DOCSLIB.ORG

In Antiquam Litem Relabimur. Sceptical Hints in Petrarch's Secretum*

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Antiquam Litem Relabimur. Sceptical Hints in Petrarch's Secretum* TeresaCaligiure In antiquam litem relabimur. Sceptical HintsinPetrarch’s Secretum* Cumenim neque melius quaeri veritas possit, quam interrogando et respondendo. (Augustine, Soliloquium,II:7,14) Introduction FrancescoPetrarch’s Secretum¹ is aLatin dialogue in threebookscomposed between 1347and 1353.² The aim of this paper is to investigate certain sceptical hints emerging * This contribution includes the first results of the research Ihavehad the privilegetocarry out at the Maimonides Centrefor AdvancedStudies.Iwould liketoexpress my gratitude to Giuseppe Veltri and to all my other colleagues at the Maimonides Centre, particularlyHarald Bluhm and WarrenZev Har- vey, as Ihavehad the pleasureofdiscussingsome aspects of the subject of this researchwith them. Some of the issues put forwardinthis article werepresentedduring atalk on Petrarch’s Secretum at MasarykUniversity in Brno thanks to the hospitality of Paolo Divizia. Ithank Bill Rebigerfor the pa- tience he has shown as the editor of this article. The Latin textisasestablished by EnricoCarrarainFrancesco Petrarca, Secretum,inidem, Prose, eds.Guido Martellotti, Pier Giorgio Ricci, EnricoCarrara, and EnricoBianchi (Milan and Naples:Ric- ciardi, 1955): 22–215, amended with corrections from Bufano’sedition in Francesco Petrarca, Opere latine,vol. 1, ed. Antonietta Bufano (Turin: UTET,1975): 44–258. The English text follows Mann’sex- cellent translationinPetrarch, My Secret Book,ed. and trans. NicholasMann (Cambridge,Mass.: Har- vardUniversity Press, 2016). Paragraph numbers refertoFenzi’soutstanding annotated edition, Fran- cesco Petrarca, Secretum. Il mio segreto,ed. EnricoFenzi (Milan: Mursia, 1992),which givesthe pages from Carrara’sedition. On the datingofthe composition, cf. FranciscoRico, Vita uobradePetrarca. I: Lecturadel ‘Secre- tum’ (Padua: Antenore, 1974). In his impressive analysis,Ricodemonstrated that the action of the dia- loguetakesplacebetween 1342and 1343. According to him, the first redaction datesfrom1347and was followed by asecond in 1349 and afinal edition, thoroughlyre-elaborated, completed in 1353. In 1358, Petrarch is supposed to have merelyre-read the text,addingsome marginal notesthat confirm the proposed chronologyofthe threeeditions. We can readthose marginal notesinthe copy of the Secretum made by Tebaldo della Casa, reproduced in the current CodiceLaurenziano XXVI sin. 9of the Biblioteca Mediceo-Laurenziana in Florence,cc. 208–243. Hans Baron, Petrarch’s ‘Secretum.’ Its Making and its Meaning,Medieval AcademyofAmerica (Cambridge:Mass., 1985) proposes adifferent reconstructionofthe Secretum:his importantanalysisrootsthe interpretation and the proposed dates moresolidlyinthe biographical data. Bortolo Martinelli, Il Secretum conteso (Naples:Loffredo, 1982) and Giovanni Ponte, “Nella selva del Petrarca: la discussa data del Secretum,” Giornale storico della Letteraturaitaliana 167(1990): 1–63, also discussed—with different hypotheses—the complex ques- tion of establishingthe chronology of the Secretum’scomposition. Foracareful reconstruction of the manyhypotheses concerningthe editingand datingofthe Secretum,see Fenzi, Secretum, 5–77 (introduction). OpenAccess. ©2017 TeresaCaligiure, published by De Gruyter. This work is licensed under the Creative CommonsAttribution-NonCommercial-NoDerivatives 4.0 License. https://doi.org/10.1515/9783110527971-003 30 TeresaCaligiure from the dialogue which underpinnedthe conception of Francesco’scharacter and his relationship with the questfor Christian truth. It would be proper to begin with the Proem,asitanticipates the ideological cores of the Secretum by delineatingFrancesco’smoral character,that of aman prone to anxious broodingabout the human condition: ‘Not long ago, while Iwas yetagain meditatingwith astonishment on how Ihad come into this life and how Iwould de- part from it.’