DOCSLIB.ORG

Poetica in Cino Da Pistoia. Lingua E Stile Oltre Lo 'Stilnovo'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Poetica in Cino Da Pistoia. Lingua E Stile Oltre Lo 'Stilnovo' View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AMS Tesi di Dottorato Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN Culture Letterarie, Filologiche, Storiche Ciclo XXVII Settore Concorsuale di afferenza: 10/F1 Settore Scientifico disciplinare: L-FIL-LET/10 La ‘ragione’ poetica in Cino da Pistoia. Lingua e stile oltre lo ‘Stilnovo’ Presentata da: Silvia Tranfaglia Coordinatore Dottorato Relatore: Prof.ssa Luisa Avellini Prof. Gian Mario Anselmi Correlatore: Prof. Giuseppe Ledda Esame finale anno 2016 Ai miei genitori «Multum est consideranda mens et ratio legislatoris et ubi possit colligi mens et ratio, quae est idem, ibi ea est concludendum». Cyni Pistoriensis Consilium XIX I. Qui dulcius subtiliusque poetati vulgariter sunt Qualsivoglia approssimazione all’universo poetico ciniano non potrà prescindere dal giudizio che Dante ribadisce a più riprese nel De Vulgari Eloquentia , dove il poeta pistoiese occupa una posizione di assoluto prestigio, comparendo in ben cinque luoghi 1 - delle sei menzioni a lui dedicate 2 - come pendant dello stesso Dante, vale a dire ideale contrappunto di una nuovissima teoria della storia letteraria, quale quella che il trattato dantesco intorno alla lingua volgare restituisce. Nuovissima prima di tutto perché – come ha messo in luce il Mengaldo – il discorso sull’ eloquentia è presentato come un discorso sugli eloquentes 3 , laddove l’irrinunciabile principio di autorità del pensiero medievale viene ad essere rifondato sull’incessante pratica di verifica della ragione 4 , di cui la discretio 5 dantesca, esibita nel trattato, è principale strumento: uno strumento – sia chiaro da subito - affatto ponderato sulla stringente necessità per Dante di affermare il 1 La formula ‘ amicus eius ’ lega il nome di Cino a quella del ‘suo amico’ Dante in De vulgari eloquentia I x 2 [ha poetato ‘dulcius subtiliusque’]; I xvii 3 [le sue canzoni sono esempio di volgare illustre]; II ii 8 [‘ cantor rectitudinis ’]; II v 4 [autore di canzoni che cominciano per endecasillabo]; II vi 6 [autore di canzoni con costrutto eccellente]. 2 In Dve I xiii 4 Cino è ricordato tra i toscani Cavalcanti, Lupo e un ‘altro’, scilicet lo stesso Dante. 3 Cfr. P IER V INCENZO MENGALDO (a cura di), D ANTE A LIGHIERI , De vulgari eloquentia , in Opere minori , II, Editrice Antenora, Padova, 1979, p. XLVIII. 4 È sempre Mengaldo a ricordare quanto “l’approccio alla verità avviene medievalmente e scolasticamente, mediante l’uso convergente di due strumenti euristici: l’uso della ragione e il ricorso alla verità”. Cfr. P IER V INCENZO MENGALDO , De vulg. eloq ., cit. , II, p. XXVI. 5 Discretio è termine ricorrente nel De Vulgari , dove è impiegato – come mostra chiaramente Mengaldo nella voce omonima dell’ Enciclopedia Dantesca (P IER V INCENZO ME NGALDO , voce «discretio» in Enciclopedia Dantesca (1970) ora disponibile a libero accesso sul sito www.treccani.it. – “secondo due ordini fondamentali, e tradizionali, di significati: quello originario e concreto di ‘distinzione’, ‘separazione scelta’, e quello, storicamente derivato dal primo e attinente alla sfera intellettuale-morale di ‘discernimento’, ‘equo giudizio’, ‘capacità razionale di scelta’. Che sia termine ‘tematico’ e chiave dell’intero trattato lo dimostra la prima occorrenza (su quindici totali) che si registra in I i 1 nella proemiale dichiarazione di intenti dell’autore: «discretionem aliqualiter lucidare illorum qui tanquam caeci ambulant per plateas, plerunque anteriora posteriora putantes». 1 “valore ‘politico’ dell’esperienza dei vulgares eloquentes e della loro dignità morale e sociale, ben superiore a quella degli ordini costituiti”. 