Historias Fingidas (E-Journal, Università di Verona, Dipartimento di Lingue e Letterature Straniere)
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The honest pleasure of reading: the presence of eutrapelia in the prologues of the novels of chivalry
Get PDFEutrapelia (Aristóteles, Etica a Nicómaco) significa el placer moderado. En su contexto original contemplaba actividades como los chistes, los juegos y el teatro; hacia el s. XIV se aplicaba a la ficción narrativa. Se argumenta en el presente artículo que, aunque el término en sí era de circulación restringida, la eutrapelia como concepto se refleja en palabras aparentemente anodinas como recrearse y pasatiempo, citadas con frecuencia en los prólogos de los libros de caballerías. Eutrapelia (Aristotle, Nicomachaean Ethics) means moderate pleasure. Initially it addressed activities such as jokes, games and the theatre; by the fourteenth century it was being applied to narrative fiction. It is argued in this article that although the word eutrapelia was of limited circulation, the concept of eutrapelia is reflected in apparently anodine words such as recrearse and pasatiempo which frequently occur in the prologues of the romances of chivalry.Eutrapelia (Aristotle, Nicomachaean Ethics) means moderate pleasure. Initially it addressed activities such as jokes, games and the theatre; by the fourteenth century it was being applied to narrative fiction. It is argued in this article that although the word eutrapelia was of limited circulation, the concept of eutrapelia is reflected in apparently anodine words such as recrearse and pasatiempo which frequently occur in the prologues of the romances of chivalry
Geography and novels of chivalry: Martín Fernández de Enciso, Jerónimo de Chaves and Paolo Giovio as sources of chivalric cartography
No full textLa geografía recreada por el padre Miguel Daza en El Caballero de la Fe (1583) revela un marcado interés por reproducir con palabras la cartografía del mundo conocido, de acuerdo con los últimos conocimientos aportados por la ciencia de su tiempo. Como el presente trabajo se propone demostrar, ello es posible en virtud del hábil manejo que este clérigo seguntino realiza de diversos tratados contemporáneos, a los que Daza recurre para construir numerosas descripciones geográficas que convierten su fingida crónica en una auténtica «carta de mareantes».The geography recreated by Father Miguel Daza in El Caballero de la Fe (1583) reveals a noticeable interest in reproducing in words the cartography of the known world, in accordance with the best scientific knowledge of his time. As this study aims to demonstrate, this is possible thanks to the skilful use that this clergyman from Sigüenza makes of various contemporary treatises, to which Daza turns for numerous geographical descriptions that convert his false chronicle into an authentic «map for sailors»The geography recreated by Father Miguel Daza in El Caballero de la Fe (1583) reveals a noticeable interest in reproducing in words the cartography of the known world, in accordance with the best scientific knowledge of his time. As this study aims to demonstrate, this is possible thanks to the skilful use that this clergyman from Sigüenza makes of various contemporary treatises, to which Daza turns for numerous geographical descriptions that convert his false chronicle into an authentic «map for sailors
Moral and doctrine against magic in Florisando: a study through its prologue
Get PDFEl libro de caballerías Florisando (1510) destaca por los fuertes tintes religiosos y doctrinales que su autor, Páez de Ribera, vertió a lo largo de la obra. Este artículo pretende, por un lado, analizar la censura de la magia y de los elementos maravillosos presentes en el prólogo frente a la ortodoxia católica y como remanente literario del género del sermón. Por otro lado, se estudia la figura del caballero que oscila desde el miles christi, defensor de los valores cristianos, y que concilia los entrenamientos militares y la formación letrada. The chivalric romance Florisando (1510) is notable for the strong religious and doctrinal emphases that its author, Páez de Ribera, expresses throughout his book. On the one hand, this article aims to analyze the censure of elements of magic and sorcery in the prologue in the context of Catholic orthodoxy as a literary residue of the genre of the sermon. On the other hand, the figure of the knight is studied ranging from the miles christi, defender of Christian values, to the reconciliation of military and scholarly training.The chivalric romance Florisando (1510) is notable for the strong religious and doctrinal emphases that its author, Páez de Ribera, expresses throughout his book. On the one hand, this article aims to analyze the censure of elements of magic and sorcery in the prologue in the context of Catholic orthodoxy as a literary residue of the genre of the sermon. On the other hand, the figure of the knight is studied ranging from the miles christi, defender of Christian values, to the reconciliation of military and scholarly training
