- Italian Studies, Medieval Studies, Spirituality, Spirituality & Mysticism, Film Studies, Classics, and 34 moreComparative Literature, Latin Literature, Philosophy, Theology, Medieval History, Italian Humanism, Rhetorics, Classical Tradition, Quattrocento, Medieval Literature, History of Christianity, Pilgrimage, Identity, Travel Literature, Medieval Romance, Medieval Manuscripts, Pilgrimages, Transnational Medieval Literatures and Cultures, Piety, Medieval Italian Literature, Petrarch, Hagiography, Dante Studies, Filologia Italiana Letteratura Italiana del Rinascimento, Dante and the ancient commentaries tradition, Puccini, Metastasio, Petrarca, Mysticism, Consolation, Neo-latin literature, Patristics and Late Antiquity, History Of Emotions, and Contemporary Poetryedit
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Beppe Salvia nasce nel 1954 a Potenza. Nel 1972 si trasferisce a Roma con la madre e il fratello, cambiando spesso casa e alternando la vita romana con alcuni viaggi in Sicilia. Inizia a pubblicare poesie in rivista nel 1976 (su «Lettera»... more
Beppe Salvia nasce nel 1954 a Potenza. Nel 1972 si trasferisce a Roma con la madre e il fratello, cambiando spesso casa e alternando la vita romana con alcuni viaggi in Sicilia. Inizia a pubblicare poesie in rivista nel 1976 (su «Lettera» e «Nuovi Argomenti»), diventando ben presto protagonista di quel clima vivace e alternativo animato nella capitale da poeti e pittori suoi coetanei. Frequenta i laboratori di poesia di Elio Pagliarani, occasione fondamentale per i giovani poeti sul volgere degli anni Settanta. Fonda nel novembre 1980 la rivista "Braci" insieme a Claudio Damiani, Giuseppe Salvatori, Arnaldo Colasanti e Gino Scartaghiande, ma allo stesso tempo, fin dall'ottobre del 1980, pubblica sulla rivista "Prato pagano" di Gabriella Sica le sue Lettere musive e partecipa a riunioni redazionali. In entrambe le riviste vengono pubblicate sue sillogi poetiche o 'corone di sonetti', che si distinguono subito per la spiccata individualità, alternante elegia e tragedia. Muore tragicamente il 6 aprile 1985. Alcuni degli amici più stretti ne ricordano la figura, qualche giorno dopo, sulla pagina culturale del «Paese sera», dando inizio a una sua tenace leggenda che in tempi recenti si è nutrita di studi e pubblicazioni di taglio anche accademico. Nel 1985, dopo l'improvvisa scomparsa, esce subito il suo primo libro, Estate, con lo pseudonimo di Elisa Sansovino, nei "Quaderni di Prato pagano". Alla fine del 1987, presso Rotundo, esce Cuore (cieli celesti); nel 1989, nelle Edizioni romane della Cometa, il diario poetico Elemosine eleusine.
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The essay is a reading of the poem “Le parentesi”, wich opens with Fabio Pusterla’s first book: “Concessione all’inverno” (1985). The first part of the analysis, whose aims extends to the collection as a whole, focuses on the meaning of... more
The essay is a reading of the poem “Le parentesi”, wich opens with Fabio Pusterla’s first book: “Concessione all’inverno” (1985). The first part of the analysis, whose aims extends to the collection as a whole, focuses on the meaning of the verb form “rimarranno”, i.e., “they will remain”. It occurs twice in the text and suggests both what is left over, in the sense of the debris, and what will persist. The second part examines another meaning of “rimarranno” comprising parts of speech like parentheses and interjections and considers their functions in the first period of Pusterla’s literary work.
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in «L'Unique change de scène. Ecritures spirituelles et discours amoureux (XIIe-XVIIe siècle)», dir. par Véronique Ferrer, Barbara Marczuk, Jean-René Valette, Paris, Classiques Garnier, 2016, pp. 207-228 L'article s'interroge sur le... more
in «L'Unique change de scène. Ecritures spirituelles et discours amoureux (XIIe-XVIIe siècle)», dir. par Véronique Ferrer, Barbara Marczuk, Jean-René Valette, Paris, Classiques Garnier, 2016, pp. 207-228
L'article s'interroge sur le rapport entre amour charnel et amour spirituel chez Pétrarque. Il précise la nature de l'amour dans les Rimes et revisite ensuite des interprétations trop hâtives: l'amour charnel ne procède pas forcément de l'influence de la poésie classique, de même que l'amour spirituel n'est pas intrinsèquement lié aux sources chrétiennes. Il étudie enfin les images relatives au pouvoir du corps de la femme, et le rapport complexe avec le 'spiritus' qui l'habite.
L'article s'interroge sur le rapport entre amour charnel et amour spirituel chez Pétrarque. Il précise la nature de l'amour dans les Rimes et revisite ensuite des interprétations trop hâtives: l'amour charnel ne procède pas forcément de l'influence de la poésie classique, de même que l'amour spirituel n'est pas intrinsèquement lié aux sources chrétiennes. Il étudie enfin les images relatives au pouvoir du corps de la femme, et le rapport complexe avec le 'spiritus' qui l'habite.
