Il Palazzo Di Atlante
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Repatriating Romance: Politics of Textual Transmission in Early Modern France
Repatriating Romance: Politics of Textual Transmission in Early Modern France By Linda Danielle Louie A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Romance Languages and Literatures and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Mairi McLaughlin Professor Victoria Kahn Fall 2017 Repatriating Romance: Politics of Textual Transmission in Early Modern France © 2018 by Linda Danielle Louie Abstract Repatriating Romance: Politics of Textual Transmission in Early Modern France by Linda Danielle Louie Doctor of Philosophy in Romance Languages and Literatures Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Timothy Hampton, Chair This dissertation reveals the central role that transcultural literary exchange plays in the imagining of a continuous French literary history. The traditional narrative of French literary history describes the vernacular canon as built on the imitation of the ancients. However, this dissertation demonstrates that Early Modern French canon formation also depends, to a startling extent, on claims of inter-vernacular literary theft. Throughout the sixteenth and seventeenth centuries, a central preoccupation of French authors, translators, and literary theorists was the repatriation of the romance genre. Romance was portrayed as a cornerstone of French literary patrimony that Italian and Spanish authors had stolen. The repatriation of individual romance texts entailed a skillful co-opting of the language of humanist philology, alongside practices of translation and continuation usually associated with the medieval period. By looking at romance translation as part of a project of national canon formation, this dissertation sheds new light on the role that chivalric romance plays in national and international politics. -
Il Palazzo Incantato
GIULIO ROSPIGLIOSI IL PALAZZO INCANTATO a cura di Danilo Romei Banca Dati “Nuovo Rinascimento” http://www.nuovorinascimento.org immesso in rete il 24 gennaio 1996 nuovo formato del 25 aprile 2009 revisione del 23 luglio 2012 2 [528] [529] INTERLOCUTORI GIGANTE, che è il medesimo, che Atlante in diversa figura ANGELICA, innamorata di [...] ORLANDO, innamorato di Angelica 1 ATLANTE, padrone del palazzo incantato DAMIGELLE BRADAMANTE, innamorata di Ruggero 2 MARFISA maga FERRAÙ SACRIPANTE RUGGERO, innamorato di Angelica ALCESTE FIORDILIGI, moglie di Brandimarte 3 PRASILDO MANDRICARDO, innamorato di Doralice 4 [BRANDIMARTE] GRADASSO OLIMPIA CORO DI OTTO NINFE CORO DI FANTASME DORALICE, innamorata di Mandricardo IROLDO ASTOLFO UN CACCIATORE NANO [PITTURA] [POESIA] [MUSICA] 1 padrone] Padrona 2 <maga>] [la definizione, del tutto ingiustificata nel testo, è evidentemente da espungere] 3 Prasildo] Brasildo 4 [Brandimarte] [non compare mai nel testo] 3 [MAGIA] [RIVI] [ECO] [FINARDO] 4 [530] [531] PROLOGO Pittura, Poesia, Musica, Magia. PITTURA Vaghi Rivi, Perché andate fuggitivi Senz’aver posa un momento? [RIVI] Noi fuggiamo in grembo ai mari, Per sospetto degl[i] avari, Perché abbiam l’onde d’argento. PITTURA Con sollecita cura Siate, o miei fidi, al mio disegno intenti. Là si devon le mura Finger d’antica torre omai cadenti E d’ogni intorno poi su l’altra scena Folta verdeggi una campagna amena. Sù, miei seguaci, alla fatica illustre Non sia lenta la mano, Ferva l’opera industre, E non s’attenda il valor vostro invano. POESIA Pur ch’abbia la Pittura Terminata la scena, altro non manca. MUSICA Ella, ch’in ben oprar non è mai stanca, Col suo destro pensier nulla trascura. -
In Sي Gran Martire… a Tonal Experiment in Luigi Rossi's Il
Musica Iagellonica 2018 eISSN 2545-0360 Zygmunt M. Szweykowski ( Jagiellonian University, Cracow) In sí gran martire… A tonal experiment in Luigi Rossi’s Il Palazzo incantato d’Atlante* The subject of my article is Scene 6 from Act III of Luigi Rossi’s musical drama Il Palazzo incantato d’Atlante (1642) to a libretto by Giulio Rospigliosi. This particular scene is worthy of attention, because the composer has given it a thoroughly unique musical setting as compared to early Italian drammi per mu- sica. It not only features more than one key signature sign — two sharps appear at the clefs — but also five sharps as accidentals in the music itself, thus using rare pitch material for late sixteenth and