Italian 470 Modern and Postmodern Italian Literature

Total Page:16

File Type:pdf, Size:1020Kb

Italian 470 Modern and Postmodern Italian Literature Italian 320: Writing About Italian Literature University of Southern California Instructor: Francesca Leardini, Ph.D. Fall 2010 T /Th 2:00-3:20pm Taught in Italian VKC 161 Recommended preparation: ITAL 224 E-mail: [email protected] Office Hours: Mon. 11-11:50/ Tue. 11-11:50/ Office: THH 176 Wed. 2-2:50/ Th. 11-11:50 Love in Italian Literature G. De Chirico, Ettore e Andromaca (1917) Course Description In this course we will consider love as the guiding theme to detect the changes occurring in various periods of Italian literature, from the Middles Ages to modern times. We will read and discuss prose and poetry masterpieces by, among others, Dante, Cavalcanti, Boccaccio, Petrarca, Leopardi, Verga, Marinetti, Calvino, Maraini and Landolfi. Through the analysis of the theme and language of love, students will further develop their observation, interpretation and expression skills in Italian. They will discuss in detail the content and ideas of the text, engaging in a clear critical argument on the subjects studied. By focusing on the historical, social and political environments surrounding the texts we read, students will better understand Italian life and society. Francesca Leardini - Italian 320 – Fall 2010 Required texts: 1. Teacher’s handouts 2. Some course material may be available on Electronic Reserve: https://usc.ares.atlas- sys.com/ (NB: There may be modifications to reading assignments and class schedules at any time during the term at the discretion of the instructor) Grading: 15% Midterm Exam 20% Final paper 45% Papers (3 papers, 15% each) 10% Oral presentation 10% Attendance and participation Papers and exams dates: 1st paper due: Tues. SEPTEMBER 14 th 2nd paper due: Tues. OCTOBER 5 th Midterm Exam: Tues. OCTOBER 19 th 3rd paper due: Tues. NOVEMBER 9 th Final Paper: Thurs. DECEMBER 2 nd Course requirements: 1. IN CLASS. Class will be held exclusively in Italian . 2. EXAMS. There will be a Midterm exam based on readings and class discussions. 3. PAPERS ASSIGNMENTS. There will be three written assignments. Each paper will be 3 typed, double-spaced pages. Papers must be handed in on the due date at the beginning of class. 4. FINAL PAPER. There will be a 5 typed, double-spaced pages final paper, which will be handed in at the beginning of the last class. 5. ORAL PRESENTATION. Students will be expected to give oral presentations and to lead a class discussion on one assigned reading. 7. PARTICIPATION AND ATTENDANCE. Students will be expected to read the assigned texts before coming to class and to actively participate in the class discussion based on the readings. Regular attendance in the course is mandatory . Absences and tardiness will have an adverse effect on the grade. _____________________________________________________________________________ Policy for Make-Ups and Assignments There are no make-up dates for the midterm or final exams. Written assignments should be turned in on scheduled due dates. A paper turned in late will receive one lower grade for each day that went by after the scheduled date: for instance a B+ paper due on Monday and turned in Wednesday will receive a B-. 