6 L’intima correlazione tra l’esercizio della discretio dantesca e la dignitas riconosciuta ai doctores eloquentes è ben evidente tra la chiusura del primo libro del De Vulgari e il principio del secondo, dove si tratta della corrispondenza tra grado di dignità del volgare e dignità personale dello scrivente. Exigit ergo istud sibi consimiles viros, quemadomodum alii nostri mores et habitus: exigit enim magnificentia magna potentes, purpura viros nobiles; sic et hoc excellentes ingenio et scientia querit, et alios aspernatur, ut per inferiora patebit. […] convenit ergo individui gratia. Sed nichil individuo convenit nisi per proprias dignitates 7, puta mercari militari ac regere. ( Dve II i 5-7). La selezione degli autori così come quella degli argomenti illustri sono infatti fondate sul concetto di dignitas e precisamente il discorso acquista chiarezza metodologica nell’esposizione di II ii 1-6, nelle premesse al ben celebre passo sui magnalia : qui Dante pone il 6 P IER V INCENZO ME NGALDO , De vulgari eloquentia , cit. , p. XLVIII, cfr. anche De vulgari eloquentia I xvii 5: «Nonne domestici sui reges, marchiones, comites et magnates quoslibet fama vincunt? Minime hoc probatione indiget. Quantum vero uos familiares gloriosos efficiat, nos ipsi novimus, qui huius dulcedine glorie nostrum exilium postergamus. Quare ipsum illustre merito profiteri debemus». 7 Nella resa in italiano di proprias dignitates Fenzi si distacca dalla traduzione letterale di Mengaldo e Tavoni e interpreta il sintagma come ‘posizione sociale’, anticipando così la chiara esemplificazione di ordini sociali che Dante fa seguire al passo citato, presentata, come di norma, secondo una progressione ascendente. ENRICO FENZI , (a cura di), De vulgari eloquentia , in Opere di Dante, vol. III, Salerno Editrice, 2012, p. 141. Diverse le puntualizzazioni di Tavoni nella corrispettiva nota al testo (M IRKO T AVONI , (a cura di), De vulgari eloquentia , in D ANTE ALIGHIERI , Opere , vol I, p.1374, I 7, Mondadori, Milano, 2011, p. 1374): «Queste tre figure sociali corrispondono a tre dignitates : come nell’opera di San Tommaso, dove fra le frequentissime attestazioni della parola troviamo, passim , la dignitas sacerdotalis , ecclesiastica , regia , prophetalis ; e ,seguita da genitivo, la dignitas sanctuorum , iustorum , praedicatoris , ecc. Si dovrà intendere che ognuna di queste figure sociali ha la propria dignitas nel senso che sarà dichiarato in II 2-3; cioè ogni individuo che incarna quel ruolo sociale ha meritato di conseguire quella dignitas come risultato delle proprie azioni». Da segnalare Mengaldo ad l ., cita Tommaso, In Eth . Arist ., v lect. 4 n. 10: « aliquid dicitur est iustum in distributionibus, in quantum unicuique datur secundum dignitatem, prout cuuique dignum est dari» (‘si dice che si dà giustamente quando a ognuno si dà secondo la sua dignità,nella misura in cui ciascuno è degno di ciò che riceve’), commentando ARISTOTELE Eth . Nic ., IV 7 1123b. 2 problema di id quod intellegimus quod dicimus dignum e, ripercorrendo la strada medievale dell’ habitus 8 , definisce la qualità astratta della dignità come il punto di arrivo di ciò che si è meritato (meritorum effectus sive terminus ), e in tal senso graduabile. È questo un passaggio fortemente significativo: la nozione di dignità, seppur ricercata in un passo dalla rigida impostazione scolastica e in un contesto di trattazione retorica, nel costituirsi come effetto, obiettivo sarebbe a dire, sembra voler sorpassare e lasciare indietro ogni determinazione classista, ricollegandosi invece al concetto cardine di convenientia 9. […] optimis conceptionibus optima loquela conveniet. Sed optime conceptiones non possunt esse nisi ubi scientia et ingenium est, ergo optima loquela non convenit nisi illis in quibus ingenium et scientia est. Dve II i 8 Equazione che implica la netta condanna di Illorum stultitia qui, arte scientiaque immunes, de solo