early seventeenth century output. Giulio Rospigliosi quite often drew the themes of his dramas from Re- naissance epic poetry. Here, the source is Ludovico Ariosto’s poem Orlando furioso 1. The presented action is practically based on octaves 4–32 of Song XII from Ariosto’s poem. Rospigliosi does not keep strictly to the epic’s sequence of events, instead arranging them according to his own plan. Rospigliosi’s work was originally titled Lealtà con valore (Loyalty and valor), but he quickly adopted the title featuring the word “Palazzo”, which nevertheless had several differing versions, such as Il Palazzo incantato ovvero la guerriera amante [The enchanted * This article is an abbreviated version of the chapter from the book Dramma per musica, vol. II/2, ed. Zygmunt M. Szweykowski (in preparation). 1 The author published it in the final version in 1532. -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. -
Angelica Inseguita
ANGELICA INSEGUITA ‘’La prima impressione è che questi cavalieri non sappiano bene cosa vogliono: un po’ inseguono, un po’ duellano, un po’ giravoltano, e sono sempre sul punto di cambiare idea.’’ I. Calvino, Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, Mondadori, 1983, pag. 64 Abbiamo attribuito alla frase scelta questo quadro di Paolo Uccello, in quanto entrambi si ricollegano ad uno temi centrali del poema raccontato da Italo Calvino, ossia quello dell’inchiesta «fallimentare» che si traduce in un movimento circolare, che non approda mai ad una fine. L’inseguire vanamente questi oggetti delusori determina un allontanarsi fisicamente, ma anche moralmente da quelli che sono i loro doveri cavallereschi. Possiamo notare infatti nel quadro l'allontanamento dal campo di Paolo Uccello, Niccolò da Tolentino alla testa dei fiorentini, 1438. battaglia di alcuni cavalieri. Erika Gambardella, Lia Lisenni, Elvira Zullo IV E Bradamante e l’Ippogrifo (cap. 2) • Si introduce la narrazione: due guerrieri si trovano in una locanda. • Improvvisamente si avverte il passaggio dell’Ippogrifo in cielo. • L’oste della locanda spiega la situazione in cui gli abitanti del villaggio si trovano. • Il narratore descrive i due personaggi: si tratta di una guerriera cristiana, Bradamante, e un combattente musulmano, Brunello. Entrambi hanno lo stesso fine, cioè liberare Ruggiero dal mago Atlante. • I due personaggi si dirigono verso il castello del mago. • Bradamante lega Brunello e inizia lo scontro contro Atlante, che usa il suo libro magico. • Bradamante, fingendosi morta, inganna il mago, lo cattura e lo intrappola, costringendolo a far scomparire il castello. • Il castello si dissolve e ne escono Ruggiero e gli altri compagni prigionieri. -
Dragon Magazine #127
CONTENTS Magazine Issue #127 Vol. XII, No. 6 SPECIAL ATTRACTIONS November 1987 15 Cal1 to Arms: The fighters world, from berserkers to battlefields. 16 Lords & Legends Kyle Gray Four famous warriors from European myth and legend. 22 No Quarter! Arn Ashleigh Parker Publisher Mike Cook Creative combat for fighters with style. 26 Bazaar of the Bizarre The readers Editor A magical treasury of bows and bolts for arcane archers. Roger E. Moore 32 Two Hands Are Better Than One Donald D. Miller Assistant editor Fiction editor When a two-handed sword becomes a three-handed sword, and other handy facts. Robin Jenkins Patrick L. Price 36 In Defense of the Shield Tim Merrett Editorial assistants A good shield might be the best friend youll ever have. Eileen Lucas Barbara G. Young 38 Fighting for Keeps Roy G. Schelper Debbie Poutsch Georgia Moore Your new castle is full of orcs? Its BATTLESYSTEM supplement time! Art director 46 In the Heat of the Fight Sean Holland Roger Raupp Berserkers, ambushes, fanatics, tribal champions all in a days work. Production Staff 48 A Menagerie of Martial Arts Len Carpenter Marilyn Favaro Gloria Habriga Twenty all-new martial-arts styles for Oriental Adventures. Colleen OMalley OTHER FEATURES Subscriptions Advertising 8 Role-playing Reviews Ken Rolston Pat Schulz Mary Parkinson Game designers rush in where deities fear to tread. Creative editors 56 The Ecology of the Yeti Thomas Kiefer Ed Greenwood Jeff Grubb A particularly chilling encounter on the high glaciers. 62 Arcane Lore Arthur Collins Selections from a lost tome on lifes little illusions. -
Ariosto, Cervantes, and Shakespeare in 2016
