Ariosto and the Arabs: Contexts of the Orlando Furioso. an International Conference

Total Page：16

File Type：pdf, Size：1020Kb

H-ItalianDiaspora Ariosto and the Arabs: Contexts of the Orlando Furioso. An International Conference Discussion published by Thomas Gruber on Saturday, October 7, 2017 Type: Conference Date: October 18, 2017 to October 19, 2017 Location: Italy Subject Fields: Early Modern History and Period Studies, Islamic History / Studies, Italian History / Studies, Literature, Music and Music History Ariosto and the Arabs: Contexts of the Orlando Furioso. An International Conference Wednesday, October 18, 2017 (All day) to Thursday, October 19, 2017 (All day) Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, Florence (Italy) Among the most complex and engaging artefacts of early modern Italian culture, Ludovico Ariosto’s Orlando furioso was first published in 1516 and twice revised before its definitive edition in 1532. It emerged from a world that was rapidly expanding on a number of fronts while simultaneously subject to a disastrous breakdown of political, social, and religious certainties.Taking inspiration from Borges’ celebrated poem ‘Ariosto y los Arabes’ (1960), this interdisciplinary conference will focus on the role of the Muslim world as the essential ‘other’ in Ariosto’s text. Our aim is to investigate the composite political, religious, and linguistic landscape as well as the relational systems that might be reconstructed around the Furioso. In doing so, we want to analyze the various perspectives of its earlier sources, contemporary resonance, and subsequent reception. Ariosto’s poem was situated at the apex of one of the foundational European literary traditions, the chansons de geste that issued from the fictional rout of Charlemagne’s troops at Roncesvalles. This tradition was subsequently grafted onto Crusade narratives and embedded in the histories of the European conflict with the Ottoman empire. Ariosto’s poem thus presents itself as a prism through which to examine the various links in the chain of interactions that characterized the Mediterranean region from late antiquity through the medieval period, into early modernity, and beyond. http://itatti.harvard.edu/event/ariosto-and-arabs-contexts-orlando-furio... Citation: Thomas Gruber. Ariosto and the Arabs: Contexts of the Orlando Furioso. An International Conference . H-ItalianDiaspora. 10-07-2017. https://networks.h-net.org/node/7645/discussions/407041/ariosto-and-arabs-contexts-orlando-furioso-international Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1.

Copy Link

Recommended publications

The Voyage of Columbus As a “Non Pensato Male”: the Search for Boundaries, Grammar, and Authority in the Aftermath of the New World Discoveries
THE VOYAGE OF COLUMBUS AS A “non PENSATO male”: THE SEARCH FOR BOUNDARIES, GRAMMAR, AND AUTHORITY IN THE AFTERMATH OF THE NEW WORLD DISCOVERIES Erin McCarthy-King Ma volgendosi gli anni, io veggio uscire da l’estreme contrade di ponente nuovi Argonauti e nuovi Tifi, e aprire la strada ignota infin al dì presente: altri volteggiar l’Africa, e seguire tanto la costa de la negra gente, che passino quel segno onde ritorno fa il sole a noi, lasciando il Capricorno; e ritrovar del lungo tratto il fine, che questo fa parer dui mar diversi; e scorrer tutti i liti e le vicine isole d’Indi, d’Arabi e di Persi: altri lasciar le destre e le mancine rive che due per opra Erculea fêrsi; e del sole imitando il camin tondo, ritrovar nuove terre e nuovo mondo. (Orlando Furioso 15.21–22)1 Canto 15 of the Orlando Furioso glorifies the exploratory enterprises of fif- teenth- and sixteenth-century navigators. While the English duke Astolfo journeys westward from India toward Europe, he asks his guide Andron- ica about the possibility of reaching the same destination by going in the opposite direction: “s’andar può senza toccar mai terra,/ chi d’India scioglia, in Francia o in Inghilterra” (“was it possible to set sail from India 1 Ludovico Ariosto, Orlando furioso (Milan: Rizzoli, 1997). “But with the passage of time I see new Argonauts, new Tiphyses hailing from the lands which lie furthest to the West, who shall open routes unknown to this day. Some of them shall round Africa, following the shores of the black peoples right on past the limits whence the sun returns to us after leaving Capricorn;/ they shall discover the limit of the long stretch of land which makes us imagine two separate seas.
[Show full text]
THE HISTORY of ORLANDO FURIOSO
ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
[Show full text]
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.
