3,102 research outputs found
Guilhem de Saint Gregori, Ben grans avolesa intra (BdT 233.2); Bartolomeo Zorzi, En tal dezir mos cors intra (BdT 74.4)
No full textL’articolo predispone un commento e una traduzione dei due contrafacta della sestina di Arnaut Daniel, ovvero Ben gran avolesa intra di Guilhem de Saint Gregori e En tal dezir mos cors intra di Bartolomeo Zorzi. Per il primo, una vera e propria invettiva contro Aimiers II di Poitiers, si mette in rilievo soprattutto la continua ricontestualizzazione delle immagini di Arnaut (della sestina ma anche di altri componimenti del suo canzoniere) per rivalutare le caratteristiche innovative del testo e le sua qualità. Attraverso una disamina lessicale, l’articolo dimostra poi il profondo rapporto tra la canzone dello Zorzi e il precedente guglielmino. Analizzando in particolare il comune motivo infernale, si propone d’interpretare il testo di Bartolomeo come una risposta alla composizione arnaldiana e alla sua espressione del desiderio carnale. Lo studio si concentra soprattutto sulla relazione tra la pulsione sessuale e il tema della dannazione dell’anima: Zorzi attacca continuamente il ferm voler di Arnaut, condannato evocando il Perceval di Chrétien de Troyes (anche al di là del rinvio esplicito del v. 18) e il suo incessante richiamo ai doveri nei confronti della famiglia
Premessa
No full textTraduzione del saggio 'Die Liedersammlungen der Troubaours' di G. Grober ad opera di G. Lachin, con revisione e curatela di N. Ballestrin, A. Bampa, G. Borriero, L. Morlino
La lirica trobadorica a Genova
No full textThe thesis aims to analyze the relationship between Genoa and troubadours lyric, which has been set within its historical and cultural context – on the model of Gianfranco Folena’s Tradizione e cultura trobadorica nelle corti e nelle città venete essay.
The first part includes an historical overview from the first written accounts of Ligurian literature, when Caffaro di Rustico di Caschifellone started composing his Annales, to the end of Genoese republic’s culture: in 1311 the Commune was ruled by Henry VII and Calega Panzano, the last Genoese troubadour, disappeared two years later.
The second part focuses on the non-troubadours cultural phenomena, connected to two different – but related – cultural centres: the laic communal authorities and the ecclesial ones (linked both to the cathedral both to the mendicant orders). Also, it describes the linguistic evolution of Genoese culture from latin, which prevailed until the first half of XIII century, to the Genoese and French vernaculars.
The third part is dedicated to the analysis of the poems which mention the Commune and composed from the end of XII Century by non-genoese troubadours (Raimbaut de Vaqueiras, Arnaut de Maruelh, Albertet e Peire Vidal) and to the several forms of Medieval communication and propaganda. The study underlines that these poems were never commissioned by the Commune, since the Occitan language was in that time deeply connected to the courts around Genoa, where a large number of these texts were composed.
The fourth and last part focuses upon the Genoese troubadours. Their poetical activity is divided into two consecutive phases with some certain contact points, whose most relevant poets are respectively Lanfranco Cigala and Bonifacio Calvo: this study on the Genoese troubadours school reveals that its poems are homogeneous, that Cigala was a real poetic model for all the other artists and the isolation of the troubadours phenomenon within the whole cultural experience in Genoa, being connected to the aristocratic élite of the city and its divertissement rather than to the communal environment
A imagem de Alessandro Baricco no Brasil
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Tra socialdemocrazie e Perestrojka. Le relazioni internazionali del Pci attraverso le carte di Alessandro Natta
No full textThis essay reconstructs the foreign policy of the Italian Communist Party during the four
years of Alessandro Natta’s secretariat (1984-1988) through largely original archival documentation,
from the Alessandro Natta Fonds of the Historical Archive of the Chamber of
Deputies. Natta’s papers are also cross-referenced with those kept in the PCI Archive at the
Gramsci Foundation. The author analyses the relationship that the PCI establishes with
Gorbachev’s Perestroika, Deng’s China, and European social democracies during the last
years of the Cold War
Tavola rotonda: L’Italia dei trovatori
No full textTavola rotonda dedicata al progetto di ricerca l'Italia dei trovatori
Volta Alessandro
No full textThe New Dictionary of Scientific Biography (extension and updating of the Dictionary of Scientific Biography) is one of the most substantial reference works in the field of the history of science. An up-to-date overview on Alessandro Volta's science with new perspectives offered by the author. Information and critical analysis is also provided on the main secondary literature produced on this main protagonist of enlightenment science after the 1976 entry "Volta Alessandro" in the Dictionary of Scientific Biography
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