2 Francesca Leardini - Italian 320 – Fall 2010 Accomodation Based on Disability Students requesting academic accommodation based on disability are required to register with the Office of Disability Services and Programs (DSP). A letter of verification can be obtained from DSP, when adequate documentation is filed. DSP is open Monday though Friday 8:30 am- 5 pm. The office is located in the Student Union, room 301, phone number (213) 740-0776, email: [email protected]. A note on Plagiarism Plagiarism is a serious offence and could result in your dismissal from USC. All instances of suspected plagiarism will be reported to the Dean of Students for disciplinary action. If you borrow words or an idea from any source, whether it be a book, journal, magazine, the Internet, or a lecture, you need to indicate where the information came from. Diana Hacker’s A Writer’s Reference identifies three different acts that are considered plagiarism: “(1) failing to cite quotations and borrowed ideas, (2) failing to enclose borrowed language in quotation marks, and (3) failing to put summaries and paraphrases [of other texts] into your own words” (Hacker 261). If you have any questions regarding plagiarism, please ask me. WEEK 1: Course introduction/ Medieval Love Poetry: the Sicilian School Tues. AUGUST 24 th Introduction to the course Introduction to Frederick II and the Sicilian School of Poetry Jacopo da Lentini, “Amor è un desio che ven da core” Thurs. AUGUST 26th Discussion on Frederick II and the Sicilian School of Poetry and “Amor è un desio…” Introduction to love poetry in central and northern Italy Guido Guinizzelli, “Al cor gentil rempaira sempre amore” WEEK 2: Medieval Love Poetry: Guinizzelli and Cavalcanti Tues. AUGUST 31 st Discussion on Guido Guinizzelli, “Al cor gentil rempaira sempre amore” Guido Cavalcanti, “Tu m'hai sì piena di dolor la mente” 3 Francesca Leardini - Italian 320 – Fall 2010 Thurs. SEPTEMBER 2 nd Guido Cavalcanti, “Voi che per li occhi mi passaste 'l core” Discussion on love poetry in central and northern Italy Introduction to Dante, Vita Nuova Extra material (time permitting): Il Novellino XLVI/ XCIX WEEK 3: Dante and the Dolce Stil Novo Tues. SEPTEMBER 7 th Dante, Vita Nuova : prose and poetry excerpts from chapters III, XIV and XX, including the poems: “A ciascun'alma presa” “Con l'altre donne mia vista gabbate” “Tanto gentile e tanto onesta pare” th Thurs. SEPTEMBER 9 Discussion on Dante, Vita Nuova Dante, Divina Commedia , Purgatorio XXIV, 34-63 (definizione del “dolce stil novo”) WEEK 4: Dante’s Paolo e Francesca Tues. SEPTEMBER 14 th FIRST PAPER DUE Dante, Divina Commedia , Inferno V (excerpts) Thurs. SEPTEMBER 16 th Discussion on Dante, Divina Commedia , Inferno V WEEK 5: Love and intelligence in Boccaccio’s Decameron Tues. SEPTEMBER 21 st Boccaccio, Decameron , III, iii 4 Francesca Leardini - Italian 320 – Fall 2010 Thurs. SEPTEMBER 23 rd Discussion on Decameron , III, iii Introduction to Boccaccio, Decameron , III, i WEEK 6: Tragic Love in Boccaccio’s Decameron Tues. SEPTEMBER 28 th Discussion on Decameron , III, i Introduction to Boccaccio, Decameron , IV, v Thurs. SEPTEMBER 30 th Discussion on Decameron , IV, v Introduction to Boccaccio, Decameron , III, iv WEEK 7: Petrarca’s “Canzoniere” (Rerum Vulgarium Fragmenta ) Tues. OCTOBER 5 th SECOND PAPER DUE Discussion on Boccaccio, Decameron , III, iv Introduction to Petrarca, Rerum VulgariumFragmenta (RVF ) Petrarca, RVF, 1 Thurs. OCTOBER 7 th Discussion on Petrarca, RVF, 1 Petrarca, RVF, 35 Petrarca, RVF , 134 WEEK 8 : Petrarca (RVF ) Tues. OCTOBER 12 th Discussion on Petrarca, RVF, 1, 35 and 134 Petrarca, RVF , 272 Introduction to Petrarca, RVF , 364 and 365 5 Francesca Leardini - Italian 320 – Fall 2010 Thurs. OCTOBER 14 th Discussion on Petrarca, RVF , 364 and 365 WEEK 9: Leopardi’s Zibaldone Tues. OCTOBER 19 th : MIDTERM EXAM Thurs. OCTOBER 21 st Introduction to Leopardi, Zibaldone di pensieri (excerpts) WEEK 10: Leopardi, “A Silvia” Tues. OCTOBER 26 th Discussion on Leopardi, Zibaldone di pensieri (excerpts) Thurs. OCTOBER 28 th Introduction to Leopardi, A Silvia WEEK 11: Verga Tues . NOVEMBER 2 nd Discussion on Leopardi, A Silvia Introduction to Verga, “La lupa” Thurs. NOVEMBER 4 th Discussion on Verga, “La lupa” Introduction to Marinetti, “Contro l'amore e il parlamentarismo” 