt to return to normalcy, given the weight of grieving for lost family and the «harsh toughness of the post-war academic establishment». Family history and early life Mario Fubini was born in Turin on 18 March 1900, to Riccardo (1874-1964) and Bice Fubini née Colombo (1879-1963). He had two younger siblings: Renzo (1904-1944) and Giulia Giorgina (1904-1987). He attended high school in Milan, where his father taught Political Economy in a technical institute1; and for college, he chose the University of Turin. In 1917, Mario enrolled in the Facoltà di Lettere e filosofia [School of Letters and Philosophy] and graduated in 1921 after writing a thesis on Alfred de Vigny, which was published at the recommendation of Benedetto Croce in the literary criticism series of Laterza edition2. Fundamental was his friendship during those years with Piero Gobetti, who at the time was a student of Jurisprudence and the person for whom Fubini held a moving commemoration in 19263.
    [Show full text]
  • Il Portolano A
    il Portolano A. XIII - Gennaio / Settembre 2007 PERIODICO TRIMESTRALE DI LETTERATURA N. 49/50 - € 8,00 SABAEDITORIALE tempo (si pensi a Soffici, Papini, Prezzolini, solo per citarne alcu- ni): “La cricca letteraria di Fi- SABA renze – scriverà nel gennaio 1905 – mi muove guerra ad ol- dai territori tranza; usando naturalmente di tutti i mezzi della mediocrità. Il si- della solitudine lenzio, le lodi peggiori di ogni (1883-1957) biasimo, la calunnia e via discor- f.g. rendo…”. E la sua rarefatta colla- borazione “vociana” (1912) sarà avvertita come “male accolta e ell’agosto 1957 Umberto con troppe riserve”. NSaba ci lasciava. Si spengeva A Firenze tornerà a 24 anni, una delle più autorevoli voci del- passandovi quasi un anno di “fer- la poesia italiana ed europea del ma” (pur alternandosi con Trieste) Novecento. nel convento di Monteoliveto, da Il “Portolano” lo ha voluto ri- sempre “Sezione di Ospedale Mi- cordare, non solo per la coinci- litare” (per malattie particolari), denza cinquantenaria, ma anche rubricato nell’amministrazione del per le tracce fiorentine che con- Regio Esercito, quale “Deposito corsero alla sua riflessione esi- di Monte Uliveto”, un complesso stenziale e poetica. architettonico riconducibile alla Saba fu a Firenze fra il 1905 e paternità michelozziana. il 1908 (tra l’aprile e l’ottobre L’esperienza militare (consu- 1907 è a Monte Uliveto); poi nel mata da Saba in periodo di pace) 1911, poco dopo sposato, e nel coinciderà con la retorica del bel- 1915 è documentato in una foto licismo: con Virgilio Giotti a San Felice a Umberto Saba. Ema (fra il Poggio Imperiale e il “Qui andiamo sì, ma a tanta no- vicino Galluzzo); vi tornò dopo stra guerra l’8 settembre del ’43, costretto a manca il nemico che ci miri al SABA / GUAGNINI,DEDENARO,CARRAI, fuggire da Trieste per il timore cuore, PESCINI,TARANI,GRISANCICH,SODOMACO, delle recrudescenze naziste anti- manca la morte che il fuggiasco atterra, BRANDALISE,ALBISANI,SALIBRA,CRESCENTE, semite.
    [Show full text]
  • Vertical Readings in Dante's Comedy
    Vertical Readings in Dante’s Comedy Volume 1 EDITED BY GEORGE CORBETT AND HEATHER WEBB To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/367 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Vertical Readings in Dante’s Comedy Volume 1 edited by George Corbett and Heather Webb http://www.openbookpublishers.com © George Corbett and Heather Webb. Copyright of individual chapters is maintained by the chapter’s author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: George Corbett and Heather Webb (eds.), Vertical Readings in Dante’s ‘Comedy’. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/10.11647/OBP.0066 Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ All external links were active on 30/07/2015 unless otherwise stated. Digital material and resources associated with this volume are available at http:// www.openbookpublishers.com/isbn/9781783741724 ISBN Paperback: 978-1-78374-172-4 ISBN Hardback: 978-1-78374-173-1 ISBN Digital (PDF): 978-1-78374-174-8 ISBN Digital ebook (epub): 978-1-78374-175-5 ISBN Digital ebook (mobi): 978-1-78374-176-2 DOI: 10.11647/OBP.0066 Cover image: Domenico di Michelino, La Commedia illumina Firenze (1465).
