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Per una moderna edizione critica del Liber Abaci di Leonardo Pisano, detto il Fibonacci
Full text linkThe author summarizes the acquisitions on the current status of the manuscript and printed tradition of Fibonacci’s treatise and demonstrates the need of preparing a critical edition of the work
Two versions of the 'Iuveniles ingenii lusus' by Manilius Cabacius Rhallus in Berlin ms. Hamilton 561 and in their Neapolitan 'editio princeps'
No full textManilius Cabacius Rhallus (Mistra, ca. 1447 - Rome, 1523) composed a collection of latin poems entitled 'Iuveniles ingenii lusus' of which we have two principal witnesses: the ms. Berlin Hamilton 561 (Staatsbibliothek, Preußischer Kulturbesitz) and the 'editio princeps' published in Naples for the types of Johannes Pasquet de Sallo. The code ms. Berlin Hamilton 561, dated between 1505 and 1507, is dedicated to Cardinal Galeotto De Franciottis Della Rovere; the 'editio princeps' appeared in Naples in 1520 and is dedicated to the Cardinal Giulio de’ Medici, later Pope Clemente VII. In these witnesses the text of the poems appears substantially identical, except few particulars of little importance, but their structural organization is profoundly reworked: the case seems to be particularly interesting to show how an author at the beginning of the sixteenth century could repurpose an old text not only according the needs of a new dedication, but also according the requirements and the literary taste of a new audience. The operation of reworking, in fact, in this case does not concern the microstructures of the text, but its macrostructures, in such a manner that the author was able to propose again after a certain time a same work in a profoundly changed cultural context, trying to meet the new spirit of the time without spending too much energy
Giovanni Pontano e la costituzione di una nuova Grecia nella rappresentazione letteraria del Regno Aragonese di Napoli
No full textThe scholars at the Aragonese court of Naples facilitated the creation of a new geographical image that celebrated the Neapolitan kingdoms’ splendour and justified the Aragonese power according to the contemporary humanistic cultural parameters. In particular,
Iohannes Pontanus with his poetry became the author of a new myth of Naples: he celebrated the greatness and beauty of its landscape, following in classical authors’ footsteps. They had attributed an elevated stature to Greek places and enlightened Greek mythical,
cultural, and intellectual traditions. Pontanus performs the same cultural operation with Naples and its traditions. So, the new myth of Naples was born as a new Greece, from the shores of which the image of Aragonese greatness and magnificence was spread throughout
Europe in light of the wisdom tradition of the ancient Gulf of the Sirens
Iohannes Pontanus and the Aragonese Kingdom of Naples as a new Greece
No full textThe scholars at the Aragonese court of Naples facilitated the creation of a new geographical image that celebrated the Neapolitan kingdoms’ splendour and justified the Aragonese power according to the contemporary humanistic cultural parameters. In particular, Iohannes Pontanus became the author of a new myth of Naples: he celebrated the greatness and beauty of its landscape, following in classical authors’ footsteps. They had attributed an elevated stature to Greek places and enlightened Greek mythical, cultural, and intellectual traditions. Pontanus performs the same cultural operation with Naples and its traditions. So, the new myth of Naples was born as a new Greece, from the shores of which the image of Aragonese greatness and magnificence was spread throughout Europe in light of the wisdom tradition of the ancient Gulf of the Siren
Latin Canzonieri in Aragonese Naples Between the Kingdom and Vice Kingdom (1450-1550)
Full text linkLa produzione dei canzonieri latini nella Napoli aragonese si sviluppò in un quadro di grande complessità culturale tra il latino e le lingue volgari in uso presso la corte. Focalizzando i loro caratteri distintivi, il saggio si propone di realizzarne un’interpretazione coerente col quadro della cultura del loro tempo. La sintesi che emerge dall’indagine mostra come, con l’adesione degli intellettuali al programma della politica aragonese nel momento del suo splendore, i canzonieri erotici esprimessero anche un impegno ideologico nella rappresentazione e nella costruzione dei valori della società: è l’epoca dei canzonieri di Giovanni Pontano e dei suoi coetanei, Elisio Calenzio e Gabriele Altilio. Col cambiare degli equilibri esistenti tra gli intellettuali e il potere politico nella crisi della corona e con l’avvento del Vice Regno spagnolo, essa mostra, poi, come cambi anche il carattere della produzione poetica, che tende a porre in secondo piano l’elemento amoroso, diventando perlopiù encomiastica e celebrativa, e ad allontanarsi dall’impegno in precedenza espresso. In quest’epoca solo due canzonieri, uno di Girolamo Angeriano ed uno di Pomponio Gaurico, sono propriamente amorosi ed esprimono il nuovo modo di vivere l’amore in un mondo in cui l’introspezione e la riflessione si sostituiscono all’impegno ideologico e sociale. I canzonieri erotici di questo periodo così denso di trasformazioni mostrano quanto possa essere stretto il rapporto tra una produzione letteraria di carattere sia pure intimo