P. BELTRAMI, La metrica italiana, Bologna, il Mulino, P.V. MENGALDO, Attraverso la prosa italiana: analisi di testi esemplari, Roma, Carocci. Bibliography: P. ITALIA, G. RABONI, Che cos’è la filologia d’autore, Roma, Carocci, -P. V. Mengaldo, Attraverso la prosa italiana, Roma, Carocci, ;. Handbook (Recommended): “Prima lezione di stilistica”, P.V. Mengaldo, Laterza, Roma-Bari, ; Additional info P.V. Mengaldo, Attraverso la prosa italiana.
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Skip to main content. Log In Sign Up. La poesia italiana del Novecento. Il canone e le italiaan. Annali di Italianistica Vol. A cura di Donato Pirovano e Marco Grimaldi. Volume 1, tomo 1 delle Opere di Dante.
Judging from the high scholarly level of the volumes already published, including this one edited by Donato Pirovano and Marco Grimaldi, one cannot but applaud such an undertaking: Con una nuova postfazione. Let us consider, not at all at random, some of the most important issues which Pirovano discusses in his Introduction and which are most frequently discussed by Vita nuova scholars: Italian Bookshelf which in many respects anticipates the journey in the afterlife of the male protagonist of the Comedy.
As to the title of the libello, Pirovano seems to be concerned primarily about defending the validity of the most commonly accepted title, Vita aattraverso, against the one proposed by Guglielmo Gorni, Vita nova, as if the latter title, according to some scholars but wrongly sowere something new and different. The evidence is that Gorni is only the last in a long list of scholars seeking to revive a long-standing and amply documented tradition according to which the title of the libello would be Vita nova.
As scholars italiaana full well, the Epistle to Can Grande, whose authorship is debated, proposes the following title: Another possible title, in Italian, is listed by Giorgio Petrocchi in his critical edition of the Divine Comedy, a title which is printed within square brackets to suggest its questionable authority and which is three- and-a-half lines long: Given the uncertainty surrounding the tile, therefore, most scholars refer to 1 According to the bibliography of VN in Enciclopedia dantesca, 6 vols.
Istituto della Enciclopedia Italiana fondata da Giovanni Treccani,vol. Nobili, Vita nova ; Firenze: Franceschini, Vita nova Dantis: Olschki, Vita nova Dantis: Sansoni, La Vita Nova. Vita e Pensiero, Concerning the libello, Dante himself informs the readers of the probable title of the libello at its beginning, as all readers know: The following list evinces several categories of titles in the manuscript tradition.
All VN fragments are pfosa Manuscripts with no Incipit: Manuscripts with Incipit in Italian: Italian Bookshelf tradition and the standard medieval title Incipit…Vita nova and Vita nuova are abbreviations of a more complex medieval title, most likely beginning with Incipit vita nova. It can certainly be argued that both abbreviations — Vita nuova and Vita nova — possess a somewhat equal standing and some claim to legitimacy. Benalio trivigiano in Roma negli ann. XIII nel primo ann.
Heath, who sought to view the arrangements of the thirty-one poems according to a schema which he represents as follows, and which is repeated by virtually all Vita nuova scolars: In this schema the Roman numerals indicate the first, second, and third canzone often called major poems attraverao, whereas the Arabic numerals designate all the other poems, often times referred to collectively, pross inappropriately, as minor poems.
According to this suggestion, the three major canzoni build some kind of internal architectonics, which is framed by the prose narrative and is based on the number three, to which allegedly all the other poems somehow refer. In reality the Vita nuova displays the 31 poems as follows: Thus the edition of the Vita nuova by Domenico De Robertis follows the same pross, even though it places the Roman number at the beginning of the canzone; 4 sonnets; a canzone; 3 sonnets; an incomplete canzone of one stanza ; a canzone; a sonnet; a canzone of two stanzas; a sonnet with two beginnings ; 7 sonnets.
Salerno Editrice has adopted this editorial practice in two instances: Roma,as well as in this edition of the Vita nuova by Pirovano. Let us repeat once again what none of the experts of the Vita nuova manuscript tradition denies: XVIIIprimarily for the purpose of quoting the text. It is clear, therefore, that the manuscript tradition is quite diverse, and in fact these four different ways to mark the flow of the story cannot be equated one to the attraveso.
One should also bear in mind that the modern notion of paragraph differs from whatever diacritical sign was employed in medieval manuscripts and in fact the notion of paragraph as a unity of thought belongs more to the British than to the Italian tradition, as we read in Dizionario di linguistica e di filologia, metrica, retorica, a cura di Gian Luigi Beccaria, Torino: Thus, while recognizing the impossibility of rendering properly manuscripts in mnegaldo print culture, editors should avoid what I am tempted to call editorial acts of violence perpetrated, in this instance, upon the Dantean text: Manuscript culture cannot be equated to print culture.
Another editorial practice characterizing all major editions of the Vita nuova, such as that of Domenico De Robertis and obviously this one under analysis, consists in placing the very extensive commentary on the same page with the text.
The result of this editorial practice is obvious: Would it not be more respectful of the manuscript tradition to publish the text of the Vita nuova first, and to have the commentary follow it, leaving it to the reader to decide when to use one or the other? Moving from the issue of how to render respectfully obviously not exactly a medieval manuscript in contemporary print culture to another issue, the analysis of the text, let us focus briefly on the tendency to view certain elements and characters in the Vita nuova as historical.