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This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong... more
This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong consistency of that reproach with the topic of Canto V, concerning those who repented before death came upon them. In tracking down sources in thirteenth-century commentaries on Pietro Lombardo’s Sententiae, the author cites them within the context of the formalisation of the sacrament of penance by the Fourth Lateran Council. Her intent is to point to how theologians’ arguments about in extremis repentance were based on the opposition between mercy and God’s justice, which is also the subject of the cantos of Ante-Purgatory. Furthermore, the author suggests that the act of prolonging repentance to the last moment of life was seen as possible, but also perilous. From this point of view, Dante’s insistence on the story of Jacopo del Cassero and Buonconte da Montefeltro’s bloody deaths acquires new meaning. Additionally, the interpretation of the «lagrimetta» (‘a little teardrop’) that ensures Buonconte’s salvation becomes more problematic.
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This essay re-reads canzone 270 in its context (the beginning of the second section of 'Rerum vulgarium fragmenta'); after the "planctus" of canzone 268, the mind of the speaker turns to "consolatio". In comparison with the treatises of... more
This essay re-reads canzone 270 in its context (the beginning of the second section of 'Rerum vulgarium fragmenta'); after the "planctus" of canzone 268, the mind of the speaker turns to "consolatio". In comparison with the treatises of the subject, such as St Ambrose's 'De excessu fratris sui Satyri', and with Petrarch's contemporary meditations on death (the eclogue 'Galathea', the 'Familiares' composed in the years of the plague), this canzone is therefore dedicated to the theme of consolation, drawn from the intuition that time cannot go back, and that no power, not even the power of the god of Love, can give back Laura alive. In particular, in Fam. VIII 1, dedicated to Stefano Colonna the Elder (8 sept. 1348), one can trace elements re-appearing in the last stanza and in the envoy of the canzone, in the exhortation to «lasciar andare ciò che non può tornare».
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The essay retraces some moments of Petrarch’s reflection on Fortune as it can be found in the collection of his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of the events that... more
The essay retraces some moments of Petrarch’s reflection on Fortune as it can be found in the collection of
his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of
the events that struck the poet, and with him Italy and Europe, in the years 1348-49 (namely, the end
of the dream of a restoration of Rome by Cola di Rienzo and the plague). In the first books of the
Familiares, Petrarch proposes himself as a moral philosopher nourished with examples from the classics
and therefore capable of contrasting Fortune’s strikes. The experientia of death in those tragic years
however undermines his strength and affects the possibility of preventing suffering to the point of leading
Petrarch to rethink deeply his faith in spes (hope) as a projection of the human thought and will into
the future.
his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of
the events that struck the poet, and with him Italy and Europe, in the years 1348-49 (namely, the end
of the dream of a restoration of Rome by Cola di Rienzo and the plague). In the first books of the
Familiares, Petrarch proposes himself as a moral philosopher nourished with examples from the classics
and therefore capable of contrasting Fortune’s strikes. The experientia of death in those tragic years
however undermines his strength and affects the possibility of preventing suffering to the point of leading
Petrarch to rethink deeply his faith in spes (hope) as a projection of the human thought and will into
the future.
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The essay introduces a section ot the theme of Senectus and examines the importance of this topic both in the inner system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato... more
The essay introduces a section ot the theme of Senectus and examines the importance of this topic both in the inner
system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato
speglio", represents – also for its position – the turning-point for the transformation of the theme of Senectus, that
turns itself in a meaning not exclusively devoted to a memorial shape. Through the autoreflexive imagery of mirror,
the male protagonist of Fragmenta, now senex, is forced to reawaken from the sleep of consciousness.
system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato
speglio", represents – also for its position – the turning-point for the transformation of the theme of Senectus, that
turns itself in a meaning not exclusively devoted to a memorial shape. Through the autoreflexive imagery of mirror,
the male protagonist of Fragmenta, now senex, is forced to reawaken from the sleep of consciousness.
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The essay examines the consolatory letters, contained in Petrarch's "Letters on Familiar matters" (Familiares), from II to XV book, to study their inner coherence and internal relationships. The essay would highlight the evolution of the... more
The essay examines the consolatory letters, contained in Petrarch's "Letters on Familiar matters" (Familiares), from II to XV book, to study their inner coherence and internal relationships. The essay would highlight the evolution of the 'consolatio' within the "liber" of the Familiares. The collection of the consolatory letters is studied in order to circumscribe them - listing the reasons to include and the ones to leave out, reviewing the the identity of the recipients and the peculiar placing of every single letter in its respective book, paying attention to different "tituli" of letters, to various opening topics, and to the 'rethoric of correction', wich Petrarch assumed from the classics authors of consolatory literature, from Seneca to St. Ambrose.