Aragonese "Mezzogiorno" and courtly Northern Italy: an Italian trajectory for diffusion of Spanish cultures
Get PDFQuesto lavoro si propone di ricostruire un ipotetico tracciato di diffusione della cultura iberica in Italia, principiato a partire dal prestigioso catalizzatore della corte aragonese di Napoli, e via via ramificatosi attraverso i centri dell\u27Italia padana a cavallo tra Quattro e Cinquecento. Visti i primi contatti a opera di mercenari, studenti ed ecclesiastici, si passa a studiare la fioritura della cultura plurilingue raccolta attorno ad Alfonso di Trastámara nel quadro della rete di relazioni, soprattutto matrimoniali, intessute con le corti settentrionali. Sulla scorta dei vari accasamenti, a cui si somma quello splendido di Lucrezia Borgia con Alfonso d\u27Este, si spargono attraverso la penisola intrattenitori e artisti di diversa qualità, interpreti di una letteratura, talvolta estemporanea, che finisce per interessare pure intellettuali di peso, come il Bembo e l\u27Equicola, arbitri di una cultura cortigiana che, ai suoi margini, si apre alle novità originate nella Penisola iberica. Al termine di questo excursus, interrotto con l\u27incoronazione bolognese di Carlo V, si raccolgono i segnali di un\u27assimilazione ormai compiuta, e, come si suggerisce nell\u27ultima sezione, sfociata nei primi accenni di un\u27operazione critica e di sistemazione, parallela al recupero delle lettere provenzali, che provvederà le condizioni per i primi passi della romanistica cinquecentesca. The present work aims to reconstruct a hypothetical blueprint of the spread of Iberian culture in Italy, which gradually extended to the centers of Northern Italy between the 15th and the 16th centuries, since the settling of the Aragonese court in Naples. Starting from the first contacts thanks to mercenaries, ecclesiastics and university students, the essay continues analysing the flowering of the multilingual culture gathered around Alfonso of Trastámara, related to the northern courts through nuptial agreements. As a result of various marriages, included the matrimony between Lucrezia Borgia and Alfonso d\u27Este, several Spaniard poets and entertainers left the South directed to the Po valley, where they diffused models of literature –sometimes extemporaneous– that eventually interested important intellectuals such as Pietro Bembo and Mario Equicola, arbiters of a courtesan culture slightly opening to Iberian literatures. The conclusion of the present article outlines the first attempts of interpretation of this production and the effort to compare romance languages and culture during the Renaissance, in parallel with the redicosvery of Occitan literature, as the definitive proof of complete assimilation and consequent criticism.The present work aims to reconstruct a hypothetical blueprint of the spread of Iberian culture in Italy, which gradually extended to the centers of Northern Italy between the 15th and the 16th centuries, since the settling of the Aragonese court in Naples. Starting from the first contacts thanks to mercenaries, ecclesiastics and university students, the essay continues analysing the flowering of the multilingual culture gathered around Alfonso of Trastámara, related to the northern courts through nuptial agreements. As a result of various marriages, included the matrimony between Lucrezia Borgia and Alfonso d\u27Este, several Spaniard poets and entertainers left the South directed to the Po valley, where they diffused models of literature –sometimes extemporaneous– that eventually interested important intellectuals such as Pietro Bembo and Mario Equicola, arbiters of a courtesan culture slightly opening to Iberian literatures. The conclusion of the present article outlines the first attempts of interpretation of this production and the effort to compare romance