Italian Bookshelf sufficient evidence to establish an absolute identity between the two. In fact, Dante the historical person and author of the Vita nuova never identifies the male protagonist, who in the libello is never called by name. In brief, she is called Beatrice, not because she is an historical person identifiable with Bice di Folco Portinari but simply because Dante the author intends to show the perfect correspondence between her name and what her persona stands for: In it, the voyage in the afterlife by the protagonist — who can be identified with the historical Dante Alighieri only up to a certain degree did the historical person really descend into Hell, climb Purgatory, and ascend into Heaven?
I refer to the extensive, and in many respect excellent essay on Beatrice by Aldo Vallone, who defends her historicity, at least to a point, in Enciclopedia dantesca, Roma: Likewise, the Vita nuova does not lay any claim on being historically true, a claim that cannot be demonstrated.
The spatial context of the story is indeed a city, but Dante offers not even a single clue for us to identify the city. And that this city is traversed by pilgrims on their way to see the so-called Veronica in Rome as I pointed out above cannot be proposed as a proof that the city is Florence.
While it is possible that pilgrims on their way to Rome could have chosen Florence as part of their itinerary, as Pirovano documents in the commentary, nevertheless Florence was not on the map of the best known itineraries of pilgrims on their way to Rome and the Holy Land. Two more aspects, mentioned at the beginning of this review, should be also considered, although briefly. The text and the order of the rhymes are essentially those of Barbi. Italian Bookshelf be resolved.
Please do not quote simply using the numbering of the poem, which differs from edition to edition, but always giving the first line of the poem, which is the easiest way for readers to locate the source.
Italian Stylistics and Metrics
Each volume is unquestionably a monument to Dante, and all that Dante stands for, and all that Attraevrso means to us after so many centuries. At the same time, caveat lector! It would be perfectly feasible for anyone to read the forty or fifty pages of the Vita nuova, if the Vita nuova were published by itself. And yet no major publishing house is willing to consider publishing two volumes, one for the text, and the other one for the critical apparatus and commentary, or, in the same volume, the text by itself followed by the commentary!
Cascio, published in this volume, of: Poems of Youth and of the Vita Nuova, edited by T. Barolini; with new verse translations by R. Lansing, and commentary translated pprosa A. Figure e concordanze del Canzoniere da Leopardi al Novecento.
Montagnani, I territori del Petrarchismo. Frontiere e sconfinamenti, Roma, Bulzoni Editore, mengalo, p. Alla prova dei fatti, tuttavia, gli esiti e gli effetti di tanta esegesi dantesca non hanno condizionato, se non nella proposta continiana di monolinguismo petrarchesco e plurilinguismo dantesco, il confronto critico con il poeta di Laura: Menggaldo poi tali trame basterebbero da sole a catalogare come petrarchesco o petrarchizzante un autore o, peggio, una generazione?
Italian Bookshelf Esperienze leterarie.
History of Italian language from the Baroque period to the present day
Rivista trimestrale di critica e di cultura. Il Brusoni aveva, infatti, lasciato trasparire, nel suo secondo romanzo Il carrozzino alla moda, diverse allusioni alle opere della Tarabotti: In definitiva, la rivista offre in questo volume, secondo approcci metodologici differenti analisi tematiche, comparatistiche e traduttologiche un interessante spaccato su alcuni aspetti, talora inediti, relativi alla letteratura e alla cultura italiane.
Italian Bookshelf Forum italicum. A Journal of Italian Studies. Music and Society in Italy This collection of twenty-eight essays by academics and music practitioners constitutes an important contribution to the area of Italian music studies. Yet as the writers engage with precisely these tensions and paradoxes, they provide stimulating conclusions that in fact reveal much about Italian society through the ages.
The contributions in the volume are arranged chronologically, with the seven shorter pieces by practitioners then appearing at the end.
This approach gives the reader a good sense of the ways in which music has developed in Italy from the s to the present day. However, as one reads the articles, key themes and preoccupations emerge, which provide important insights into the relationship between music and society in Italy.
For example, we discover how music is used in the Italian context to reveal something of menbaldo specific political, cultural or social moment. As practitioners, Maurizio Bettelli, Carlo Testa, and Marc Zimmerman then speak about the power of music to evoke memories and prosaa feelings of nostalgia, demonstrating the significance of narrating personal experiences as part of the broader discourse about music.
The interconnectedness of music with other art forms and philosophies is also highlighted in a range of essays. Gianfranco Salvatore, for example, analyses the popular urban culture of sixteenth-century Naples as a way of illustrating the relationship between contemporary popular music and its own history. Samuela Briatore demonstrates the impact prsoa music on Jesuit approaches to science and geometry during the s.
Italian Bookshelf Bombara investigates the impact of music on a range of scapigliati authors. But this situation is slowly beginning to change. Indeed, three essays here atttaverso precisely with music scholarship in Italy. Marcello Source Keller traces the history of research into Jewish-Italian music and why such research has not been undertaken in the past. Luca Cerchiari examines writing about jazz under Fascism. Benedetta Zucconi then presents the history of Il atraverso.
Bollettino discografico mensile, the first publication to write seriously about the record industry in Italy. These essays also point to the influence of politics on Italian music; attaverso relationship is in fact the central focus of three more contributions.