[Show full text]
Hallazgo De La Traducción Perdida
21. Martín Zulaica color 23/05/2018 19:21 Página 893 Hallazgo de la traducción perdida del Orlando furioso (1604) de Gonzalo de Oliva, ms 000.029 de la Biblioteca de la Universidad de Navarra, y comparación con las otras traducciones contemporáneas* Discovery of the Lost Translation of the Orlando furioso (1604) by Gonzalo de Oliva, ms 000.029 of the Library of the University of Navarra, and its Comparison with the other Contemporary Translations MARTÍN ZULAICA LÓPEZ RECIBIDO: 5 DE OCTUBRE DE 2017 ACEPTADO: 15 DE NOVIEMBRE DE 2017 Departamento de Filología Universidad de Navarra 31009 Pamplona [email protected] Orcid ID: 0000-0002-7911-4822 Resumen: El presente artículo tiene por objeto –centrándonos en la de Jiménez de Urrea–, incidi- dar a conocer el hallazgo de un manuscrito perdido remos en la tarea de reescritura llevada a cabo so- que contiene una traducción áurea del Orlando fu- bre él, y, por último, enjuiciaremos el valor que esta rioso. A la vista del panorama de circulación del traducción tiene tanto para los estudiosos del Siglo poema de Ariosto en español durante el Siglo de de Oro como para cualquier lector. Oro, ofreceremos una descripción codicológica del Palabras clave: Gonzalo de Oliva. Ariosto. Orlando manuscrito, señalaremos la procedencia de los di- furioso. Traducción. Poesía. Siglo de Oro. versos paratextos que lo integran, lo comparare- mos con las otras traducciones áureas del texto * El presente trabajo se enmarca dentro del Proyecto I+D+i del Ministerio de Economía y Com- petitividad FFI2015-64050: Magia, épica e historiografía hispánicas: relaciones literarias y nomológicas.
[Show full text]
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.
[Show full text]
The Narrator As Lover in Ariosto's Orlando Furioso
This is a repository copy of Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/88821/ Version: Accepted Version Article: Pich, F (2015) Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso. The Italianist, 35 (3). 350 - 368. ISSN 0261-4340 https://doi.org/10.1179/0261434015Z.000000000128 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Federica Pich Beyond the story of storytelling: the Narrator as Lover in Ariosto’s Orlando Furioso Chi salirà per me, madonna, in cielo a riportarne il mio perduto ingegno? che, poi ch’usc da’ bei vostri occhi il telo che ’l cor mi fisse, ognior perdendo vegno.
[Show full text]
Robert Garnier's Bradamante (1582): an English Translation of Act IV, with An
Robert Garnier's Bradamante (1582): An English Translation of Act IV, With an Introduction Concerning the Historical Development of the Title Character An Honors Thesis (HONRS 499) by Nathan Rush Thesis Advisor Dr. Donald Gilman Ball State University Muncie, Indiana May 2009 Expected Date of Graduation: December 2009 c I ( f '-11 ," -11 ! ( .~ ..;.3 0 Table of Contents ;.' ( , . k -il' ~ , ' f 1. Abstract .................................................................. '" .................................................... 3 2. Acknowledgements ...................................................................................................... 4 3. Introduction .................................................................................................................. 5 4. Difficulties of Translation .......................................................................................... 16 5. Works Cited ................................................................................................................ 18 6. Translation .................................................................................................................. 20 7. Endnotes ..................................................................................................................... 39 2 Abstract The title character of Robert Garnier's Bradamante (1582) was introduced to French literature through the matiere de France (Matter of France), epic poems written during the Middle Ages. The personage of Bradamante was expanded over time
[Show full text]
The Moslem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens
Marquette University e-Publications@Marquette History Faculty Research and Publications History, Department of 1-1-1977 The oM slem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens John Donnelly Marquette University, [email protected] Published version. Yale Italian Studies, Vol. I, No. 1 (1977): 162-170. © 1977 Yale Italian Studies. Used with permission. The Moslem Enemy in Renaissance Epic: Ariosto, Tasso and Camoens John Patrick Donnelly, S.J. The Renaissance produced many tracts and descriptions dealing with Mos- lems, such as those by Ogier de Busbecq and Phillipe du Fresne-Canaye,' which remain the main source for gauging western attitudes toward Moslems, but these can be supplemented by popular literature which reflects, forms, and gives classic expression to the ideas and stereotypes of a culture.' This study examines and compares the image.of the Moslem in the three greatest epics of the sixteenth century, Ariosto's Orlando furioso, Tasso's Gerusalemme liberata, and Camoens's Os Lusiadas." All three epics enjoyed wide popularity and present Christian heroes struggling against Moslem enemies. Ludovico Ariosto, courtier to the d'Este lords of Ferrara, first published Orlando furioso in 1516 but continued to polish and expand it until 1532. With 38,728 lines, it is the longest poem of the Renaissance, perhaps of west- ern literature, to attain wide popularity. It describes the defense of Paris by Charlemagne and his knights against the Moors of Spain and Africa. This was traditional material already developed by the medieval chansons de geste and by Orlando innamorato of Matteo Maria Boiardo, who preceded Ariosto as court poet at Ferrara.