³ Next,Truth⁴ appears in the shape of awoman whose presenceplays a specific role, as she herself explains: Takingpity on your errors Ihavecomedown from afar to help youinyour hour of need. Until now youhaveoften all to often gazedupon the earth with clouded eyes; if so far youhavefound mortal things delightful, how much morecan younot hope for if youlook up to thingseternal? […]SoIgazed, eagertolook at her,but my mortal eyes could not bear the celestial light,and I loweredthem again. Seeing this,she was silent for amoment,and then, repeatedlybreaking into speech, she forcedmewith brief and almost insignificant questions to respond and to dis- cuss amultitude of things.Irecognised that this was doublytomyadvantage: Ibecame alittle wiser,and at the same time, feelingmoreconfident as aresult of our discussion, Ibegan to be able to look moreopenlyatthe face.⁵ Francescodwells in errorbecause his interests aim solelyatmundane goods. Truth, whom he described in his Latin poem Africa⁶ and with whom he is therefore well ac- quainted, comes to his rescue. After abrief silent pause,⁷ duringwhich Francesco shivers in awe, unable to bear the gaze of such celestial splendour,Truth,through ‘Attonito michi quidem et sepissime cogitanti qualiter in hanc vitam intrassem, qualiter ve forem egressurus.’ Cf. Seneca, Ad Lucil.,XXII:14 ss;Boethius,Cons.Phil.,I:1,Augustine, Sol., I:I,1. On the semantic richness of the incipit and the intricateweb of classical and medieval references, see Rico, Secretum,16–20. On the character of Truth in the Proem,see the ad locum comments of Ricoand Fenzi. Proem,22–24: ‘Errores tuos miserata, de longinquo tempestivum tibi auxilium latura descendi. Satis superque satis hactenus terram caligantibus oculis aspexisti; quos si usqueadeo mortaliaista permulcent,quid futurum speras si eos ad eterna sustuleris?[…]. Rursus igitur in terram oculos de- icio;quod illa cognoscens, brevis spatii intervenientesilentio, iterumque et iteruminverba prorump- ens, minutis interrogatiunculis me quoque ut secum multa colloquerer coegit.Duplex hinc michi bonum provenisse cognovi: nam, et aliquantulum doctior factus sum, aliquantoque ex ipsa conver- satione securiorspectarecoram posse cepi vultumillum, qui nimio primummesplendoreterruerat.’ In fact,the receivedtext of the poem Africa contains no description of Truth or of her palace, con- trarily to what Francesco writes in the Proem. The same question concerns Book III of the dialogue, in which Augustine repeatedly refers to the poem. On this issue, also connectedtochronological aspects of the work, see EnricoFenzi, “Dall’Africa al Secretum. Il sogno di Scipioneelacomposizione del poema,” in idem, Saggi petrarcheschi (Florence: Cadmo, 2003): 305–365; idem, Secretum,23–39 (in- troduction); 399–400,n.327;407,n.376;411–412, n. 402(commentary). On the topicofsilenceinPetrarch, understood as inner recollection, far from the distractions of the city,and for its different meanings relating to otium see, including the references to previous studies, Arnaud Tripet, “Pétrarque, la parole silencieuse,” Italique 8(2005): 9–25 and Ilaria Tufano, “Isilenzi di Petrarca,” in Silenzio. Atti del terzo colloquio internazionale di letteratura italiana, Napoli, 2–4ot- tobre 2008, ed. Silvia Zoppi Garampi (Rome: Salerno Editrice, 2011): 105–120. In antiquam litem relabimur. Sceptical Hints in Petrarch’s Secretum 31 minutae interrogatiunculae,⁸ initiates aconversation intended to bringabout the moral elevation of her interlocutor.Nonetheless, the task of reachingdeep into the depths of Francesco’ssoul and divertinghis desires from earthlyvanities is entrusted to Augustine, because ‘it is the human voice that penetrates the ear of mortal man.’