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Éléments narratifs communs entre la tradition des ›Tournoiements de dames‹ français et la ›Caccia di Diana‹ de Boccace
Get PDFStarting from the consideration of the role that the presence of lists of famous women has played in the complex question of attributing the ‹Caccia di Diana› to Giovanni Boccaccio, this article investigates the possibility that the author was inspired by the French tradition of women\u27s tournaments for the construction of these catalogical sections. In fact, the examination of the few contemporary Italian examples suggests turning the attention to Gallo-Romance models (texts in which the poet, as in the ‹Caccia›, is a witness who gives an account, through poetry, of what he has personally seen): in the last part of this essay is discussed the probability that Boccaccio may actually have known and read these French texts during the years of his stay in Naples.Starting from the consideration of the role that the presence of lists of famous women has played in the complex question of attributing the ‹Caccia di Diana› to Giovanni Boccaccio, this article investigates the possibility that the author was inspired by the French tradition of women\u27s tournaments for the construction of these catalogical sections. In fact, the examination of the few contemporary Italian examples suggests turning the attention to Gallo-Romance models (texts in which the poet, as in the ‹Caccia›, is a witness who gives an account, through poetry, of what he has personally seen): in the last part of this essay is discussed the probability that Boccaccio may actually have known and read these French texts during the years of his stay in Naples
Recensione a Vanna Lippi Bigazzi, Glossario diacronico del volgarizzamento di Valerio Massimo, Roma, CNR Edizioni - Opera del Vocabolario Italiano, 2014
No full textI sonetti del Bel pome: ovvero I sonetti dell’albero d’amore. Testo e commento di una breve corona trecentesca
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G. Boccaccio, Caccia di Diana
No full textLa Caccia di Diana - prima opera di Giovanni Boccaccio – è un poemetto in terzine d’argomento amoroso in cui si racconta una battuta di caccia nella quale le dame, appartenenti alle maggiori famiglie della corte napoletana di Roberto d’Angiò, vengono coinvolte da Diana; tra queste, anche la fanciulla senza nome amata dal poeta. Il poemetto si articola in 18 canti per un totale di circa mille versi e inaugura il filone delle rappresentazioni allegoriche che domineranno il Quattrocento. Del testo non esiste attualmente un’edizione in commercio: l’ultima è quella di Vittore Branca del 1967. La nuova edizione – fondata sul riesame dell’intera tradizione manoscritta – offre un testo rinnovato in diversi punti. Il commento che l’accompagna mira a valorizzare da un lato la lingua del poemetto e dall’altro i suoi rapporti con la tradizione precedente, a partire da Dante. Più in generale, l’illustrazione complessiva punterà a far emergere la componente popolare e giullaresca del testo rimasta finora più in ombra rispetto alla dimensione galante
Un nuovo testimone del Ninfale fiesolano di Boccaccio e della redazione antica dell’anonimo Cantare di Piramo e Tisbe
No full textIl contributo segnala un codice contenente una copia del Ninfale fiesolano e dell'anonimo Cantare di Piramo e Tisbe quasi del tutto sfuggite all'attenzione degli studios
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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