e la società nella quale essa abbia visto la luce, fornendo, così, una paradigmatica chiave di lettura del loro tempo.The production of Latin Canzonieri in the Aragonese Kingdom of Naples developed in a context of great cultural complexity that was the interaction of Latin and the vernacular languages used at court. By focusing on the distinctive characteristics of these songbooks, this essay aims to create an interpretation that is coherent with the framework of the culture of their time. The synthesis that emerges from our study shows how, with the adherence of intellectuals to the Aragonese political program in the moment of its splendour, erotic songbooks also expressed an ideological commitment in the representation and construction of society’s values: it is the era of the lyric collections of Giovanni Pontano and his peers, Elisio Calenzio and Gabriele Altilio. With a new balance struck between intellectuals and political power during the crisis of the crown, and with the advent of the Spanish Vice-Kingdom, we see how the character of poetic production also changes, which relegated the amorous to the background, where it becomes mostly laudatory and celebratory, moving away from ideological commitment mentioned above. In this time only two lyric collections, one by Girolamo Angeriano and one by Pomponio Gaurico, are properly amorous, and express the new way of living love in a world where introspection and reflection replace ideological and social commitment. The amorous songbooks of this transformative period show how close the relationship is between literary production, even one of an intimate nature, and the society from which it springs, thus providing a hermeneutic key for understanding the historical period of the Canzoniere itself
Autorità dei Classici e autorità dei Padri nel secolo XI: intellettuali del monastero di S. Emmeramo in Ratisbona fra piacere della lettura e senso di colpa
No full textIn the XIth century the renewed interest of monks in the texts of the classical literature is balanced, in a time of monastic reforms, from their formal contempt for them in favor of the patristic and exegetical works. For this reason, the classics are then read by some monks with a neurotic guilt. This is well shown, for example, from the significant experience of two monks, Arnold and Otloh of Sankt Emmeram in Regensburg, who, even for different roads and at different times, attribute to reading the classics the cause of the sins of their youth and abandoned their 'guilty' classic readings to move towards the Fathers of the Church and to discover their sweetness. In the XIth century seems to renew therefore the crisis of identity that the cultivated people had lived at the time of St. Jerome under the solicitation of two divergent cultural patterns that were placed against each other
L'editio princeps postuma dei Carmina di Giovanni Pontano tra interventi editoriali e variantistica d'autore
No full textRiassunto: L’analisi dell’editio princeps napoletana dei Carmina del Pontano sarà problematica per il futuro editore critico della sua opera poetica, perché egli dovrà districarsi tra interventi editoriali e variantistica d’autore. Il saggio mette in dubbio, infatti, l’attuale interpretazione di buona parte degli interventi dell’editore Pietro Summonte sugli originali di stampa autografi e invita a ripensare il loro significato: molti di loro potrebbero non rappresentare delle interpolazioni, ma più probabilmente una testimonianza di una variantistica d’autore. Un metodo per orientarsi tra cure editoriali e revisione d’autore potrebbe scaturire da una lettura mirata della parte de numeris poeticis del dialogo Actius, la cui composizione occupò il Pontano nello stesso periodo di tempo in cui egli si dedicò alla revisione delle sue opere poetiche. La teoria e la prassi della scrittura poetica potrebbero avere subìto in quegli anni quel medesimo processo osmotico che interessò – come è stato già dimostrato – la teoria e la prassi della scrittura storica durante la composizione della parte de lege historiae del medesimo dialogo Actius e la contemporanea revisione finale del De bello Neapolitano.
Abstract: The analysis of the Neapolitan editio princeps of Pontano’s Carmina will be problematic for the future critical editor of his poetic works, because he will have to extricate himself among editorial interventions and author’s variants. The essay puts in doubt, in fact, the current interpretation of most of the interventions of the editor Pietro Summonte on the autograph original manuscripts used for printing and invites us to rethink their meaning: many of them may not represent interpolations, but more likely a witness of author’s variants. A method for orienting oneself between editorial care and author revision could arise from a targeted reading of the part de numeris poeticis of the dialogue Actius, whose composition occupied Pontano in the same period of time in which he devoted himself to the revision of his poetic works. The theory and practice of poetic writing could have undergone in those years the same osmotic process that affected – as has already been demonstrated – the theory and practice of historical writing during the composition of the part de lege historiae of the same dialogue Actius and the contemporary final revision of the De bello Neapolitano
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