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HFT XIV Packet 04 [FINISHED].Pdf
Harvard Fall Tournament XIV Edited by Jon Suh with assistance from Jordan Brownstein, Ricky Li, and Michael Yue Questions by Jon Suh, Michael Yue, Ricky Li, Kelvin Li, Justin Duffy, Thomas Gioia, Chris Gilmer-Hill, Laurence Li, Jonchee Kao, Peter Laskin, Olivia Murton, Mazin Omer, Alice Sayphraraj, and Kevin Huang Special thanks to Jordan Brownstein, Stephen Eltinge, Kelvin Li, and Olivia Murton Packet 4 Tossups 1. In one work, this man duels Rinaldo twice for a woman he saved from King Agrican. Astolfo flies Elijah’s chariot to the Moon to restore this character’s sanity in a sequel to that Boiardo [“boy-YARD-oh”] work. This man gives his glove to God before dying in another work in which he is accompanied by Oliver and the archbishop Turpin. In that work, his stepfather (*) Ganelon betrays him to the king of Saragossa. This man loves Angelica of Cathay in a Ludovico Ariosto poem partially titled for him, and in another poem he dies at the Battle of Roncevaux [“rahns-voh”] Pass after blowing a horn. For 10 points, name this paladin of Charlemagne featured in a medieval poem about his “song.” ANSWER: Roland (or Orlando; accept The Song of Roland; accept Orlando Furioso) [Writer’s note: The first clue is Matteo Maria Boiardo’s Orlando Innamorato.] <Yue, European Literature> 2. This functional group can be added asymmetrically using AD-mix. When pyridine [“PEER-uh-deen”] or the simplest compound with this functional group is added to a two-carbon compound with this functional group, the result is called “denatured.” Adding lithium aluminum hydride to acetic acid will generate a compound with this functional group. -
Fortune and Romance : Boiardo in America / Edited by Jo Ann Cavallo & Charles S
Fortune and Romance: Boiardo in America xexTS & STuOies Volume 183 Fortune and Romance Boiardo in America edited b)' Jo Ann Cavallo & Charles Ross cr)eC>iev2iL & ReMAissAMce tgxts & STuDies Tempe, Arizona 1998 The three plates that appear following page 60 are reproduced by permission of the Folger Shakespeare Library. The map of Georgia that appears on page 95 is reprinted from David Braund's Georgia in Antiquity (Oxford University Press, 1994), by permission of Oxford University Press. Figures 8, 10 and 11 are reprinted courtesy of Alinari/Art Resource, New York. Figure 9 is reprinted courtesy of Scala, Art Resource, New York. ©Copyright 1998 The Italian Academy for Advanced Studies in America at Columbia University Library of Congress Cataloging'in'Publication Data Fortune and romance : Boiardo in America / edited by Jo Ann Cavallo & Charles S. Ross p. cm. — (Medieval & Renaissance texts & studies ; 183) Most of the essays in this volume stem from the American Boiardo Quincentennial Conference, "Boiardo 1994 in America," held in Butler Library, Columbia University, Oct. 7-9, 1994, sponsored by the Italian Academy for Advanced Studies in America. Includes bibliographical references and index. ISBN 0-86698-225-6 (alk. paper) 1. Boiardo, Matteo Maria, 1440 or 41-1494 — Criticism and interpreta- tion — Congresses. 1. Cavallo, Jo Ann. II. Ross, Charles Stanley. III. American Boiardo Quincentennial Conference "Boairdo 1994 in America" (1994 : Butler Library, Columbia University) IV. Italian Academy for Advanced Studies in America. V. Series. PQ4614.F67 1998 85r.2— dc21 98-11569 CIP @ This book is made to last. It is set in Goudy, smyth-sewn, and printed on acid-free paper to library specifications. -
Alain-René Lesage Et La Traduction Au Xviiie Siècle
Document generated on 09/29/2021 6:31 a.m. TTR Traduction, terminologie, rédaction Alain-René Lesage et la traduction au XVIIIe siècle : Roland l’Amoureux Alain-René Lesage and Translation in the Eighteenth Century: Roland l’Amoureux Giovanni Dotoli and Marcella Leopizzi Censure et traduction en deçà et au-delà du monde occidental Article abstract Censorship and Translation within and beyond the Western World In 1717, Alain-René Lesage published a prose adaptation of Matteo Maria Volume 23, Number 2, 2e semestre 2010 Boiardo’s Italian poem, entitled Orlando innamorato, under the title Roland l’Amoureux. In the Preface to his Roland l’Amoureux [Orlando in Love], Lesage URI: https://id.erudit.org/iderudit/1009165ar explains that his translation reflects the needs and tastes of his time. So, for DOI: https://doi.org/10.7202/1009165ar example, in order to adapt the Italian poem to the rules of verisimilitude and propriety, Lesage modifies the original dispositio and inventio: he introduces more coherence in the narration, he eliminates all that was