ONLINE ENCORE SUMMER 2016 BRITISH ACADEMY REVIEW Ariosto, Cervantes, and Shakespeare in 2016 Jane E. Everson, Andrew Hiscock and Stefano Jossa on three writers receiving centenary celebrations this year 2016 marks the fifth centenary of the Jane E. Everson is first publication of the Orlando Furioso, Emeritus Professor of the masterpiece of the 16th-century Italian at Royal Holloway University of London; Italian poet, Ludovico Ariosto� This Andrew Hiscock is fascinating poem of love and adventure Professor of English at the in ‘ottava rima’ (a rhyming stanza form) University of Bangor; Dr tells the stories of Charlemagne’s pala- Stefano Jossa is Reader in dins during the war against the Moorish Italian at Royal Holloway. assailants in France� This centenary is, They were the convenors of the British Academy regrettably, being overshadowed in the Conference on ‘Ariosto, mind of the general public by two more the Orlando Furioso and prominent literary centenaries, those of English Culture, 1516– two deaths, of the national bard William 2016’, which was held on Shakespeare and the Spanish novelist 28–29 April 2016. Miguel de Cervantes, who both died in 1616�1 Shakespeare and Cervantes will frequently be celebrated jointly this year in the major world libraries: not so with Ariosto� Wil- liam Shakespeare needs no introduction, while Miguel de Cervantes may be less well-known to some than his greatest creation Don Quixote – the renowned chivalric anti-hero who unveiled the crisis of the feudal world and gave birth to the modern novel� The works of Shakespeare and Cervantes are milestones of world literature and have certainly attracted much greater attention than Ariosto’s� Nowadays perhaps, nobody could be blamed for knowing Portrait of a Poet (c. -
Le Nozze Di Bradamante E Ruggiero Nell'orlando Furioso
FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico In La letteratura degli italiani 4. I letterati e la scena, Atti del XVI Congresso Nazionale Adi, Sassari-Alghero, 19-22 settembre 2012, a cura di G. Baldassarri, V. Di Iasio, P. Pecci, E. Pietrobon e F. Tomasi, Roma, Adi editore, 2014 Isbn: 978-88-907905-2-2 Come citare: Url = http://www.italianisti.it/Atti-di- Congresso?pg=cms&ext=p&cms_codsec=14&cms_codcms=397 [data consultazione: gg/mm/aaaa] La letteratura degli italiani 4. I letterati e la scena © Adi editore 2014 FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico Poiché tra gli intendimenti degli autori del Rinascimento molto forte è quello di fornire manuali e modelli di comportamento, vogliamo leggere anche in questo senso il polifunzionale poema dell’Ariosto. Un vademecum per gli sposi, per i promessi sposi Ruggiero e Bradamante, la cui reale vicenda sentimentale percorre il Furioso e lo informa di sé ben più del virtuale amore a cui deve Orlando la sua follia. Percorso formativo per Bradamante innanzitutto che s’avvia a diventare composta madre di famiglia e progenitrice di regnanti dall’indomita guerriera che la tradizione letteraria precedente consegnava ad Ariosto. Gentildonna da cavaliere, secondo una progressiva spoliazione dalle armi e rivestizione di virtù diplomatiche ed umane che costituiscono l’habitus non solo della donna di corte ma, più in generale, della classe aristocratica dell’Ancien Régime. Presupposto propedeutico a questo intervento è riconoscere la serietà con cui Ariosto guarda ai valori che informano il mondo cavalleresco dell’Orlando Furioso. -
Numero 2 – Settembre 2012
! ! ! ! ! ! ! ! ! "#$$#%&$'%&!#!&%$(! ! ! )&"!*&%+,,+!&"!-+.$/+)#%0+! ! ! !!!!!! ! !"#$%%&# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! *459:289! ! ! ! ! ;<:9=4! ! ! >?==6=2! ! ! ! "95@2954! ! "4!A6=B6! ! ! +8826=2! ! ! -2C6DD4! ! -27952! ! -4332! ! ! .9584=4! ! 'E9D1252! ! A9D6=24! #1232452!.256786726! BIBLIOTECA DI SINESTESIEONLINE 2 Letteratura e arti dal Barocco al postmoderno e-book EDIZIONI SINESTESIE Proprietà letteraria riservata © Associazione Culturale Internazionale Edizioni Sinestesie Via Tagliamento, 154 ± 83100 Avellino www.edizionisinestesie.it ± [email protected] ISBN 978-88-98169-08-5 Il presente e-book contiene i saggi pubblicati su «Sinestesieonline», a. I, n. 2, Settembre-Ottobre 2012 www.rivistasinestesie.it Novembre 2012 INDICE LUCILLA BONAVITA La trasformazione scenica della morfologia del poema: ‘Rosale’s di Mario Luzi 1 1 ANGELO FÀVARO Gemisto, l’imperatrice e Leopardi: da Bisanzio a Recanati 14 14 14 CLIZIA GURRERI «Haec est ultima voluntas». B 4333 un inedito bolognese. Per una prima lettura del testamento di Melchiorre Zoppio tra gli accademici Gelati il caliginoso 60 ANNA LANGIANO Il «mondo alla roversa» di G. F. Busenello e il relativismo incognito 81 STEFANO LO VERME Un nuovo canone cinematografico: la classifica del British Film Institute 101 ALESSANDRA OTTIERI Uno spazio «mobile e metamorfico». L’attività teatrale di Toti Scialoja 120 RAFFAELLA PICELLO Stampa periodica e ricezione del Futurismo nella Ferrara di Filippo De Pisis 135 ! 1 CARLA PISANI Dal ‘Martyre de Saint Sébastien’ alla ‘Contemplazione della -