ingenio confidentes, ad summa summe canenda prorumpunt; et a tanta presumptuositate desistant, et si anseres natura vel desidia sunt, nolint astripetam aquilam imitari. Dve II iv 11 8 «Et dicimus dignum esse quod dignitatem habet, sicut nobile quod nobilitatem; et si cognito habituante habituatam cognoscitur in quantum huiusmodi, cognita dignitate cognoscemus et dignum», De vulgari eloquentia II ii 2. È questa una modulazione di pensiero saldamente congruente al razionalismo scolastico: si confronti a proposito la definizione di habitus che dà Tommaso, distinguendo tra un semplice possesso, aliquid habere , e il modo di possedere ciò che si è: «Respondeo dicendum quod hoc nomen habitus ab habendo est sumptum. A quo quidem nomen habitus dupliciter derivatur: uno quidem modo, secundem quod homo vel quaecumque alia res, dicitur aliqyuid habere; alio modo secundum quod aliqua re aliquo modo se habet in seipsa vel ad aliquid aliud» (T OMMASO D'A QU INO , Summa Theologiae , Iª-IIae q. 49 a. 1 co.) 9 Significativo è notare in che modo Dante reinterpreti il principio di convenientia stilistica, centrale nelle retoriche medievali, analizzando il problema a parte subiecti («Sed hoc non convenit nobis gratia generis, quia etiam brutis conveniret, nec gratia speciei, quia cunctis hominibus esset conveniens, de quo nulla questio est – nemo enim montaninis rusticana tractantibus hoc dicet esse conveniens -: convenit ergo individui gratia» DVE II, i 6), laddove le poetiche mediolatine presentano invece un interesse prevalente per l’adeguazione tra sententie , materiale verbale e scelta del tema, facendone derivare una pedantesca casistica tematica (Cfr. a riguardo P IER V INCENZO MENGALDO , De vulg. eloq ., cit. , p. XLIV). 3 D’altra parte, non stupisce lo scarto degli ambiti di indagine, se si fa riferimento a quella che P. Delhaye ha definito ‘pédagogie littéraire’ 10 , per indicare l’intima connessione che nel Medioevo
Load more

Recommended publications
  • Poetry Without End: Reiterating Desire in Petrarch's Rvf 70 and 23
    Poetry Without End: Reiterating Desire in Petrarch’s Rvf 70 and 23 Manuele Gragnolati and Francesca Southerden Our article focuses on two canzoni from Petrarch’s Rerum vulgarium fragmenta or Canzoniere, Rvf 23, “Nel dolce tempo de la prima etade,” and Rvf 70, “Lasso me, ch’io non so in qual parte pieghi.”1 By reading them comparatively, we aim to set up a dialogue between the concepts of return and conversion and to explore the relationship between the form of the texts and the subjectivity it shapes. In particular, we are interested in investigating how Petrarch blurs the distinction between beginnings and ends and how, defying conclusion, his lyric poetry gives form to a sort of masochistic pleasure. Rvf 70 is an intertextual canzone (and part-cento) that culminates in an explicit textual return of the poet’s own poem 23, the so-called canzone delle metamorfosi, in which the poetic subject undergoes a series of transformations explicitly modelled on Ovid. The incipit of canzone 23, “Nel dolce tempo de la prima etade,” forms the final line of canzone 70 and is the last in a series of quotations of the incipits of earlier poems, each of which closes one of the stanzas of Petrarch’s poem and reconstructs what Franco Suitner has termed “il retroterra della lirica romanza” [“the hinterland of romance lyric”].2 All the incipits closing the five stanzas relate to a concept of love as essentially tyrannical, obsessive, and compulsive. The first stanza ends with the incipit of the Occitan poem now thought to be by Guillem de Saint Gregori, “Drez et rayson es qu’ieu ciant e· m demori,” which Petrarch attributed to Arnaut Daniel and which embodies a paradoxical form of desire that involves subjecting oneself to love even to the point of death, and finding pleasure in it.3 The other incipits belong to the Italian lyric tradition.