    [Show full text]
  • Likeness, Bewilderment, and Sweetness: the Italian Pathway to Lyrical Science
    LIKENESS, BEWILDERMENT, AND SWEETNESS: THE ITALIAN PATHWAY TO LYRICAL SCIENCE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Antonio Di Fenza May 2018 © 2018 Antonio Di Fenza LIKENESS, BEWILDERMENT, AND SWEETNESS: THE ITALIAN PATHWAY TO LYRICAL SCIENCE Antonio Di Fenza, Ph. D. Cornell University 2018 Scholars have defined Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, and Michelangelo Buonarroti philosopher-poets, and yet, they have overlooked the implications of such articulation. In my dissertation, I clarify how these authors articulate philosophy and poetry into a single one discipline – a lyric science – devise its thinking tools, and urge us to consider love as the defining experience of human life, and the gateway to knowledge. The results of this experiment can be summarized in four key-terms which name the different chapters of my dissertation: likeness, bewilderment, sweetness, and excess. Chapter 1. “Irresistible likeness: Al cor gentil rimpaira sempre amor” is dedicated to Guinizzelli’s poetical manifesto, in which he challenges the primacy of logical argumentation by devising a mode of thinking based on resemblance, likeness. Chapter 2. “Bewildering love: Donna me prega” deals with Cavalcanti’s response to Guinizzelli’s manifesto, in which he devises a theory of bewilderment, an experience of love as destructive, disconnecting, and eventually mortal. However, Cavalcantian love also works positively, since it manifests the basic structures of human’s intellect. Chapter 3 “Unfinished praise: Donne ch’avete intelletto d’amore” analyzes how Dante lays out the ground work to connect Cavalcanti and Gunizzelli’s approaches into a comprehensive doctrine of love.
    [Show full text]
  • Dante-Politico-Speaker-Bios.Pdf
    “Dante Politico at the Crossroad of Arts and Sciences” A Virtual International Symposium Friday, April 16, Saturday, April 17, and Sunday, April 18, 2021 9:30 a.m. to 5:00 p.m. SPEAKERS MARIA LUISA ARDIZZONE (New York University, New York, NY, USA) “Economy and Logic in Dante’s Monarchia: An Archetype” “Et finis habet rationem optimi.” Monarchia 1.14.3 One of the goals of Dante’s Monarchia is the temporalization of a patrimony of metaphysical ideas. Dante’s effort geared toward considering, within the laws of time, things that find their value in their transcendent origin is one of the aspects of the political treatise worthy of reflection. My paper addresses an apparently marginal issue that Dante discusses in a chapter of the first book of the Monarchia. Usually neglected by scholars, such a chapter introduces an economic theory which I will show to be organic to Dante’s aim of temporalization. The paper will discuss what I indicate as an archetype in order to demonstrate the continuity that Dante establishes between a logical principle and a more properly economic principle. Maria Luisa Ardizzone is professor of Italian literature at New York University, NY. She studied medieval palaeography, literature, and history at the University of Palermo, and twentieth-century literature at the Sorbonne in Paris. Her principal areas of interest are the Middle Ages, poetry and poetics, rhetoric, intellectual history, medieval philosophy, politics, science, and twentieth-century poetry. As a scholar of medieval intellectual history, Ardizzone rereads vernacular texts from the thirteenth and fourteenth century in light of the ancient and Medieval Latin traditions and their multicultural background, attempting to evaluate lines of thought and meanings lost or not yet adequately confronted.
    [Show full text]
  • Cinque Lettere Di Eugenio Montale a Mario Fubini Carlo Alberto Girotto
    Cinque lettere di Eugenio Montale a Mario Fubini Carlo Alberto Girotto To cite this version: Carlo Alberto Girotto. Cinque lettere di Eugenio Montale a Mario Fubini. Ellisse. Studi storici di letteratura italiana, L’Erma di Bretschneider, 2012, VII, pp.211-228. hal-01408814 HAL Id: hal-01408814 https://hal-univ-paris3.archives-ouvertes.fr/hal-01408814 Submitted on 5 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. L’Ellisse Studi storici di letteratura italiana Anno VII 2012 «L’ERMA» di BRETSCHNEIDER L’Ellisse, VII Studi storici di letteratura italiana Copyright 2012 «L’ERMA» di BRETSCHNEIDER Via Cassiodoro, 19 - Roma www.lerma.it - [email protected] Tutti i diritti riservati. È vietata la riproduzione di testi e illustrazioni senza il permesso scritto dell’Editore. L’Ellisse : studi storici di letteratura italiana. - 1(2006)- . - Roma : «L’ERMA» di BRETSCHNEIDER, 2006 .- v. ; 24 cm Annuale ISSN 1826-0187 CDD 21. 850.5 1. Letteratura italiana - Periodici INTERAZIONI MONTALIANE a cura di Silvia Chessa e Massimiliano Tortora Interazioni montaliane a cura di Silvia Chessa e Massimiliano Tortora SAGGI E NOTE Massimiliano Tortora, L’incipit di Ossi di seppia.