Renaissance and Reformation, 1978-79
Sound and Silence in Ariosto's Narrative DANIEL ROLFS Ever attentive to the Renaissance ideals of balance and harmony, the poet of the Orlando Furioso, in justifying an abrupt transition from one episode of his work to another, compares his method to that of the player of an instrument, who constantly changes chord and varies tone, striving now for the flat, now for the sharp. ^ Certainly this and other similar analogies of author to musician^ well characterize much of the artistry of Ludovico Ariosto, who, like Tasso, even among major poets possesses an unusually keen ear, and who continually enhances his narrative by means of imaginative and often complex plays upon sound. The same keenness of ear, however, also enables Ariosto to enrich numerous scenes and episodes of his poem through the creation of the deepest of silences. The purpose of the present study is to examine and to illustrate the wide range of his literary techniques in each regard. While much of the poet's sensitivity to the aural can readily be observed in his similes alone, many of which contain a vivid auditory component,^ his more significant treatments of sound are of course found throughout entire passages of his work. Let us now turn to such passages, which, for the convenience of the non-speciaUst, will be cited in our discussion both in the Italian text edited by Remo Ceserani, and in the excellent English prose translation by Allan Gilbert."* In one instance, contrasting sounds, or perhaps more accurately, the trans- formation of one sound into another, even serves the implied didactic content of an episode with respect to the important theme of distin- guishing illusion from reality. -
Cahiers De Recherches Médiévales Et Humanistes, 12 | 2005 the Epic Tradition of Charlemagne in Italy 2
Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 12 | 2005 La tradition épique, du Moyen Âge au XIXe siècle The epic tradition of Charlemagne in Italy Jane E. Everson Electronic version URL: http://journals.openedition.org/crm/2192 DOI: 10.4000/crm.2192 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 December 2005 Number of pages: 45-81 ISSN: 2115-6360 Electronic reference Jane E. Everson, « The epic tradition of Charlemagne in Italy », Cahiers de recherches médiévales [Online], 12 | 2005, Online since 30 December 2008, connection on 13 October 2020. URL : http:// journals.openedition.org/crm/2192 ; DOI : https://doi.org/10.4000/crm.2192 This text was automatically generated on 13 October 2020. © Cahiers de recherches médiévales et humanistes The epic tradition of Charlemagne in Italy 1 The epic tradition of Charlemagne in Italy Jane E. Everson Introduction 1 From the late thirteenth century to the end of the Renaissance, Carolingian narratives centred on the deeds of Charlemagne, Roland and the peers of France enjoyed immense popularity in Italy at all levels of society. Some of the greatest writers of this period were attracted to the genre and produced in it their masterpieces. And if, for the early period, the most important compositions are often anonymous, for the fifteenth and sixteenth centuries the names of Andrea da Barberino, Pulci, Boiardo, Ariosto and Tasso, to name only the best known and most influential, serve to underline the status of Carolingian narrative literature as the pre-eminent literary genre in the vernacular. As I have pointed out elsewhere, the sheer length of time during which the Carolingian narrative tradition flourished in Italy, the large number of writers involved with the genre, the wealth of material both in content and style, the range of developments and modifications, all pose major problems for the scholar aiming to produce a comprehensive historical and thematic survey of the genre.1 2 The magnitude of the task had already taxed E.