    [Show full text]
  • Lyric Poetry, the Tenzone, and Cino Da Pistoia
    CHRISTOPHER KLEINHENZ 3 Adventures in Textuality: Lyric Poetry, the Tenzone, and Cino da Pistoia The tradition of lyric poetry in thirteenth- and early fourteenth-century Italy is vast and varied, and the poets who contributed to this great production of literary texts are many and represent a number of regions on the peninsula. In his treatise on language and prosody, De vulgari eloquentia, Dante demonstrates his awareness of this great patchwork quilt of languages/dialects that constitutes medieval Italy, while simultaneously acknowledging the wide range of poets and styles that characterize the lyric tradition. In this case, as in many others, we know Dante's perspectives on a great many issues, and these, in the absence of other evidence, we gratefully accept, and these opinions have often been raised to canonical status ... rightly or wrongly. To be sure, many of our judgments on early Italian poets are shaped by the views of the Florentine poet, for so powerful is the cult of Dante that few can escape his pervasive influence. Despite the understanding and insights that we have gleaned from Dante's texts, there are lots of things we do not know about the early Italian poets and about the transmission of lyric texts in the Duecento and early Trecento. About the only thing we know for sure is that much, or most of what survives of the early lyric tradition - and here I refer to the work of those poets who were active at the imperial court of Frederick II and those who were active in Tuscany in the second half of the thirteenth century
    [Show full text]
  • Dante and His Circle, with the Italian Poets Preceding Him (1100-1200
    HANDBOUND AT THE UNI\TERSITY OF TORONTO PRESS Digitized by tine Internet Arcliive in 2007 witli funding from IVIicrosoft Corporation littp://www.arcliive.org/details/danteliiscirclewiOOrossuoft /[^ K^^J DANTE AND HIS CIRCLE. r^ /jj DANTE AND HIS CIRCLE WUH THE ITALIAN POETS PRECEDING HIM (l lOO— I200— 1300) A COLLECTION OF LYRICS TRANSLATED IN THE ORIGINAL METRES BY DANTE GABRIEL ROSSETII PART T. DANTE'S VITA NUOVA. ETa I POETS OF DANTE'S CIRCLE PART n. rOETS CHIEFLY BEFORE DANTE A NE W EDITION WITH PREFACE BY WILLIAM M. ROSSETTI ELLIS AND ELVEY LONDON 1892 All rights reserved PRINTED BV HAZRLL, WATSON, AND VINBY, LD. LONDON AND AVLESBUKY. y PREFACE TO THE PRESENT EDITION. DANTE GABRIEL ROSSETTI published in 1861 his book The Early Italian Poets, which is the first form of the present book named Dante and his Circle. Ever since its first publication this series of translations has occupied, I think, a somewhat peculiar position ; partly as being the only form in which a large portion of the poems here treated are available for English readers; and partly because the Italian compositions have so special a character of their own, and the translator has entered so keenly into their spirit, and has reinforced this with so manifest a ^ poetic tone and savour proper to himself, that the ^fc versions have taken rank as a sort of cross between Hptranslated and original work. They have been accepted ^F as bringing the English reader as close to the mediaeval ^^ Italians as he is ever likely to be brought ; and also as ^introducing him to the tone and quality of Rossetti's own mind and hand in poetic production.