[Show full text]
Orlando Innamorato [Orlando in Love]
Matteo Maria Boiardo: Orlando Innamorato [Orlando in Love] (1495) Jo Ann Cavallo (Columbia University ) Genre: Epic, Poetry (any). Country: Italy. Written for a fifteenth-century Italian court society hooked on Arthurian romance but also attuned to current world events, Boiardo’s Orlando Innamorato [Orlando in Love] charts a complex imaginary course in which characters from diverse cultures encounter one another in ways that range from armed conflict to friendship and love. Although knights and damsels from around the globe are gripped by a number of passions, such as erotic desire, anger, ambition, compassion, and the desire for glory or revenge, their actions are not based on either religious or ethnic differences. The narrative thereby breaks out of the polarization of Christians and Saracens typical of Carolingian epic, presenting a broader cosmopolitan vision of humankind consonant with ancient, medieval, and fifteenth-century historical and geographical texts that were capturing the attention of the Ferrarese court. In the chansons de geste, or historical songs, that formed the basis of the medieval Carolingian epic genre, the hero Roland (later Italianized as Orlando) was celebrated as Charlemagne’s most stalwart paladin. In the twelfth-century The Song of Roland, a Basque ambush of Charlemagne’s retreating army at the mountain pass of Roncesvalles (Einhard) was refashioned into an Armageddon of sorts in which Roland and his companions who formed the rearguard were massacred by Saracens due to his stepfather Ganelon’s treachery. Subsequent elaborations of Frankish exploits in Spain prior to the fatal battle of Roncesvalles, most notably the Franco-Venetian Entrée d’Espagne (c.
[Show full text]
Ariosto and Tasso. Nancy Dersofi Bryn Mawr College
Bryn Mawr Review of Comparative Literature Volume 1 Article 4 Number 1 Summer 1999 Summer 1999 Review of Valeria Finucci, Renaissance Transactions: Ariosto and Tasso. Nancy Dersofi Bryn Mawr College Follow this and additional works at: https://repository.brynmawr.edu/bmrcl Let us know how access to this document benefits ouy . Recommended Citation Dersofi, Nancy (1999). Review of "Review of Valeria Finucci, Renaissance Transactions: Ariosto and Tasso.," Bryn Mawr Review of Comparative Literature: Vol. 1 : No. 1 Available at: https://repository.brynmawr.edu/bmrcl/vol1/iss1/4 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/bmrcl/vol1/iss1/4 For more information, please contact [email protected]. Dersofi: Dersofi on Finucci Valeria Finucci, ed., Renaissance Transactions: Ariosto and Tasso. Durham: Duke UP, 1999. 296 pp. ISBN 0822322951. Reviewed by Nancy Dersofi, Bryn Mawr College This handsome volume of essays on Ariosto and Tassso addresses the contrasting styles of the two Renaissance epic poets whose works are both a milestone in literary history and a turning point in discussions about the nature of the modern narrative and how to read it. In her introduction, Finucci reviews the sixteenth-century argument that viewed Ariosto's Orlando furioso (1532), digressive, fragmented, ironic, as the epitome of chivalric romance and read Tasso's Gerusalemme liberata (1581) as a unified epic premised on a single moral truth, equal to the epic achievements of Homer and Virgil. Recent criticism has taken a different tack, celebrating Ariosto's skepticism and observing discontinuity in Tasso's poetics. Finucci presents her collection of essays as a book designed to explore new perspectives on the poems and to foster dialogue among the various critical approaches they represent.