languages and culture during the Renaissance, in parallel with the redicosvery of Occitan literature, as the definitive proof of complete assimilation and consequent criticism.Questo lavoro si propone di ricostruire un ipotetico tracciato di diffusione della cultura iberica in Italia, principiato a partire dal prestigioso catalizzatore della corte aragonese di Napoli, e via via ramificatosi attraverso i centri dell\u27Italia padana a cavallo tra Quattro e Cinquecento. Visti i primi contatti a opera di mercenari, studenti ed ecclesiastici, si passa a studiare la fioritura della cultura plurilingue raccolta attorno ad Alfonso di Trastámara nel quadro della rete di relazioni, soprattutto matrimoniali, intessute con le corti settentrionali. Sulla scorta dei vari accasamenti, a cui si somma quello splendido di Lucrezia Borgia con Alfonso d\u27Este, si spargono attraverso la penisola intrattenitori e artisti di diversa qualità, interpreti di una letteratura, talvolta estemporanea, che finisce per interessare pure intellettuali di peso, come il Bembo e l\u27Equicola, arbitri di una cultura cortigiana che, ai suoi margini, si apre alle novità originate nella Penisola iberica. Al termine di questo excursus, interrotto con l\u27incoronazione bolognese di Carlo V, si raccolgono i segnali di un\u27assimilazione ormai compiuta, e, come si suggerisce nell\u27ultima sezione, sfociata nei primi accenni di un\u27operazione critica e di sistemazione, parallela al recupero delle lettere provenzali, che provvederà le condizioni per i primi passi della romanistica cinquecentesca
Lisuarte di Grecia. Transcription of chapters I-V
Get PDF Trascrizione dei capitoli I-V di Lisuarte di Grecia (1550), romanzo che Mambrino Roseo da Fabriano tradusse dal romanzo spagnolo Lisuarte de Grecia (probabilmente del 1514), scritto da Feliciano de Silva. La trascrizione si basa sull’esemplare della Biblioteca Civica di Verona appartenente all’edizione veneziana degli eredi Tramezzino del 1550. Transcription of Chapters I-V of Lisuarte di Grecia (1550), the novel that Mambrino Roseo da Fabriano translated from the Spanish novel Lisuarte de Grecia (plausibly 1514), composed by Feliciano de Silva. The transcription is based on the copy held by Biblioteca Civica di Verona of the 1550 Venetian edition by heirs Tramezzino.Transcription of Chapters I-V of Lisuarte di Grecia (1550), the novel that Mambrino Roseo da Fabriano translated from the Spanish novel Lisuarte de Grecia (plausibly 1514), composed by Feliciano de Silva. The transcription is based on the copy held by Biblioteca Civica di Verona of the 1550 Venetian edition by heirs Tramezzino.Trascrizione dei capitoli I-V di Lisuarte di Grecia (1550), romanzo che Mambrino Roseo da Fabriano tradusse dal romanzo spagnolo Lisuarte de Grecia (probabilmente del 1514), scritto da Feliciano de Silva. La trascrizione si basa sull’esemplare della Biblioteca Civica di Verona appartenente all’edizione veneziana degli eredi Tramezzino del 1550
Chivalrous fetishes and simulacra of memory in Alonso Quijano: reflections on a potential typology of Cervantes\u27 humour
Get PDFCon atteggiamento mimetico per antonomasia, don Quijote si fa personaggio e pone ai suoi compagni di viaggio certo problemi etici, ma inevitabilmente anche estetici. Errante, sradicato, in perenne esilio da sé stesso, si circonda di feticci e immagini del passato che egli stesso ha difficoltà a maneggiare. Ci si propone in questo intervento – solo in via esemplificativa e in abbozzo – di osservare tale aspetto all’interno del sistema umoristico di Cervantes, in cui Alonso Quijano è crisi con oggetti che ha la necessità di trasformare nei simulacri delle sue letture (già simulacri di una realtà immaginata da altri).Con disposición mimética por antonomasia, don Quijote se vuelve personaje y plantea a sus compañeros de viaje problemas éticos y estéticos a la vez. Errante, desarraigado, en exilio incesante de sí mismo, se rodea de fetiches e imágenes del pasado que él mismo maneja con dificultad. Estas reflexiones –tan solo en forma demostrativa y en estado de esbozo– quieren observar este aspecto dentro del sistema humorístico de Cervantes, en el que Alonso Quijano está en crisis con objetos que tiene la necesidad de transformar en simulacros de sus lecturas (simulacros, a su vez, de una realidad imaginada por otros).With quintessential mimetic attitude, Don Quixote becomes a character and poses to his traveling companions certain ethical problems