⁹ Francescorecognises the saint at once because of his posture,his African outfit and Roman eloquence, and his eagerness to question him;¹⁰ however,Truth addresses Augustine first.Truth asks Augustine to come out of his silent brooding(‘taciturna meditatio’), since Francescoismoribund because of his ownsin and,furthermore, is dangerouslyfar from understanding the natureofhis own sickness: that is why he needsaphysician who is an expert in mundane passions.¹¹ Augustine,¹² to whom Francescoisdevoted as he views him as the intellectual closest to his own sensitivity,isanexample to follow,since he also wandered in errorbefore reaching apath of truth-seeking.¹³ In fact,Petrarch considered Augustine his own master. The saint accepts the task, initiating athree-dayexchangewith the disciple in the silent presenceofTruth.¹⁴ ‘Sola virtus animumfelicitat’ The structure of the work, as the auctor highlights, drawsfrom the model of Platonic and Ciceronian dialogues.¹⁵ Itsconstant and crucial references are Boethius’ Conso- This is aCiceronian syntagmopeningthe proem of the Paradoxa stoicorum ad Marcum Brutum I:2. Proem,24: ‘Auremmortalis hominishumana voxferiat.’ Ibidem: ‘iam interrogationis verba dictaveram’ (‘Iwas alreadypreparing to frame my question’). Ibidem: ‘quod cum ita sit,passionumexpertarum curator optime’ (‘Forthis reason youare the best healer of passions that youyourself have experienced’). Amongthe important studies on the relationship between Augustine and Petrarch, see at least PietroPaolo Gerosa, Umanesimo cristiano del Petrarca.Influenza agostiniana, attinenze medievali (Turin: Bottegad’Erasmo, 1966); Elena Giannarelli, “Petrarca eiPadri della Chiesa,” in Quaderni Pet- rarcheschi 9–10 (1992–3): 393–412; Giuseppe Billanovich, “Petrarca, Boccaccio ele‘Enarrationes in Psalmos’ di sant’Agostino,” in idem, Petrarca eilprimo Umanesimo (Padua: Antenore, 1996): 68–96; EnricoFenzi, “Platone, Petrarca, Agostino,” in idem, Saggi petrarcheschi,519–552; RobertoCardini and
Load more

Recommended publications
  • Diego De Moxena, El Liber Sine Nomine De Petrarca Y El Concilio De Constanza
    Quaderns d’Italià 20, 2015 59-87 Diego de Moxena, el Liber sine nomine de Petrarca y el concilio de Constanza Íñigo Ruiz Arzalluz Universidad del País Vasco / Euskal Herriko Unibertsitatea [email protected] Resumen Diego de Moxena, franciscano probablemente castellano activo en el concilio de Cons- tanza, escribe el 9 de julio de 1415 a Fernando I de Aragón una carta en la que le insta a sumarse al concilio y reconsiderar su apoyo a Benedicto XIII. El escrito de Moxena revela un uso del Liber sine nomine de Petrarca —advertido ya por Isaac Vázquez Janeiro— que resulta especialmente llamativo: además de tratarse de un testimonio muy temprano en la historia del petrarquismo hispano, el conjunto formado por el prefacio y las dos primeras epístolas del Liber sine nomine no viene utilizado como un simple repertorio de sentencias, sino que constituye el modelo sobre el que se construye la carta en la que, por lo demás y extraordinariamente, en ningún momento se menciona el nombre de Petrarca. De otro lado, se ponen en cuestión algunas de las fuentes postuladas por Vázquez Janeiro y se ofrece una nueva edición de la carta de fray Diego. Palabras clave: Diego de Moxena; Petrarca; Liber sine nomine; concilio de Constanza; petrarquismo hispano; Dietrich von Münster. Abstract. Diego de Moxena, the Liber sine nomine and the Council of Constance On the 9th of July in 1415, Diego de Moxena, very likely a Castilian Franciscan active in the Council of Constance, wrote a letter to Ferdinand I of Aragon in which he urged him to attend the Council and to reconsider his support to Benedict XIII.