    [Show full text]
  • [Triumphi and Selection of RVF Poems with Bruni's Life of Petrarch]
    [Triumphi and selection of RVF poems with Bruni’s life of Petrarch] ENTRY TYPE Manuscript Manuscript Details CURRENT LOCATION Biblioteca Medicea Laurenziana Florence Italy SHELFMARK Plut.90 inf.47 RELATED TO PETRARCH'S RVF 35 and 90, Triumphi + Triumphus Fame Ia CREATOR Petrarch Leonardo Bruni DATE late-fourteenth / early-fifteenth century TITLE PAGE <inc> Itrionfi dimess[er] f[rancesco] p[etrarca] (fol. 89r) MODE OF EXEGESIS Life PHYSICAL DESCRIPTION: FORMAT 283x215 mm; IV + 123 + III fols. PHYSICAL DESCRIPTION: TEXTBLOCK paper; various scripts (semi-gothic hand for fols. 89r-108v); poems in two columns, in each column is one verse per line; prose text in two columns. INTERNAL DESCRIPTION fols. 89r-101r: Triumphi (‘Itrionfi dimess[er] f[rancesco] p[etrarca]’ followed by the words ‘della Morte C[apitolo] 2°’ [by a later hand], order: Mortis II, Fame Ia, Amoris II, Amoris I, Amoris III, Amoris IV.1-12+19-21+13-18+22-165, Pudicitie, Mortis I, Fame I, Fame II, Fame III, Temporis, Eternitatis); fols. 106v-108v: Bruni’s life of Petrarch (‘Comincia lauita dimess[er] Francescho petracha [sic]’, <inc> Francescho petrarcha huomo digrande ingiegnio enon dimjnor uirtu; <exp> maxime p[er]che lauirtu ecierta et lacorona taluota [sic] p[er] lieue giudicio cosi acchi no[n]merita come acchi merita dar sipuote); fols. 108v-122v: various poems in Italian (mainly sonnets and canzoni) by different authors (including Dante, Simone da Siena, Antonio da Ferrara, and Cino da Pistoia), among which are RVF 90 (fol. 112r) and RVF 35 (fol. 114v) and one sonnet attributed to Petrarch (‘Socchorri osignor mio socor[r]i ils[er]uo’, at fol.
    [Show full text]
  • Boccaccio, Cavalcanti's Canzone 'Donna Me Prega' and Dino's Glosses
    Heliotropia - An online journal of research to Boccaccio scholars Volume 2 Volume 2 (2004) Issue 1 Article 1 January 2004 Boccaccio, Cavalcanti's Canzone 'Donna me prega' and Dino's Glosses Jonathan Usher University of Edinburgh Follow this and additional works at: https://scholarworks.umass.edu/heliotropia Recommended Citation Usher, Jonathan (2004) "Boccaccio, Cavalcanti's Canzone 'Donna me prega' and Dino's Glosses," Heliotropia - An online journal of research to Boccaccio scholars: Vol. 2 : Iss. 1 , Article 1. Available at: https://scholarworks.umass.edu/heliotropia/vol2/iss1/1 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Heliotropia - An online journal of research to Boccaccio scholars by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Usher: Boccaccio, Cavalcanti's Canzone 'Donna me prega' and Dino's Gloss Heliotropia 2.1 (2004) http://www.heliotropia.org Boccaccio, Cavalcanti’s Canzone “Donna me prega” and Dino’s Glosses he enigmatic, indeed disturbing figure of Guido Cavalcanti (1259–1300) exercised the imagination of his contemporaries, especially of his fellow poets. Without naming T him once, Dante talks about Guido in his youthful work, the Vita nuova, telling us that Cavalcanti was the “primo de li miei amici” (VN III), and that he was one of those who replied poetically to Dante’s first sonnet. Dante also refers to Guido’s senhal, Gio- vanna/Primavera (VN XXIV). The whole of Dante’s treatise, as a specifically vernacular composition, is dedicated to this first friend (VN XXX).
    [Show full text]
  • Molecular Biology
    THE UNIVERSITY OF PERUGIA GENERAL DESCRIPTION Perugia is a hill-town situated in the centre of Italy, in a valley between Florence and Rome. Its University was founded in 1308 by a Papal “Bulla” of Pope Clemente V. The "Studium Generale" was very famous in the XIVth century. It was in fact considered one of the most important Schools in Italy. Before the Clementine “Bulla” the Grand Council of Perugia's municipality, with the 1275 and 1276 deliberations, invited the students to come to Perugia to listen to the "reading of the laws", grammar, logic and other arts. The prestige of the "Studium" in the XIV century is connected above all with the following important personages: Cino da Pistoia, Bartolo da Sassoferrato and Baldo degli Ubaldi in Juridical Studies, Gentile da Foligno, Bartolomeo da Varignana and Tommaso del Garbo in the Faculty of Medicine and Surgery. The Law School was founded in Perugia by Bartolo and Baldo and continued in the XV and XVI centuries. During this time studies in Medicine were neglected: a document dated 1366 illustrates how direct observation on the cadaver was practised at that time. This tradition of anatomical studies was revived in the XVIII Century by Alessandro Pascoli. Worthy of note, as regards the teaching of Sciences, is that friar Luca Pacioli was a teacher of mathematics in the XV century and in the XVII Giuseppe Neri was a friend of Galileo. In the humanist sector, the Institution of the chairs in Greek and Hebrew should be remembered. During the second half of the XVIII Century there were a lot of political and social disorders that gave rise to enormous changes in thought and culture.