too irrational and See table of contents fantastic, he employs a polite language, he describes well-mannered and respectful behaviours, he changes several of the episodes to show his devotion towards royalty, and he transforms many adventures with the purpose of Publisher(s) respecting the concept, very important during his time, of the search for happiness. Lesage’s work can be considered successful: it has been read Association canadienne de traductologie throughout the 18th century and has been the subject of eight new editions until 1793. Even if Lesage has not reproduced the musicality of the ottava rima ISSN and the rhythm of the original, he has offered to French readers the possibility 0835-8443 (print) to know Boiardo’s work and to appreciate his ars imaginativa. -
L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2. -
Eagle 1915 Easter
.� , I l � 0 = 3 ... � � � :::; � � � ... "" --- w.. pt ... � � 0 � � :: .: 1$>. 0 � � :: ::c. - g -a - c:t e. I� i <n ? � ... )• 1"1 Q> [ � � � - §I 252 Otw War List. Uric, R. W., 2nd Lieut. 17th Division, R.F.A. Vale, B. E. T., 2nd Lieut. 12lh Royal Welsh Fusiliers Varwell, R. P., 2nd Lieut. 2nd Royal Irish Rifles Wotmded at Mous. Vernon, C. H., 2nd Lieut. 7th (Service) Bn. Hampshire Rgt. Vyvyan, P. H. N. N., Captain A.S.C. Walker, J. Ness, 2nd Lieut. 2nd Northumbrian Br., R.F.A. Warren, J. L. E., 2nd Lieut. 12th (Service) Bn. The Welsh Rgt. - Watcrhouse, G., 2nd Lieut. (T.) lOth Manchester Rgt. Waterhouse, H., 2nd Lieut. 5th Lancashire Fusiliers VV'atson, B. L., 2nd Lieut. 14th (Service) Bn. Royal Fusiliers vVatson, J., Lieut. 10th (Scottish) Bn. King's Liverpool Rgt. Watts, R. J., 2nd Lieut. 1st S. Midland Field Co. R.E. Easter Term, 1915. Weston, T. A., Captain R.A.M.C. Whiddington, R. Royal Aircraft Factory, Farnham Whitehouse, B. R., 2nd Lieut. Whitfield, E. H. D., 2nd Lieut. 6th (Service) Bn. Yorks. and Lancs. Rgt. Wickham, B. W. T., 2nd Lieut. 9th S. Staff. Rgt. GE RECORDS. Willett, J. A., 2nd Lieut. 9th Somerset L.J. NOTES FROM THE COLLE Williams, H. B. 1st British Red Cross Unit Williams, W. H., 2nd Lieut. A.S.C. (Conti11ued from p. 152.) Williamson, H., M.D., Captain R.A.M.C., 1st London General Hospital Wills, R. G., Lieut. R.A.M.C. docu Wilson, A. S., 2nd Lieut. 14th (Service) Bn. Lancs. Fusiliers what follows some letters and other Wood, T. -
The Oxford Companion to English Literature, 6Th Edition
A Aaron's Rod, a novel by D. H. *Lawrence, published alistic prose works, written by *Colum, *Ervine, L. 1922. ^Robinson, *0'Casey, and others. Robinson took over The biblical Aaron was the brother of Moses, the management from Yeats in 1910 and with a short appointed priest by )ehovah, whose blossoming rod break continued until he became director in 1923. (Num. 17: 4-8) was a miraculous symbol of authority. There were contentious but highly successful tours of In the novel Aaron Sisson, amateur flautist, forsakes Ireland, England, and the USA. his wife and his job as checkweighman at a colliery for After the First World War the Abbey's finances a life of flute playing, quest, and adventure in bohe- became perilous, although O'Casey's Shadow of a mian and upper-class society. His flute is symbolically Gunman (1923), Juno and the Paycock (1924), and broken in the penultimate chapter as a result of a bomb The Plough and the Stars ( 1926) brought some respite. explosion in Florence during political riots. In 1925 the Abbey received a grant from the new government of Eire, thus becoming the first state- Aaron the Moor, a character in Shakespeare's *Titus subsidized theatre in the English-speaking world. Andronicus, lover and accomplice of Tamora. From the late 1930s more plays were performed in AbbeyTheatre, Dublin, opened on 27 Dec. 1904 with a Gaelic, and actors were required to be bilingual. In double bill of one-act plays, W. B. *Yeats's On Baile's 1951 the theatre was burned down, and the company Strand and a comedy Spreading the News by Lady played in the Queen's Theatre until the new Abbey *Gregory. -
Bulfinch's Mythology the Age of Fable by Thomas Bulfinch