    [Show full text]
  • The Long Take
    ADVANCE INFORMATION LONGLISTED FOR MAN BOOKER PRIZE 2018 THE LONG TAKE Robin Robertson 9781509846887 POETRY Picador ǀ Rs 699 ǀ 256pp ǀ Hardback ǀ S Format Feb 22, 2018 A powerful work from award-winning poet Robin Robertson which follows a D-Day veteran as he goes in search of freedom and repair in post-war America. Winner of The Roehampton Poetry Prize 2018 A noir narrative written with the intensity and power of poetry, The Long Take is one of the most remarkable - and unclassifiable - books of recent years. Walker is a D-Day veteran with post-traumatic stress disorder; he can't return home to rural Nova Scotia, and looks instead to the city for freedom, anonymity and repair. As he moves from New York to Los Angeles and San Francisco we witness a crucial period of fracture in American history, one that also allowed film noir to flourish. The Dream had gone sour but - as those dark, classic movies made clear - the country needed outsiders to study and dramatise its new anxieties. While Walker tries to piece his life together, America is beginning to come apart: deeply paranoid, doubting its own certainties, riven by social and racial division, spiralling corruption and the collapse of the inner cities. The Long Take is about a good man, brutalised by war, haunted by violence and apparently doomed to return to it - yet resolved to find kindness again, in the world and in himself. Watching beauty and disintegration through the lens of the film camera and the eye of the poet, Robin Robertson's The Long Take is a work of thrilling originality.
    [Show full text]
  • Ovid's Wand: the Brush of History and the Mirror of Ekphrasis Presented In
    Ovid’s Wand: the brush of history and the mirror of ekphrasis Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reid Hardaway, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Ethan Knapp, Advisor Karen Winstead Sarah-Grace Heller Copyright by Reid Hardaway 2017 Abstract The recent work on the manuscript reception of Ovid’s canon and Ovidian commentaries in western Europe has affirmed the author’s significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid’s poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid’s poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft. ii Acknowledgements The following work would not have been possible without the considerate and insightful assistance of my advisor, Ethan Knapp, as well as the other members of the dissertation committee, Karen Winstead and Sarah-Grace Heller.
    [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]
  • Monuments More Enduring Than Bronze: Boccaccio and Paper Inscriptions
    Heliotropia - An online journal of research to Boccaccio scholars Volume 4 Volume 4 (2007) Issue 1 Issue 1-2 Article 5 2007 Monuments More Enduring than Bronze: Boccaccio and Paper Inscriptions Jonathan Usher University of Edinburgh Follow this and additional works at: https://scholarworks.umass.edu/heliotropia Recommended Citation Usher, Jonathan (2007) "Monuments More Enduring than Bronze: Boccaccio and Paper Inscriptions," Heliotropia - An online journal of research to Boccaccio scholars: Vol. 4 : Iss. 1 , Article 5. Available at: https://scholarworks.umass.edu/heliotropia/vol4/iss1/5 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Heliotropia - An online journal of research to Boccaccio scholars by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Usher: Monuments More Enduring than Bronze: Boccaccio and Paper Inscript Heliotropia 4.1 (2007) http://www.heliotropia.org Monuments More Enduring than Bronze: Boccaccio and Paper Inscriptions n 20 October 1374, in almost the last year of his life, Boccaccio fi- nally received in Certaldo the sad news from Francescuolo da Bros- Osano, Petrarch’s son-in-law, that the great poet had breathed his last in his retreat at Arqua, in mid-July. We do not have Francesco’s letter, which presumably touched also upon a tidy bequest of florins to purchase for his old friend a warm garment for nocturnal study and research: in- somnia was a shared affliction.1 Boccaccio’s delayed reply of 3 November, offering his condolences to Francescuolo, far from being a spontaneous outpouring of grief, is a carefully composed piece of consolatory rhetoric, a genre famously essayed in a long letter of 1361 to the exiled Pino de’ Rossi.2 First Boccaccio treats Petrarch’s elevation to a better life, rhetorically balancing the deceased’s tranquil joy in heaven with the letter-writer’s own continued travails in this earthly life, beset as he is by (graphically de- scribed) illness.