    [Show full text]
  • 1 the Italian Angevins: Naples and Beyond, 1266–1343 Introduction
    1 The Italian Angevins: Naples and Beyond, 1266–1343 Introduction Jane Gilbert, Catherine Keen, and Ella Williams University College London Both as a family and a cultural institution, the Italian Angevins are intimately connected to the history of Naples. Seminal publications encompassing artistic, architectural, and cultural history have demonstrated the ways in which the dynasty developed the city as a stage for royal patronage and, in turn, positioned itself as the ultimate emblem of Neapolitanism.1 While upholding the city’s central role in the development and promotion of Angevin interests, recent studies have turned to the ways in which the Angevin dynasty looked beyond Naples in pursuit of its ambitions and cultural interests abroad, and to the role of the city itself, as an international port, in facilitating intercultural encounters and transfers.2 1 Important works include: Ferdinando Bologna, I Pittori alla corte angioina di Napoli, 1266– 1414, e un riesame dell’arte nell’eta federiciana, (Rome: Ugo Bozzi, 1969); Francesco Sabatini, Napoli angioina: cultura e società (Naples: Edizioni scientifiche italiane, 1975); P. L. de Castris, Arte di corte nella Napoli angioina (Florence: Cantini, 1986). For an ample bibliography, with important recent contributions to the field, see Boccaccio angioino: Materiali per la storia culturale di Napoli nel Trecento, ed. by Giancarlo Alfano, Teresa D’Urso, and Alessandra Perriccioli Saggese (Brussels: Peter Lang, 2012). More recent studies have further emphasized the importance of the city for the family’s political, cultural, and administrative programmes: for example, Caroline Bruzelius, The Stones of Naples: Church Building in Angevin Italy, 1266–1343 (Yale: Yale University Press, 2004).
    [Show full text]
  • Programma Comunale Di Attuazione
    DELIBERAZIONE DELLA GIUNTA COMUNALE n. 62 del 16.03.2015 Pagina volume N. Ver. 9.5 PROT. n. del COMUNE DI PERUGIA Codice Archiv.ne Documenti DELIBERAZIONE DELLA GIUNTA COMUNALE non allegati -------- Al l ega ti N. 5 (in apposito registro) N. 62 DEL 16.03.2015 OGGETTO: L'anno DUEMILAQUINDICI il giorno SEDICI del mese di MARZO, nel Palazzo dei Priori, convocata nelle forme e nei termini di legge, si è riunita la Giunta Comunale PIANO REGIONALE DELLA QUALITÀ alla quale risultano: DELL’ARIA. DETERMINAZIONI. Pres. Ass. Pres. Ass. ROMIZI ANDREA Sindaco 5 CICCHI EDI Assessore 1 BARELLI URBANO V.Sindaco 6 FIORONI MICHELE Assessore 2 BERTINELLI CRISTINA Assessore 7 PRISCO EMANUELE Assessore 3 CALABRESE FRANCESCO Assessore 8 SEVERINI MARIA TERESA Assessore 4 CASAIOLI CRISTIANA Assessore 9 WAGUÉ DRAMANE Assessore Accertato che il numero dei presenti è legale per la validità dell’adunanza, IL SINDACO Sig. ANDREA ROMIZI dichiara aperta la seduta Dichiarata immediatamente eseguibile ai alla quale assiste il VICE SEGR. GEN. VICARIO Dr. SSA LAURA CESARINI. sensi dell'art.134, comma 4°, D.Lgs. 18.08.2000 n. 267 Pubblicata all'Albo Pretorio a decorrere LA GIUNTA COMUNALE dal 24.03.2015 SETTO Trasmessa in elenco ai Capigruppo Premesso che: consiliari (art.125 D.Lgs. 18.08.2000 n.267) RE il 24.03.2015 -_____ il D.Lgs - 155/2010 “Attuazione della direttiva 2008/50/CE relativa alla qualità Divenuta esecutiva ai sensi dell'art.134, comma 3°, D.Lgs. 18.08.2000 n.267, U.O. dell’aria ambiente e per un’aria più pulita in Europa” costituisce la norma di rife- il 03.04.2015 _____P rimentoIANO per la pianificazione regionale in merito alla gestione della qualità dell’aria;REGIO NALE -DELLA in applicazione di tale norma, con deliberazione della Assemblea Legislativa 17 dicembreQUALI 2013, n.