6 Francesca Leardini - Italian 320 – Fall 2010 WEEK 12: Marinetti Tues. NOVEMBER 9 th THIRD PAPER DUE Discussion on Marinetti, “Contro l'amore e il parlamentarismo” Introduction to: Marinetti, “Contro il matrimonio” Thurs. NOVEMBER 11 th Discussion on: Marinetti, “Contro il matrimonio” Introduction to: Marinetti, “Orgoglio italiano rivoluzionario e libero amore” WEEK 13: Calvino Tues. NOVEMBER 16 th Discussion on: Marinetti, “Orgoglio italiano rivoluzionario e libero amore” Introduction to: Marinetti “L’abolizione del matrimonio” Marinetti, “L’emancipazione della donna” Thurs. NOVEMBER 18 th Discussion on: Marinetti “L’abolizione del matrimonio” Marinetti, “L’emancipazione della donna” Introduction to: Calvino, “Avventura di due sposi” WEEK 14: Maraini Tues. NOVEMBER 23 rd Discussion on Calvino, “Avventura di due sposi” Introduction to: Maraini, “Il quaderno rosso” Thanksgiving recess 7 Francesca Leardini - Italian 320 – Fall 2010 WEEK 15: Landolfi Tues. NOVEMBER 30 th Discussion on Maraini, “Il quaderno rosso” Introduction to Landolfi, “Annina” Thurs. DECEMBER 2 nd Discussion on Landolfi, “Annina” FINAL PAPER DUE IN CLASS THURSDAY DECEMBER 2 nd 8.
Recommended publications
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) The Compunctuous Poet, Cultural Ambiguity and Hebrew Poetry in Muslim Spain [Review of: R. Brann (1995) -] Schippers, A. Publication date 1995 Document Version Final published version Published in Unknown Link to publication Citation for published version (APA): Schippers, A. (1995). The Compunctuous Poet, Cultural Ambiguity and Hebrew Poetry in Muslim Spain [Review of: R. Brann (1995) -]. In R. Brann (Ed.), Unknown The John Hopkins University Press. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 201 BOEKBESPREKINGEN — ARABICA-ISLAM 202 muwassah as an universal artistic phenoumenon, comparing a means of correspondence in courtly circles and among it with related phenoumena in other literatures and daily life. friends. One of the first poets, who made a living out of Jacque"Hoe Bismuth investigates the influence of the Italian poetry, by travelling around and singing the praise of Jewish dolce stil novo poets, such as Dante Alighieri, in contrast viziers and Maecenates, was the poet Ibn Khalfun (ca.
    [Show full text]
  • Copyrighted Material
    Part I Infl uences COPYRIGHTED MATERIAL 1 The Poet and the Pressure Chamber: Eliot ’ s Life Anthony Cuda Over the course of his long career, T. S. Eliot preferred to think about poetry not as the communication of ideas but as a means of emotional relief for the artist, a momen- tary release of psychological pressure, a balm for the agitated imagination. In 1919, he called poetic composition an “ escape from emotion ” ; in 1953, a “ relief from acute discomfort ” ( SE 10; OPP 98). At fi rst, poetry alleviated for him the mundane pressures of a bank clerk who lived hand - to - mouth, caring for his sick wife during the day and writing for the Times Literary Supplement at night; later, it lightened the spiritual pres- sures of a holy man in a desert of solitude with the devils conniving at his back. Most frequently, though, it eased the pressure of an artist doubting his talent, an acclaimed poet who wrote more criticism than poetry, ever fearful that the fi ckle Muse had permanently left him. The most intensely creative stages of Eliot’ s life often coincided with the periods in which he faced the most intense personal disturbances and upheavals. But where do we, as students of Eliot, begin to account for that pressure? “ The pressure, ” as he himself called it, “ under which the fusion takes place ” and from which the work of art emerges ( SE 8)? We could begin with the bare facts. Eliot was the youngest of seven children, born on September 26, 1888 in St. Louis, Missouri.