1 BULFINCH'S MYTHOLOGY THE AGE OF FABLE BY THOMAS BULFINCH Table of Contents PUBLISHERS' PREFACE ........................................................................................................................... 3 AUTHOR'S PREFACE ................................................................................................................................. 4 INTRODUCTION ........................................................................................................................................ 7 ROMAN DIVINITIES ............................................................................................................................ 16 PROMETHEUS AND PANDORA ............................................................................................................ 18 APOLLO AND DAPHNE--PYRAMUS AND THISBE CEPHALUS AND PROCRIS ............................ 24 JUNO AND HER RIVALS, IO AND CALLISTO--DIANA AND ACTAEON--LATONA AND THE RUSTICS .................................................................................................................................................... 32 PHAETON .................................................................................................................................................. 41 MIDAS--BAUCIS AND PHILEMON ....................................................................................................... 48 PROSERPINE--GLAUCUS AND SCYLLA ............................................................................................. 53 PYGMALION--DRYOPE-VENUS -
A Dictionary of Medieval Romance and Romance Writers —
S71 OJorncU Intwetattg ffiihtarg ittfucu. ^tta inch BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 "^""^'^ DATED' <r f Cornell University Library PN 669.S74 Dictionary of medieval romance and roman 3 1924 027 096 530 Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027096530 A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS — UNIFORM WITH THIS VOLUME DICTIONARIES TO FAMOUS AUTHORS In which the various Characters and Scenes are alphabetically arranged and described. Synopses of the Author's various works are also included. DICKENS. A. J. Philip. THOMAS HARDY. With 2 Maps of Wessex. F. Saxelby. KIPLINQ. W. A. Young. SCOTT. (Waveiley Novels). M. F. A. Husband. THACKERAY. I. G. Mudge and E. N. Seaks. OSCAR WILDE. Stuart Mason. ZOLA. (Rougon-Macquart Novels). With Map. J. G. Patterson. " Not much honour is generally gained by doing such work as is represented in these dictionaries. When, how- ever, it is done with the thoroughness and completeness shown by the compilers in this case, the work ought to be warmly acknowledged. It is a labour which will save much labour to others." Tke Scotsman. A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS BY LEWIS SPENCE AUTHOR OF "A DICTIONAEY OF NON-CLASSICAL MYTHOLOGY," "THE MYTHS OF MEXICO AND PERU," "THE CIVILISATION OF ANCIENT MEXICO," ETC, ETC. LONDON GEORGE ROUTLEDGE & SONS, Limited New York: E. P. BUTTON & CO. 9\So)o\o']o First printed in August, 1913. -
Orlando Innamorato, the first Renaissance Epic About the Common Customs Of, and the Conflicts R Between, Christian Europe and Islam
Renaissance Literature I Boiardo RLANDO NNAMORATO O O I T “Neglect of Italian romances robs us of a whole species of pleasure and narrows our very conception of literature. It is as if a man left out Homer, or Elizabethan drama, or the novel. ORLANDO IN LOVE A For like these, the romantic epic of Italy is one of the great trophies of the European genius: RLANDO a genuine kind, not to be replaced by any other, and illustrated by an extremely copious and L brilliant production. It is one of the successes, the undisputed achievements.” —C. S. Lewis Matteo Maria Boiardo I Like Ariosto’s Orlando Furioso and Tasso’s Jerusalem Delivered, Boiardo’s chivalric stories of lords and ladies first entertained the culturally innovative court of Ferrara in the Italian Translated with A Renaissance. Inventive, humorous, inexhaustible, the story recounts Orlando’s love-stricken ORLANDO IN LOVE pursuit of “the fairest of her Sex, Angelica” (in Milton’s terms) through a fairyland that an Introduction N combines the military valors of Charlemagne’s knights and their famous horses with the and Notes by enchantments of King Arthur’s court. I Charles Stanley Ross Today it seems more than ever appropriate to offer a new, unabridged edition of Boiardo’s NNAMORATO Orlando Innamorato, the first Renaissance epic about the common customs of, and the conflicts R between, Christian Europe and Islam. Having extensively revised his earlier translation for general readers, Charles Ross has added headings and helpful summaries to Boiardo’s cantos. E Tenses have been regularized, and terms of gender and religion have been updated, but not so much as to block the reader’s encounter with how Boiardo once viewed the world. -
Download National Epics