    [Show full text]
  • Exile and Petrarchâ•Žs Reinvention of Authorship
    Dartmouth College Dartmouth Digital Commons Dartmouth Scholarship Faculty Work 11-30-2016 Exile and Petrarch’s Reinvention of Authorship Laurence E. Hooper Dartmouth College Follow this and additional works at: https://digitalcommons.dartmouth.edu/facoa Part of the History Commons Dartmouth Digital Commons Citation Hooper, Laurence E., "Exile and Petrarch’s Reinvention of Authorship" (2016). Dartmouth Scholarship. 2717. https://digitalcommons.dartmouth.edu/facoa/2717 This Article is brought to you for free and open access by the Faculty Work at Dartmouth Digital Commons. It has been accepted for inclusion in Dartmouth Scholarship by an authorized administrator of Dartmouth Digital Commons. For more information, please contact [email protected]. Exile and Petrarch’s Reinvention of Authorship LAURENCE E. HOOPER, Dartmouth College This article demonstrates a systematic connection between the novelty of Petrarch’s authorship and his self-definition as an exile. Petrarch employs the unusual term exilium/esilio to substantiate his unprecedented claim that literature is a legally valid officium (civic role). Following Dante, Petrarch grounds his exilic authorship in the Christian discourse of peregrinatio: life as pilgrimage through exile. But Petrarch’s new officium allows him a measure of control over literary creation that no prior Italian writer had enjoyed. This is especially true of the “Canzoniere,” Petrarch’s compilation of his vernacular lyrics, whose singularity functions as a proxy for its author’s selfhood. INTRODUCTION PETRARCH (1304–74) IDENTIFIED all his life as an exile: the opening letter of his Familiares (1366) declares, “I was conceived in exile and I was born in exile.”1 The claim has a biographical foundation: the poet was born at Arezzo, some two years after his father, Ser Petracco di Parenzo (1267–1326), had been banished from Florence.
    [Show full text]
  • 1 Curriculum Vitae Christopher Kleinhenz Personal Data Born
    Curriculum Vitae Christopher Kleinhenz Personal Data Born: December 29, 1941; Indianapolis, Indiana Marital Status: Married, two adult sons Address: 2247 Fox Avenue Madison, WI 53711 Tel: (608) 257-0515 E-mail: [email protected] (or) [email protected] Education A.B. 1964, Indiana University (Comparative Literature) M.A. 1966, Indiana University (Comparative Literature) Ph.D. 1969, Indiana University (Italian). Dissertation: A Critical Edition of the Pistoian Poets of the Duecento Academic Positions 1964-65 Teaching Informant, Istituto Tecnico Commerciale “Amabile,” Avellino, Italy 1965-68 Teaching Associate, Indiana University 1968-69 Instructor, University of Wisconsin 1969-70 Assistant Professor, University of Wisconsin 1970-71 Visiting Assistant Professor, Indiana University. Resident Director, Indiana University Study Program, Bologna, Italy 1971-75 Assistant Professor, University of Wisconsin 1975-80 Associate Professor, University of Wisconsin 1980-2007 Professor, University of Wisconsin (Department Chair, 1985-88) 2000-07 Carol Mason Kirk Professor of Italian, University of Wisconsin 2005-07 Director, L&S Honors Program 2007- Professor Emeritus of Italian 2012-14 Ombudsman, University of Wisconsin-Madison Related Academic Experience Resident Director, Indiana University Study Program, Bologna, Italy, 1970-71 Professor in residence, University of Michigan-University of Wisconsin Study Program in Florence (Italy) at Villa Boscobello, fall semester, 1984-85 Director and Professor in residence, University of Michigan-University