    [Show full text]
  • Guido Guinizzelli
    Guido Guinizzelli: Pivotal Poet of Medieval Italian Literature By Peter Lucia, B.A., M.A. As ever, dedicated to Angela De Vito-Lucia Copyright © 2020, Peter Lucia All rights reserved ISBN: 0-9741139-4-8 ISBN 13: 978-0-9741139-4-4 Peter Lucia Projects, Tinton Falls, NJ This work originated in an honors essay by Peter Lucia, Italian Department, Columbia University, 1984 Cover illustration adapted from La Dame de Coeur, Bibliothèque de France, Christine de Pizan. Épître d’Othéa. Paris, vers 1406. !2 Sections Index Introduction 3 Note on the Translations 5 The Poems, Translations and Commentary 7 Two Fine Translations of Guinizzelli’s Poems 85 Bibliography 89 !3 Introduction Guido Guinizzelli di Magnano was born about 1230 in Bologna and died in Monselice in 1276. His importance in Italian literature is that his small body of poems (only about twenty) represents the link between two styles: that of the so-called “Sicilian School,” which represents the official origin of Italian literature (to which one adds a nod to the various poets of central Italy and the still older French troubadours), and that of the Dolce Stil Nuovo (the “Sweet New Style”), which gave Italy its first truly elevated poetry. Actually, among his twenty poems only a few award him his singular position: they caught the eye of Dante, the movement’s most distinguished representative, who was inspired by Guinizzelli’s exulted use of the common tongue (the vernacular or Il volgare) in service of an advanced spiritualization of Love— and his application a kind of scientific rationale to the workings of it all.
    [Show full text]
  • 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]
  • Petrarch and Boccaccio Mimesis
    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
    [Show full text]
  • Hispania, Italia and Occitania: Latin and the Vernaculars, Bilingualism Or Multilingualism?
    chapter 1 Hispania, Italia and Occitania: Latin and the Vernaculars, Bilingualism or Multilingualism? Arie Schippers Romance Vernaculars From medieval times in Italy, the Romance vernaculars and their literatures stood opposite Latin, which was the official, Church and literary language. Dante Alighieri’s Latin work De vulgari eloquentia is a testimony to this linguis- tic situation. The work describes the situation in Italy and is to a large extent the justification of the place that Dante’s poetry school occupied in the overall picture. But the situation in Italy—the cradle of Latin—does not stand in iso- lation from the rest of southern Europe, such as Hispania (Arabic al-Andalus and the region of present-day Spain and Portugal) and their respective litera- tures, and Occitania, the region where the oldest vernacular lyric of medieval Europe manifested itself, mainly in the love poetry of the troubadours. Occitan The linguistic space of Occitania was originally around Toulouse, in the Languedoc, in Provence and in Aquitania, the region that today we call the Midi. Occitania is a relatively new name for the region where Occitan was spoken. The name is derived from the word oc (Latin hoc), which means ‘yes’. The earlier terms Provence, Provençal, or Languedoc or Aquitania were not sufficient to denote the linguistic region. Today, however, the language from the north of France called langue d’oïl (Latin hoc illud / hoc ille) dominates the whole area that we call the Midi or southern France. There are some specific language pockets where Occitan dialects are still spoken, for example in the Aran valley in Spain, where the Aranese Occitan dialect is an officially rec- ognized language.1 Moreover, there is a certain artificial revival of forms of 1 In Val d’Aran teaching at elementary schools starts with three years of Aranes.