    [Show full text]
  • Klasszikus, Bibliai És Középkori Reminiszcenciák Petrarca Sine Nomine-Leveleiben
    ERTL PÉTER Klasszikus, bibliai és középkori reminiszcenciák Petrarca Sine nomine-leveleiben The aim of this study is to identify and analyze some classical, biblical and medieval literary reminiscences in Petrarch’s collection of satirical letters against the Papal court of Avignon, called Liber sine nomine. The examples examined illustrate how the poet combined the classical tradition with the Christian one and, thanks to the passages evoked, provided his own text with a further, political-polemical meaning. Moreover, the identification of an allusion to Virgil’s Aeneid allows a slight correction to be made to the critical text of the ninth epistle.1 „[…] amikor figyelmes olvasás közben hasznos mondásokra találsz […], tégy oda jelzést. Ezek segítségével, mint egy horoggal, visszatarthatod azokat, ha el akarnának távozni emlékezetedből.”2 Petrarca Secretum című dialógusában Augustinus ezt a mnemotechnikai tanácsot adja a költő alteregójának, Franciscusnak, hogy az olvasmányaiban talált hasznos gondolatok, szentenciák segítségével leküzdhesse indulatait, különösen kóros lelki szomorúságát.3 1 A publikáció elkészítését az MTA-SZTE Antikvitás és reneszánsz: források és recepció Kutatócsoport (TK2016-126) támogatta. 2 Secr., II, Francesco PETRARCA, Kétségeim titkos küzdelme (Secretum), ford. LÁZÁR István Dávid, Szeged, Lazi, 1999, 82. A költő műveire végig a „Petrarca del centenario” sorozatban (Firenze, Le Lettere) használt rövidítésekkel hivatkozom. 3 A melankóliába hajló lelki bágyadtságként, különös kéjjel járó szomorúságként, keserűségként
    [Show full text]
  • «Vero Omnia Consonant». Ideologia E Politica Di Petrarca Nel Liber Sine Nomine
    Paolo Viti «Vero omnia consonant». Ideologia e politica di Petrarca nel Liber sine nomine Parole chiave: Petrarca, 'Liber sine nomine', Cola di Rienzo, Curia avignonese, Denuncia Keywords: Petrarca, 'Liber sine nomine', Cola di Rienzo, Avignon Curia, Condemnation Contenuto in: Le carte e i discepoli. Studi in onore di Claudio Griggio Curatori: Fabiana di Brazzà, Ilvano Caliaro, Roberto Norbedo, Renzo Rabboni e Matteo Venier Editore: Forum Luogo di pubblicazione: Udine Anno di pubblicazione: 2016 Collana: Tracce. Itinerari di ricerca/Area umanistica e della formazione ISBN: 978-88-8420-917-7 ISBN: 978-88-3283-054-5 (versione digitale) Pagine: 67-98 DOI: 10.4424/978-88-8420-917-7-07 Per citare: Paolo Viti, ««Vero omnia consonant». Ideologia e politica di Petrarca nel Liber sine nomine», in Fabiana di Brazzà, Ilvano Caliaro, Roberto Norbedo, Renzo Rabboni e Matteo Venier (a cura di), Le carte e i discepoli. Studi in onore di Claudio Griggio, Udine, Forum, 2016, pp. 67-98 Url: http://forumeditrice.it/percorsi/lingua-e-letteratura/tracce/le-carte-e-i-discepoli/vero-omnia-consonant-ideologia-e- politica-di FARE srl con socio unico Università di Udine Forum Editrice Universitaria Udinese via Larga, 38 - 33100 Udine Tel. 0432 26001 / Fax 0432 296756 / forumeditrice.it «VERO OMNIA CONSONANT». IDEOLOGIA E POLITICA DI PETRARCA NEL LIBER SINE NOMINE Paolo Viti Pur non potendo isolare parti troppo limitate all’interno dell’intera produzione petrarchesca, mi sembra utile selezionare alcuni passi contenuti nel Liber sine nomine – collezione di lettere in stretta corrispondenza con le Familiares1 – so- prattutto in rapporto all’altezza cronologica in cui tali lettere furono composte, fra il 1342 e il 1359, ma con alcuni nuclei ben precisi: nel 1342 la I a Philippe de Cabassole, nel 1347 la II e la III a Cola di Rienzo, nel 1357 e nel 1358 le ultime tre (XVII-XIX) a Francesco Nelli.