that, inevitably, are also aesthetic ones. Wanderer, uprooted, in perpetual exile from himself, he surrounds himself with fetishes and images from the past that he finds difficult to handle. We propose in this paper - only by way of example and draft - to observe this aspect within the Cervantes humorous system, in which Alonso Quijano is in a crisis with objects that he has the need to transform into the simulacra of his reading (already simulacra of a reality imagined by others).Con disposición mimética por antonomasia, don Quijote se vuelve personaje y plantea a sus compañeros de viaje problemas éticos y estéticos a la vez. Errante, desarraigado, en exilio incesante de sí mismo, se rodea de fetiches e imágenes del pasado que él mismo maneja con dificultad. Estas reflexiones – tan solo en forma demostrativa y en estado de esbozo – quieren observar este aspecto dentro del sistema humorístico de Cervantes, en el que Alonso Quijano está en crisis con objetos que tiene la necesidad de transformar en simulacros de sus lecturas (simulacros a su vez de una realidad imaginada por otros).With quintessential mimetic attitude, Don Quixote becomes a character and poses to his traveling companions certain ethical problems that, inevitably, are also aesthetic ones. Wanderer, uprooted, in perpetual exile from himself, he surrounds himself with fetishes and images from the past that he finds difficult to handle. We propose in this paper - only by way of example and draft - to observe this aspect within the Cervantes humorous system, in which Alonso Quijano is in a crisis with objects that he has the need to transform into the simulacra of his reading (already simulacra of a reality imagined by others).With quintessential mimetic attitude, Don Quijote becomes character and poses to his traveling companions certain ethical problems that, inevitably, are also aesthetic. Wanderer, uprooted, in perpetual exile from himself, he surrounds himself with fetishes and images from the past that he finds difficult to handle. We propose in this paper - only by way of example and draft - to observe this aspect within the Cervantes humorous system, in which Alonso Quijano is in a crisis with objects that he has the need to transform into the simulacra of his reading (already simulacra of a reality imagined by others).Con disposición mimética por antonomasia, don Quijote se vuelve personaje y plantea a sus compañeros de viaje problemas éticos y estéticos a la vez. Errante, desarraigado, en exilio incesante de sí mismo, se rodea de fetiches e imágenes del pasado que él mismo maneja con dificultad. Estas reflexiones –tan solo en forma demostrativa y en estado de esbozo– quieren observar este aspecto dentro del sistema humorístico de Cervantes, en el que Alonso Quijano está en crisis con objetos que tiene la necesidad de transformar en simulacros de sus lecturas (simulacros, a su vez, de una realidad imaginada por otros)
The Spanish romances of chivalry in the writings of the Croce and Farinelli: anthology, comments and bibliography
Get PDFThe article proposes as «Recovered Words» some fragments of Benedetto Croce, La Spagna nella vita italiana durante la Rinascenza, Bari, Laterza, 1917; Arturo Farinelli, Divagazioni erudite, Torino, Bocca, 1925 e Italia e Spagna, Torino Bocca 1929, with comments of Franco Meregalli, Carmelo Samonà, Cesare Segre, Antonio Gargano, Alberto Varvaro, Giuseppe Mazzocchi, Giovanna Calabrò, in a anthological selection made by Anna Bognolo.L’articolo propone come «Parole ritrovate» alcuni frammenti di Benedetto Croce, La Spagna nella vita italiana durante la Rinascenza, Bari, Laterza, 1917; di Arturo Farinelli, Divagazioni erudite, Torino, Bocca, 1925 e Italia e Spagna, Torino Bocca 1929, con commenti di Franco Meregalli, Carmelo Samonà, Cesare Segre, Antonio Gargano, Alberto Varvaro, Giuseppe Mazzocchi, Giovanna Calabrò, in una scelta antologica compiuta da Anna Bognolo.The article proposes as «Recovered Words» some fragments of Benedetto Croce, La Spagna nella vita italiana durante la Rinascenza, Bari, Laterza, 1917; Arturo Farinelli, Divagazioni erudite, Torino, Bocca, 1925 e Italia e Spagna, Torino Bocca 1929, with comments of Franco Meregalli, Carmelo Samonà, Cesare Segre, Antonio Gargano, Alberto Varvaro, Giuseppe Mazzocchi, Giovanna Calabrò, in a anthological selection made by Anna Bognolo
Ausencias de don Quijote y Sancho en la novela italiana y la libertad de don Quijote en los primeros melodramas.