[Show full text]
Estudio Y Edición De El Vencedor De Sí Mismo De Álvaro Cubillo De Aragón
TESIS DOCTORAL Título Estudio y edición de El vencedor de sí mismo de Álvaro Cubillo de Aragón Autor/es María del Mar Torres Ruiz Director/es Francisco Domínguez Matito y María Isabel Martínez López Facultad Titulación Departamento Curso Académico 2014-2015 Estudio y edición de El vencedor de sí mismo de Álvaro Cubillo de Aragón, tesis doctoral de María del Mar Torres Ruiz, dirigida por Francisco Domínguez Matito y María Isabel Martínez López (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] FACULTAD DE LETRAS Y DE LA EDUCACIÓN DEPARTAMENTO DE FILOLOGÍA HISPÁNICA Y CLÁSICA ESTUDIO Y EDICIÓN DE EL VENCEDOR DE SÍ MISMO DE ÁLVARO CUBILLO DE ARAGÓN TESIS DOCTORAL MARÍA DEL MAR TORRES RUIZ DIRECTORES DR. FRANCISCO DOMÍNGUEZ MATITO DRA. MARÍA ISABEL MARTÍNEZ LÓPEZ LOGROÑO, 2015 MARÍA DEL MAR TORRES RUIZ ESTUDIO Y EDICIÓN DE EL VENCEDOR DE SÍ MISMO DE ÁLVARO CUBILLO DE ARAGÓN TESIS DOCTORAL DIRECTORES DR. FRANCISCO DOMÍNGUEZ MATITO DRA. MARÍA ISABEL MARTÍNEZ LÓPEZ LOGROÑO, 2015 - 1 - - 2 - ÍNDICE GENERAL PRESENTACIÓN 7 I. INTRODUCCIÓN GENERAL 15 1. LVARO CUBILLO DE ARAGÓN: BIOGRAFÍA Y DRAMATURGIA 17 1.1. APUNTES BIOGRÁFICOS 17 1.2. APUNTES SOBRE SU PRODUCCIÓN LITERARIA 20 2. LA LITERATURA DE CABALLERÍAS Y SU TRASCENDENCIA EN EL TEATRO DEL SIGLO DE ORO 26 2.1. EL CONCEPTO DE LA CABALLERÍA 26 2.2.
[Show full text]
Oggetti E Aiutanti Magici Nell'orlando Furioso Di Ludovico Ariosto
Högskolan Dalarna Institutionen för humaniora och språk Italienska avdelningen Oggetti e aiutanti magici nell’Orlando Furioso di Ludovico Ariosto L’orca, che vede sotto le grandi ale l’ombra di qua e di là correr su l’onda, lascia la preda certa litorale, e quella vana segue furibonda: dietro quella si volve e si raggira. Ruggier giù cala, e spessi colpi tira. Canto X, stanza 102 Orlando Furioso Lena Ohlsson IT2002 HT 2008 Handledare: Vera Nigrisoli Wärnhjelm I N D I C E Oggetti e aiutanti magici nell’Orlando Furioso di Ludovico Ariosto INTRODUZIONE 1 I. L’AUTORE - LE RADICI - IL GENERE – L’OPERA 1.1 Ludovico Ariosto 3 1.2 Matteo Maria Boiardo 4 1.3 La letteratura cavalleresca 4 1.4 Dall’Orlando Innamorato all’Orlando Furioso 5 1.5 La fortuna dell’Orlando Furioso 7 II. OGGETTI E AIUTANTI MAGICI 2.1 La magia 8 2.1.1 L’anello 9 2.1.2 Lo scudo 11 2.1.3 Il corno 13 2.1.4 La lancia 15 2.1.5 I libri 17 2.1.6 Le due fontane 19 2.1.7 La coppa 20 2.1.8 I cavalli: Baiardo e Rabicano 21 2.1.9 L’Ippogrifo 23 2.1.10 Statistica sulla presenza di oggetti e aiutanti magici nell’Orlando Furioso 26 CONCLUSIONI 26 APPENDICE 1 – La trama 29 APPENDICE 2 – I personaggi 29 BIBLIOGRAFIA 31 Introduzione Ludovico Ariosto, poeta del Cinquecento alla corte dei signori d’Este di Ferrara (una terra fertile per racconti di cavalleria, onore e imprese di guerra), non seppe resistere alla tentazione di finire un poema cavalleresco che era rimasto incompiuto, un poema straordinario e magico: l’Orlando Innamorato1 di Maria Matteo Boiardo.
[Show full text]