    [Show full text]
  • L'attualità Di Francesco Petrarca
    Maria Gloria Cusumano Mazzi Universidade Estadual Paulista – FCL/Ar [email protected] L’attualità di Francesco Petrarca Abstract: This paper discusses the topicality of Petrarch, the Italian poet who marked the beginning of the modern culture and who presented, for the first time, the intellectual as a professional. Considered the father of the Humanism, the poet, with another humanists, rediscovered human and historical values, which allow man to comprehend himself and the world he lives in. Keywords: Humanism, poetry, Canzoniere. Riassunto: Il testo parla dell’attualità di Francesco Petrarca, il poeta italiano che ha segnato l’inizio della civiltà moderna e ha presentato per primo, l’in- tellettuale come professionista. Considerato il padre dell’Umanesimo, il ma- estro dello stile, insieme ad altri umanisti, ha riscoperto i singoli valori uma- ni e storici che permettono all’uomo di capire sé stesso e il mondo che lo circonda. Parole-chiave: Umanesimo, Rinascimento, poesia, Canzoniere. A più di 700 anni dalla nascita di Francesco Petrarca (Arezzo, 1304) gli intellettuali di oggi che si occupano di letteratura italiana devono a lui la loro professionalità, e hanno ancora molto da imparare da que- sto poeta, uno dei maggiori della letteratura occidentale. Il presente articolo non intende esporre nessuna novità su un au- tore che è stato studiato in ogni secolo, ma appena ricordarlo per la sua sorprendente attualità. Gli avvenimenti storici e culturali (l’Umanesimo e poi il Rinasci- mento) del XIV secolo diedero al periodo un carattere di “transizione” segnato da un clima d’incertezze, di instabilità e di contraddizioni. La crisi della Chiesa e delle strutture militari (papato e impero), la guerra fra i Comuni, e l’enorme crescita della ricchezza che portò con sé un sentimento di provvisorietà e di ingiustizia, influirono sugli orienta- menti ideologici e culturali della società del periodo.
    [Show full text]
  • Francesco Petrarch, Some Love Songs of Petrarch (14Thc)
    Petrarch_0558 http://oll.libertyfund.org/Home3/EBook.php?recordID=0558 [XLVCCXLVCLXXXIXCLXXVICXXVCXLVCLXCCXVCCXLIXCCLCCCCCLXXVCCLXIXCCCXCCCXXCCCXVCCLXXCCCXXXICCCXXVCCCXLCCCXLICCCXLVICCCLXVCCCLXVICXVLXXXIXCXXXVICXXXIVLXXXICCCXICCLXVIICXXIXCXXVICLVICLIXXCCCCXXXIIICCCXLIIICXIXCXXIXCIXCCCXIICCXXXVIIILCCXXIICCCLIIILIVLXXIICCXCIIICCCIILXXVIIICXCIICCXIICXXVIIICVICXIXCIXXXVIIIXXIXXXIILXVIIILXIICXXIIIXXXIIIXXIILXIIIXILIILIIIXIIIIIII]]]]]]]]]]]]]]]]]]]]]]] ] THE ONLINE LIBRARY OF LIBERTY Chaucer.Hisfriendships.HisSeeksEditionsTheLove religiousfollowers.loveloveHumanist. of Italian fame.ofof hisLaura.antiquity.fame. feeling. unity. works. Netherlands.Channel.Vaucluse.1338.court.Cicero.secretaryship.Petrarch.Tribune.forFlorence.physicians.returnremonstrate.Viscontithemanuscripts.poems.Venetians.toAvignon.Literature. Rome. Italy.succession. to dies. Italy. © Liberty Fund, Inc. 2005 http://oll.libertyfund.org/Home3/index.php FRANCESCO PETRARCH, SOME LOVE SONGS OF PETRARCH (14THC) URL of this E-Book: http://oll.libertyfund.org/EBooks/Petrarch_0558.pdf URL of original HTML file: http://oll.libertyfund.org/Home3/HTML.php?recordID=0558 ABOUT THE AUTHOR Francesco Petrarca was an Italian scholar and poet who is regarded by many scholars as being among the first humanists. He contributed to the Renaissance flowering of lyric poetry and literature through his poems addressed to Laura, his idealized beloved. Petrarch’s love of classical authors and learning inspired him to visit men of learning and search monastic libraries for classical texts. His discovery
    [Show full text]
  • FLORENCE BERNAULT Centre D'histoire De Sciences Po (CSHP