    [Show full text]
  • Mario Fubini
    Intellectuals Displaced from Fascist Italy Firenze University Press 2019- Mario Fubini Go to personal file Professorship at the age of thirty-seven. Expelled at age thirty-eight. A reserved Link to other connected Lives on the move: man of studies, the Italianist Mario Fubini made a few attempts to find work abroad and leave the country, as did his colleagues and his wife’s relatives. Alessandro Levi Having not emigrated in time, a chance for refuge in Switzerland meant salvation for him, his wife, and his children; and for him, it also meant an experience full of study and instruction. Even more difficult, maybe, was an attempt to return to normalcy, given the weight of grieving for lost family and the «harsh toughness of the post-war academic establishment». Family history and early life Mario Fubini was born in Turin on 18 March 1900, to Riccardo (1874-1964) and Bice Fubini née Colombo (1879-1963). He had two younger siblings: Renzo (1904-1944) and Giulia Giorgina (1904-1987). He attended high school in Milan, where his father taught Political Economy in a technical institute1; and for college, he chose the University of Turin. In 1917, Mario enrolled in the Facoltà di Lettere e filosofia [School of Letters and Philosophy] and graduated in 1921 after writing a thesis on Alfred de Vigny, which was published at the recommendation of Benedetto Croce in the literary criticism series of Laterza edition2. Fundamental was his friendship during those years with Piero Gobetti, who at the time was a student of Jurisprudence and the person for whom Fubini held a moving commemoration in 19263.
    [Show full text]
  • Introduction to Scholarly Editing
    INTRODUCTION TO SCHOLARLY EDITING Seminar Syllabus G. THOMAS TANSELLE ! Syllabus for English/Comparative Literature G4011 Columbia University ! Charlottesville B O O K A R T S P R E S S University of Virginia 2002 This page is from a document available in full at http://www.rarebookschool.org/tanselle/ Eighteenth revision, 2002 Copyright © 2002 by G. Thomas Tanselle Copies of this syllabus are available for $20 postpaid from: Book Arts Press Box 400103, University of Virginia Charlottesville, VA 22904-4103 Telephone 434-924-8851 C Fax 434-924-8824 Email <[email protected]> C Website <www.rarebookschool.org> Copies of a companion booklet, Introduction to Bibliography: Seminar Syllabus, are available for $25 from the same address. This page is from a document available in full at http://www.rarebookschool.org/tanselle/ CONTENTS Preface • 9-10 Part 1. Selected Introductory Readings • 11-22 Part 2. A Concise Selection from the Literature of Textual Criticism • 23-35 Part 3. Some Writings on Spelling, Punctuation, and Other Visual Aspects of Texts • 37-45 Part 4. Examples of Editions and Editorial Manuals • 47-51 Part 5. Some Noteworthy Reviews of Scholarly Editions • 53-59 APPENDIX: THE LITERATURE OF TEXTUAL CRITICISM AND SCHOLARLY EDITING Part 6. Writings on Editing Pre-Renaissance Texts • 61-88 Part 7. Writings on Editing Post-Medieval Texts • 89-142 Part 8. Writings on the Use of Computers in Editing • 143-53 Part 9. Writings on Analytical Bibliography • 155-254 Subject Index (Parts 1-5 and 9) • 255-57 A more detailed outline of the contents is provided on the next four pages.
    [Show full text]
  • WASHINGTON, D. C8 April 5, 1974. a Selection of Over Thirty- Five Early
    SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 FOR IMMEDIATE RELEASE GALLERY HOLDS SPECIAL PETRARCH EXHIBITION TO COMMEMORATE 600TH ANNIVERSARY WASHINGTON, D. C 8 April 5, 1974. A selection of over thirty- five early Italian paintings, statues and medals from the collections of the National Gallery of Art will go on view in a special exhibition commemorating the 600th anniversary of the death of Francesco Petrarca (1304-1374). the Italian poet and humanist who has been widely recognized as a seminal figure of the Italian Renaissance. The exhibition, Art in the Age of Petrarch, will be on view during the World Petrarch Congress at the Folger Shakespeare Library from April 6 through 12 The Italian paintings and sculpture in the exhibition are contemporary with Petrarch or earlier,, illustrating works similar to those he could have seen in his extensive travels The qualities in the art coincide with Petrarch's literary style. The two dominant schools represented in the exhibition are the Florentine and Sienese. as presented in masterpieces by Giotto and Agnolo Gaddi of Florence and Duccio and Lorenzetti of Siena and in sculpture by Nino Pisano of Pisa. The Sienese tradition is also well, illustrated by Simone Martini's gilded The Angel of the Annunciation (more) GALLERY HOLDS SPECIAL PETRARCH EXHIBITION -2. According to tradition, Petrarch died while reading his manuscript copy of Virgil's Aeneid, the frontispiece of which was illustrated by Simone Martini. A facsimile of the manu­ script is the focal point of an exhibition on view at the Folger Library through May 5.
    [Show full text]