National Epics by Kate Milner Rabb National Epics by Kate Milner Rabb E-text prepared by David Starner, S.R. Ellison, and the Online Distributed Proofing Team NATIONAL EPICS BY KATE MILNER RABB 1896 TO MY MOTHER. PREFACE. This volume is intended for an introduction to the study of the epics. While the simplicity and directness of the epic style seem to make such a page 1 / 589 book unnecessary, the fact that to many persons of literary tastes some of these great poems are inaccessible, and that to many more the pleasure of exploring for themselves "the realms of gold" is rendered impossible by the cares of business, has seemed sufficient excuse for its being. Though the beauty of the original is of necessity lost in a condensation of this kind, an endeavor has been made to preserve the characteristic epithets, and to retain what Mr. Arnold called "the simple truth about the matter of the poem." It is believed that the sketch prefacing each story, giving briefly the length, versification, and history of the poem, will have its value to those readers who have not access to the epics, and that the selections following the story, each recounting a complete incident, will give a better idea of the epic than could be formed from passages scattered through the text. The epic originated among tribes of barbarians, who deified departed heroes and recited legends in praise of their deeds. As the hymn developed, the chorus and strophe were dropped, and the narrative only was preserved. The word "epic" was used simply to distinguish the narrative poem, which was recited, from the lyric, which was sung, and from the dramatic, which was acted. -
Donneetcavalieridel'orlandofurioso
Romanische Studien Beihefte 3, 2020 Orlando Furioso Donne et cavalieri de l’Orlando furioso Des êtres de papier aux figures peintes des credenze du xvie siècle Clarisse Evrard (Lille) résumé : L’objet de cet article est d’étudier la place de l’Orlando furioso de l’Arioste dans l’art de la majolique italienne. Après une présentation succincte des céramiques du corpus, il s’agit d’analyser le passage du livre illustré aux figures peintes et les modalités de trans- position de l’épopée à travers le cas d’étude des pièces réalisées dans l’atelier derutais de Giacomo Mancini, afin d’envisager dans un dernier temps comment ces pièces ont pu ac- quérir une signification indépendante du texte auprès de leurs commanditaires. mots clés : gravure, majolique, Giolito Gabriele, Mancini Giacomo, Xanto Avelli, Fran- cesco schlagwörter : Gravur; Majolika; Giolito Gabriele; Mancini Giacomo; Xanto Avelli, Francesco Riche d’une double intertextualité antique et médiévale, l’Orlando furioso de l’Arioste foisonne de scènes de combat et d’épisodes merveilleux et présente une galerie de personnages fortement typés, si bien que l’épopée a considéra- blement imprégné l’imaginaire des arts du xvie siècle. Si le poète de Ferrare, en Virgile de son temps, chante « le donne, i cavallier, l’arme, gli amori, le cortesie, l’audaci imprese », les artistes, eux, leur ont donné corps et couleurs sur les murs des palais, les crédences et les armures des Princes. Ce succès immédiat de l’Orlando furioso se révèle notamment par son utili- sation dans les ateliers des peintres de majolique dès les années 1530. -
Sara Gabriela Simião O Maravilhoso Mundo Das
SARA GABRIELA SIMIÃO O MARAVILHOSO MUNDO DAS NOVELAS DE CAVALARIA: uma leitura de Orlando furioso ASSIS 2017 SARA GABRIELA SIMIÃO O MARAVILHOSO MUNDO DAS NOVELAS DE CAVALARIA: uma leitura de Orlando furioso Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestra em Letras (Área de Conhecimento: Literatura e Vida Social) Orientadora: Dra. Cátia Inês Negrão Berlini de Andrade Bolsista: CAPES ASSIS 2017 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – Unesp Simião, Sara Gabriela S589m O Maravilhoso mundo das novelas de cavalaria: uma lei- tura de Orlando furioso / Sara Gabriela Simião. Assis, 2017. 113 f. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista. Orientador: Drª Cátia Inês Negrão Berlini de Andrade. 1. Ludovico, Ariosto, 1474-1533. 2. Literatura italiana. 3. Romances de cavalaria. 4. Loucura na literatura. 5. Magia. I. Título. CDD 850 AGRADECIMENTOS Agradeço a CAPES pela bolsa concedida, pois, graças a esta segurança financeira, eu tive mais tempo para me dedicar a este árduo trabalho. Também mostro a minha gratidão à equipe da Seção Técnica de Pós-Graduação, que sempre se mostrou disponível para resolver qualquer questão. Agradeço também à minha orientadora, Dra. Cátia Inês Negrão Berlini de Andrade, pela paciência que teve comigo, pois tenho consciência de que não sou uma pessoa fácil de lidar. Além disto, sou-lhe grata por ter me iniciado no universo da pesquisa acadêmica, tolerando-me desde 2010, quando aceitou orientar a minha iniciação científica. Grata também sou à minha outra professora de Literatura Italiana, a Dra.