    1 FLORENCE BERNAULT Centre d'histoire de Sciences Po (CSHP) 56 rue Jacob 75006 Paris, FRANCE [email protected] 1. RESEARCH AND ACADEMIC POSITIONS ______________________________________________________________________________ Education: Ph.D. 1994 University of Paris 7-Denis Diderot, African History. D.E.A. 1987 Diploma of Advanced Studies, University of Paris 7. Agrégation 1986 History. M.A. 1985 University of Paris 1-Sorbonne, African History. B.A. 1984 University of Paris 1-Sorbonne, History. Ecole Normale Supérieure de Saint-Cloud (1983-1987) Academic Positions: Full Professor, Department of History, Institut d'Etudes Politiques, Paris (Sciences Po), 2018- present Full Professor, Department of History, University of Wisconsin-Madison, 2001-2018 Associate Professor, Department of History, University of Wisconsin-Madison, 1996-2001 Associate Professor (Maitre de conférences), Department of History, Ecole Normale Supérieure, Fontenay-St Cloud, 1995-1996, and 2007-2012 [en détachment]. Assistant Professor, Department of History, Ecole Normale Supérieure, Fontenay-St Cloud, 1993-1995. Adjunct Assistant Professor, Department of History, Université de Provence, 1987-1989 and 1991-1992. Visiting Assistant Professor at the University of Niamey (Niger), May 1992. Adjunct Assistant Professor of History, Claremont Graduate School, Spring 1991. Visiting Assistant Professor at the University of Conakry (Guinea), June 1990. Languages: French (native speaker), English (fluent), Spanish (intermediate), Dutch (basic), Latin (basic) Lingala (basic). Books Global Intimacies and the Colonial Life of Objects [book in progress] Colonial Transactions: Imaginaries, Bodies, and Histories in Gabon (London and Durham: Duke University Press, 2019) Démocraties ambigües en Afrique centrale: Gabon, Congo-Brazzaville, 1940-1965 (Paris : Karthala editions, 1996) 1 2 Edited Volumes Rupture Ruptures postcoloniales.
    [Show full text]
  • Italy and Africa: Colonial Ambitions in the First World War
    Journal nf African History, iv, I (1963), pp. 105-126 ITALY AND AFRICA: COLONIAL AMBITIONS IN THE FIRST WORLD WAR By ROBERT L. HESS IN accordance with the secret Treaty of London of 26 April 1915, Italy entered the First World War in exchange for certain promises made to her by Great Britain and France. The treaty provided for concessions to Italy in Europe, the Mediterranean, Asia Minor, and Africa, but the concessions to which Great Britain and France agreed were not regarded by the Italians as the limit of their demands. By Article 13 of the Treaty of London, Italy would receive extensions of her territory in Libya, Eritrea, and Somaliland if England and France should enlarge their colonial empires by absorption of the German colonies. All this is well known and has been covered adequately by Toscano and others.1 It is not generally known, however, that the Italian Colonial Ministry formulated a much more extensive official post-war programme, which went far beyond the claims found in the London Pact and is parti- cularly impressive in the scope of its colonial ambitions in Africa. Beer considered such Italian plans to be unofficial, drummed up by nationalists like the journalist Piazza and members of the Italian Colonial Institute.2 The irresponsible way in which these writers advanced their unofficial programmes has led more than one scholar to discount their value as an indication of official policy. Yet it must be recognized that these unofficial programmes were but an echo of the extensive maximum and minimum programmes proposed by the Colonial Ministry to the Italian government.
    [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]