    [Show full text]
  • The Italian Verse of Milton May 2018
    University of Nevada, Reno The Italian Verse of Milton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Francisco Nahoe Dr James Mardock/Dissertation Advisor May 2018 © 2018 Order of Friars Minor Conventual Saint Joseph of Cupertino Province All Rights Reserved UNIVERSITY OF NEVADA, RENO THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by Francisco Nahoe entitled The Italian Verse of Milton be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY James Mardock PhD, Adviser Eric Rasmussen PhD, Committee Member Lynda Walsh PhD, Committee Member Donald Hardy PhD (emeritus), Committee Member Francesco Manca PhD (emeritus), Committee Member Jaime Leaños PhD, Graduate School Representative David Zeh PhD, Dean, Graduate School May 2018 i Abstract The Italian verse of Milton consists of but six poems: five sonnets and the single stanza of a canzone. Though later in life the poet will celebrate conjugal love in Book IV of Paradise Lost (1667) and in Sonnet XXIII Methought I saw my late espousèd saint (1673), in 1645 Milton proffers his lyric of erotic desire in the Italian language alone. His choice is both unusual and entirely fitting. How did Milton, born in Cheapside, acquire Italian at such an elevated level of proficiency? When did he write these poems and where? Is the woman about whom he speaks an historical person or is she merely the poetic trope demanded by the genre? Though relatively few critics have addressed the style of Milton’s Italian verse, an astonishing range of views has nonetheless emerged from their assessments.
    [Show full text]
  • American Dante Bibliography for 1969.Pdf
    American Dante Bibliography for 1969 Anthony L. Pellegrini This bibliography is intended to include the Dante translations published in this country in 1969, and all Dante studies and reviews published in 1969 that are in any sense American. The latter criterion is construed to include foreign reviews of American publications pertaining to Dante. Translations “Al poco giorno . / To the Scant Day.” Translated by Joseph De Grazia III. In Le parole e le idee, XI, no. 12 (1969), 112-113. The verse translation, facing the Italian text, observes the original rhyme-scheme. [Donne ch’avete intelletto d’amore (Vita Nuova, Canzone I)] “Two Medieval Poems in Translation, with an Introduction,” by Robert S. Dupree. In Arlington Quarterly, II, no. I (1969), 22-31. Italian text followed by a “twentieth-century version” in the rhyme-scheme of the original, done out of dissatisfaction with the translation by D.G. Rossetti. (The second poem is Villon’s Ballade des dames du temps jadis.) The Divine Comedy. Translated by Thomas G. Bergin and illustrated by Leonard Baskin. New York: Grossman Publishers, 1969. 3 v. boxed. illus. This deluxe edition comes with Professor Bergin’s well-known translation in blank verse, originally prepared for the “Crofts Classics,” and 120 full-page, black-and-white washed line drawings by the contemporary artist Leonard Baskin. The work was printed in the type-face “Dante,” designed by Giovanni Mardersteig in 1953-54, at the fine printing house Stamperia Valdonega of Verona. The special paper, “Antiqua,” is also of Italian manufacture, while the illustrations were reproduced by Meriden Gravure of Meriden, Connecticut.
    [Show full text]
  • T. S. Eliot's Ekphrastic Poems
    Advances in Literary Study 2014. Vol.2, No.1, 31-37 Published Online January 2014 in SciRes (http://www.scirp.org/journal/als) http://dx.doi.org/10.4236/als.2014.21007 T. S. Eliot’s Ekphrastic Poems Rosanna Rion English Department, University of Barcelona, Barcelona, Spain Email: [email protected] Received November 21st, 2013; revised December 23rd, 2013; accepted January 10th, 2014 Copyright © 2014 Rosanna Rion. This is an open access article distributed under the Creative Commons Attri- bution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. In accordance of the Creative Commons Attribution License all Copyrights © 2014 are reserved for SCIRP and the owner of the intellectual property Rosanna Rion. All Copyright © 2014 are guarded by law and by SCIRP as a guardian. Poems which have been inspired by paintings or mention a pictorial work can be analysed following a long tradition of studies between painting and poetry. Three of Eliot’s early poems: The Love Song of Saint Sebastian, Mr. Eliot’s Sunday Morning Service and On a Portrait are examples of this kind of ek- phrastic exercise. There are different kinds of connections between painting and poetry and Eliot uses the iconological elements for different aims. The painters who interested the poet shared in common the fact that they represent a bridge between past and future, not a moment of perfect execution but one of great creativities. Keywords: Ekphrasis; Italian Primitives; Mantegna; Manet; Saint Sebastian Introduction narrative. Painting and poetry have expanded the possible ways of In the studies on the connections between word and image connection.
    [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]