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This article discusses how Petrarch's self-portrayal as a spokesman for peace, armed with quill and inkpot, is brought forward in the canzone "Italia mia benché 'l parlar sia indarno" and in his epistles of the 1350s. The poet's activity... more
This article discusses how Petrarch's self-portrayal as a spokesman for peace, armed with quill and inkpot, is brought forward in the canzone "Italia mia benché 'l parlar sia indarno" and in his epistles of the 1350s. The poet's activity as peace mediator appears in this famous canzone dedicated to Italy well before the epistles were written. Dated to 1344, the poem's thematic kernel seems to have been subsequently unfolded and broken down into the epistles that Petrarch later sent to the political leaders of his day. Petrarch's cry for peace in the Rerum vulgarium fragmenta is threefold: he invokes spiritual, societal, and teleological peace. The different faces of this threefold pining for harmonic conciliation find an outlet in the invocations of, respectively, Chiare fresche e dolci acque, "Italia mia," and the Canzone alla Vergine. "Italia mia," his most distinctly political text as well as heartfelt plea to the lords of Italy, marks Petrarch's last attempt to recompose the political fractures of Italy within the peninsula itself; from the 1350s onward, Petrarch addresses his political appeals solely to foreign rulers, a sign of the waning independence of Italian states.
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La figura del Direttore spirituale nella teoria (direttorî) e nella pratica (epistolari) del Seicento francese e italiano: pluralità di nomi e di generi, identità del direttore spirituale, reprimende contro i cattivi direttori, la... more
La figura del Direttore spirituale nella teoria (direttorî) e nella pratica (epistolari) del Seicento francese e italiano: pluralità di nomi e di generi, identità del direttore spirituale, reprimende contro i cattivi direttori, la "discretio spirituuum" e la direzione in uno stato interiore, lo "stile" della direzione spirituale.
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«inOpera» è una nuova rivista che ospita interventi tesi a proporre analisi di singoli testi o volumi o parti di volume, sia poetici sia narrativi, senza escludere le traduzioni, i saggi, le scritture private. «inOpera» si occupa... more
«inOpera» è una nuova rivista che ospita interventi tesi a proporre analisi di singoli testi o volumi o parti di volume, sia poetici sia narrativi, senza escludere le traduzioni, i saggi, le scritture private. «inOpera» si occupa prevalentemente di testi dell'ultimo secolo e mezzo della storia italiana, con frequenti escursioni al di là dei confini nazionali. È una rivista semestrale Open-Access collocata sulla piattaforma della Statale di Milano. Lo scopo dei contributi è primariamente l'analisi di una unità testuale, ma non vi è alcuna preclusione di metodo: dalla critica tematica alla stilistica, dalla critica psicoanalitica ai saggi di commento, dagli studi di ambito filologico, editoriale e archivistico alle riflessioni metacritiche, ogni forma di avvicinamento ai testi è la benvenuta. L'elemento caratterizzante consiste nel focus sulle singole opere, alla ricerca dei loro tratti caratterizzanti.
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The journal «Petrarchesca» was founded with the desire and ambition to offer an opportunity for expansion and innovation in Petrarch studies, at a time that is rich in interesting research possibilities. The editions produced for the... more
The journal «Petrarchesca» was founded with the desire and ambition to offer an opportunity for expansion and innovation in Petrarch studies, at a time that is rich in interesting research possibilities. The editions produced for the occasion of the Petrarch's centenary permit a more detailed approach to the figure of the poet and humanist and break new ground in the interpretation of his works. The aim of «Petrarchesca» is thus to sustain and increase this interest, subjecting Petrarch's work to an analysis based on solid historical, textual, and philological foundations that further clarifies content, themes and chronology – without neglecting to emphasize its artistic and ideal value. A renowned international scientific committee guarantees the reliability of this aim and the originality of the results that will be presented. Open to innovative contributions and original perspectives, «Petrarchesca» is not intended for the eyes of specialists alone; its spirit of renewal hopes to attract the attention of all readers, and especially anyone with an interest in this great and immortal classic of world literature.
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Nell'ambito del progetto di ricerca «La poesia italiana degli anni Ottanta», si parlerà della prima e dell'ultima raccolta poetica di Enrico Testa: «Le faticose attese» (San Marco dei Giustiniani, 1988) e «Ablativo» (Einaudi, 2013), dalle... more
Nell'ambito del progetto di ricerca «La poesia italiana degli anni Ottanta», si parlerà della prima e dell'ultima raccolta poetica di Enrico Testa: «Le faticose attese» (San Marco dei Giustiniani, 1988) e «Ablativo» (Einaudi, 2013), dalle quali l'Autore trarrà letture e autocommenti.
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This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong... more
This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong consistency of that reproach with the topic of Canto V, concerning those who repented before death came upon them. In tracking down sources in thirteenth-century commentaries on Pietro Lombardo’s Sententiae, the author cites them within the context of the formalisation of the sacrament of penance by the Fourth Lateran Council. Her intent is to point to how theologians’ arguments about in extremis repentance were based on the opposition between mercy and God’s justice, which is also the subject of the cantos of Ante-Purgatory. Furthermore, the author suggests that the act of prolonging repentance to the last moment of life was seen as possible, but also perilous. From this point of view, Dante’s insistence on the story of Jacopo del Cassero and Buonconte da Montefeltro’s bloody deaths acquires new meaning. Additionally, the interpretation of the «lagrimetta» (‘a little teardrop’) that ensures Buonconte’s salvation becomes more problematic.