    [Show full text]
  • Arxiv:2010.05993V1 [Cs.CL] 12 Oct 2020
    Vulgaris: Analysis of a Corpus for Middle-Age Varieties of Italian Language Andrea Zugarini1;2 and Matteo Tiezzi2 and Marco Maggini2 1DINFO, University of Florence 2DIISM, University of Siena [email protected], fmtiezzi,[email protected] Abstract Italian is a Romance language that has its roots in Vulgar Latin. The birth of the modern Italian started in Tuscany around the 14th century, and it is mainly attributed to the works of Dante Alighieri, Francesco Petrarca and Giovanni Boccaccio, who are among the most acclaimed au- thors of the medieval age in Tuscany. However, Italy has been characterized by a high variety of dialects, which are often loosely related to each other, due to the past fragmentation of the terri- tory. Italian has absorbed influences from many of these dialects, as also from other languages due to dominion of portions of the country by other nations, such as Spain and France. In this work we present Vulgaris, a project aimed at studying a corpus of Italian textual resources from authors of different regions, ranging in a time period between 1200 and 1600. Each composition is associated to its author, and authors are also grouped in families, i.e. sharing similar stylis- tic/chronological characteristics. Hence, the dataset is not only a valuable resource for studying the diachronic evolution of Italian and the differences between its dialects, but it is also useful to investigate stylistic aspects between single authors. We provide a detailed statistical analysis of the data, and a corpus-driven study in dialectology and diachronic varieties. 1 Introduction Understanding the evolution of a language is a challenging problem.
    [Show full text]
  • Of Illegitimate Children, X, 15, 20, 26, 96, 106–16, 124–25, 130
    Index Abandonment: illegitimacy as reason bianco di messer Niccolò, 200; for, 108–13; of illegitimate children, Francesco di Giannozzo, 145; Leon x, 15, 20, 26, 96, 106–16, 124–25, Battista, ix, 8, 9, 47, 69, 90, 131n. 130, 131, 140, 168, 255, 256, 257; 131, 137, 141, 154, 155, 163, 167, of illegitimate girls, 113, 115, 116, 168, 169, 173–74, 258; Nera, wife 126–27; of legitimate children, of Aloisio di Tommaso Bonsi, 109–10; retrieval, 114, 115; secrecy 214–15 n.and n.1 of, 110–11; survival, 112–13. See Albizzi: Alessio di Tedice, 259, 264; also Foundling homes; Gittatelli; Antonio di Manno di Giovanni, Trovatelli 213–14; Antonio di Tedice, 177, Acciaiuoli: Dardano di Niccolò, 86, 259, 262, 264; Francesco di Gio- 176, 241; Francesco di Niccolò, 86, vanni di Tedice, 160, 161; 241; Lodovico, 154; Niccolò di Francesco d’Uberto, 196, 213–14; Dardano, 85, 176 Luca di Maso, 98–99; Masetto di Adoption, legal, vii, 12, 20, 34, Luca, 98, 99n. 63; Maso di Luca, 47–48, 52, 57, 168, 173–74, 177. 178; Niccolò d’Alessio, 177; Uberto See also Patria potestas di Giovanni degli, 145, 196, 213; Adulterinus, 36, 53, 55 130, 134–35 Vincenzo d’Uberto, 196 Adultery, 2, 17, 26, 40, 91, 94, 134, Alessandro di Vangelista di Brunetto, 137–38, 147, 175, 178, 179, 181, 154 245 Al‹eri: Belfredello di Niccolò dello Agency, 5, 13, 20, 184, 256. See also Strinato, 93, 146, 160; Domenico Individualism; Person di Niccolò dello Strinato, 160; Lena Agli: messer Bernardo di Francesco, di Niccolò, 160; Marco di Niccolò, 195; Dianora di Francesco di 160 Bellincione, 195 Alimenta: illegitimate children’s rights Agnati.
    [Show full text]