No full textEl Quijote de Cervantes apenas si conoció imitaciones en la novela italiana en prosa del siglo XVII. Quizás porque, para afirmarse, los nuevos novelistas, aun teniendo como modelos los poemas caballerescos de Ariosto y de Tasso, intentaban crear historias más verosímiles, introduciendo elementos históricos y contemporáneos. En cambio, en el melodrama, más libre normativamente, a finales del siglo XVII empieza una larga trayectoria de reelaboraciones quijotescas, donde la libertad creativa del género permite introducir tipos nuevos, como el del loco don Quijote, cuya comicidad se explotará con fines cómico-líricos, o en el caso de Gigli, también satíricos
From the Amadises to the Quixotes: sequels and cycle in Cervantes and Avellaneda
No full textEl presente trabajo analiza las relaciones intertextuales de las continuaciones del Quijote (1605) de Cervantes: la de Avellaneda (1614) y la del propio Cervantes (1615). El artículo se enfoca en entender dichas relaciones entre los Quijotes a partir de los ciclos de los libros de caballerías, en particular el del Amadís de Gaula. El ciclo de Amadís de Gaula, bien conocido por Cervantes y Avellaneda, fue el más extenso y exitoso de los libros de caballerías castellanos del siglo XVI. Por ello, este trabajo estudia la influencia de las relaciones intertextuales del ciclo amadisiano en los vínculos que establecen entre sí las continuaciones del Quijote. This work studies the intertextual relationships established between the sequels of Cervantes’ Quijote (1605): that of Avellaneda (1614) and Cervantes’ own sequel (1615). This article seeks to understand the intertextual relationships in the sequels of Don Quixote with regard to the cycles of Castilian chivalric romances (libros de caballerías), especially the Amadís de Gaula cycle. This cycle was the lengthiest and most successful Castilian chivalric cycle and its works were well-known by Cervantes and Avellaneda. Therefore, this work studies how the intertextual relationships of the aforementioned cycles influenced those of the sequels of Don Quixote. This work studies the intertextual relationships established between the sequels of Cervantes’ Quixote (1605): that of Avellaneda (1614) and Cervantes’ own sequel (1615). This article seeks to understand the intertextual relationships in the sequels of Don Quixote with regard to the cycles of Castilian chivalric romances (libros de caballerías), especially the Amadís de Gaula cycle. This cycle was the lengthiest and most successful Castilian chivalric cycle and its works were well-known by Cervantes and Avellaneda. Therefore, this work studies how the intertextual relationships of the aforementioned cycles influenced those of the sequels of Don Quixote. El presente trabajo analiza las relaciones intertextuales de las continuaciones del Quijote (1605) de Cervantes: la de Avellaneda (1614) y la del propio Cervantes (1615). El artículo se enfoca en entender dichas relaciones entre los Quijotes a partir de los ciclos de los libros de caballerías, en particular el del Amadís de Gaula. El ciclo de Amadís de Gaula, bien conocido por Cervantes y Avellaneda, fue el más extenso y exitoso de los libros de caballerías castellanos del siglo XVI. Por ello, este trabajo estudia la influencia de las relaciones intertextuales del ciclo amadisiano en los vínculos que establecen entre sí las continuaciones del Quijote
Francisco de Moraes, Palmeirim de Inglaterra, ed. Lênia Márcia Mongelli, Raúl Cesar Gouveia Fernandes y Fernando Maués, Cotia, Ateliê Editorial / UNICAMP, 2016
Get PDFReseña de: Francisco de Moraes, Palmeirim de Inglaterra, ed. Lênia Márcia Mongelli, Raúl Cesar Gouveia Fernandes y Fernando Maués, Cotia, Ateliê Editorial / UNICAMP, 2016Book Review of: Francisco de Moraes, Palmeirim de Inglaterra, ed. Lênia Márcia Mongelli, Raúl Cesar Gouveia Fernandes y Fernando Maués, Cotia, Ateliê Editorial / UNICAMP, 201