30 research outputs found
Teofilo Folengo 1517 Aquario Lodola Original and English
No full textIn 1517 Teofilo Folengo published an epic poem under the name Merlin. Another Folengo pseudonym (or heteronym) wrote a wildly creative account of the dicovery of this text and praise for the author
« Ac ita finivit Pandraghæ vita putanæ. » Le Baldus de Teofilo Folengo, ou le poète inquisiteur ?
No full textLe poème en langue macaronique Baldus, œuvre du moine bénédictin italien Teofilo Folengo (1491‑1544), est un cas hors norme parmi les nombreux poèmes chevaleresques, héroïques et héroï-comiques parus en Italie entre le xve et le xviie siècle. Comme l’a pertinemment souligné Angela Matilde Capodivacca, le Baldus est unique en son genre dans la mesure où il met explicitement en scène l’inquisition, le procès et le bûcher d’une sorcière. Il est vrai que l’auteur confie au protagoniste Balde la mission de sauver la chrétienté ; cependant la menace à écarter n’est pas portée par les Maures mais par le Diable et ses fidèles servantes, les sorcières. Étroitement liée à celle de la femme en général, la catégorie anthropologique de la sorcière se dresse donc telle une force perturbante et dangereuse, contre laquelle le héros de Folengo doit intervenir en qualité de défenseur de l’autorité. À travers la lecture des extraits les plus significatifs du poème, notre contribution se propose d’analyser l’un des schémas qui en régissent la structure narrative et conceptuelle : l’opposition entre l’exercice du pouvoir et les formes de rébellion qui pourraient le mettre en danger.The macaronic poem Baldus, written by the Italian Benedictine monk Teofilo Folengo (1491–1544) is in a class of its own amid the many chivalrous, heroic and mock-heroic poems published in Italy from the 15th to the 17th century. As Angela Matilde Capodivacca astutely pointed out, the Baldus is one of a kind insofar as it explicitly portrays the inquisition, trial and subsequent burning of a witch. Though the author admittedly charges his protagonist, Baldus, with the defence of Christendom, the threat he must fight against is posed not by the Moors but by the Devil and his faithful servants, the witches. Closely connected with that of women in general, the anthropological category of the witch rises up as a disruptive power against which the hero, Folengo, must stand to defend authority. Through close reading of the most significant extracts of the poem, I will analyse one of the schemes governing its narrative and conceptual structure: the opposition between the exercise of power and the various forms of rebellion that threaten it
Eficacia combinada de ivermectina y triclabendazol sobre fasciolosis en bovinos
No full textThis study aimed to evaluate the combined efficacy of triclabendazole (TCBZ) and ivermectin (IVM) against Fasciola hepatica in dairy cattle. Four groups of 15 Holstein cattle were formed: the first was the control (T0); TCBZ (12 mg/kg b.w.) was administered orally in the second (T1); TCBZ, fenbendazole and IVM (12, 10 and 0.2 mg/kg b.w.) were administered orally in the third (T2); and TCBZ (12 mg/kg b.w.) was administered orally and IVM (0.2 mg/kg b.w.) was administered subcutaneously in the fourth group (T3). The efficacy observed was 51.75 % (95 % CI: 42.41 - 61.09) in T1, 56.64 % (95 % CI: 47.42 - 65.86) in T2 and 69.93 % (95 % CI: 61.40 - 78.46) in T3. IVM increased the efficacy of TCBZ by 9.45 % in T2 and 35.13 % in T3 compared to T1. Although the addition of IVM, whether administered orally or subcutaneously, enhanced the efficacy of TCBZ, this combination as a pharmacological control strategy for F. hepatica in dairy cattle in Cajamarca was not encouraging.El objetivo de este estudio fue evaluar la eficacia combinada de triclabendazol (TCBZ) e ivermectina (IVM) sobre Fasciola hepatica en ganado vacuno lechero. Se formaron cuatro grupos de 15 vacunos Holstein: el primero fue el control (T0), en el segundo (T1) se administró TCBZ (12 mg/kg p.v.) por vía oral, en el tercero (T2) TCBZ, fenbendazol e IVM (12, 10 y 0,2 mg/kg p.v.) por vía oral y en el cuarto grupo (T3) TCBZ (12 mg/kg p.v.) por vía oral e IVM (0,2 mg/kg p.v.) por vía subcutánea. En el T1 se observó una eficacia de 51,75 % (IC 95 % 42,41 - 61,09), en el T2 56,64 % (IC 95 % 47,42 - 65,86) y en el T3 69,93 % (IC95 % 61,40 - 78,46). La IVM incrementó la eficacia del TCBZ en 9,45 % en el T2 y 35,13 % en el T3 con respecto al T1. Aunque la adición de IVM administrada por vía oral o subcutánea aumentó la eficacia del TCBZ, esta combinación como una alternativa de control farmacológico de F. hepatica en el ganado lechero de Cajamarca no fue alentador
The Harmony of the Chaos. Teofilo Folengo's Chaos del Triperuno: a Book of Renaissance Crises
No full textTeofilo Folengo is the author of the mock epic poem Baldus, a lengthy epic crafted over the course of a lifetime. In 1527, following a radical shift in his life, which included leaving the monastery where he had spent ten years, Folengo moved to Venice and wrote the Chaos del Triperuno, a prosimetrum in three parts. In this work, he examines his life and processes the crises that shaped it. This dissertation undertakes a four-chapter examination of the languages, genres, and themes in Chaos del Triperuno to demonstrate how the poem’s structures, the crises it depicts, and its mixed-language style are not only symptomatic of Folengo’s personal religious and epistemological crisis but also reflect broader Renaissance crises. I argue that four central themes in the poem—soul, harmony, hell and doubt—interact with the religious and political turmoil of the first thirty years of the Cinquecento, highlighting how Folengo recorded the most problematic aspects of his time and tried to metabolize them. Despite its complexity and the enigmatic narrative scenes, it depicts, Chaos del Triperuno is a unicum in Folengo’s opera omnia and in the broader context of Italian Renaissance literature. The Chaos as a journey to truth, to Christ and grace, seems to be an educational process that leads one out of the maze of false beliefs and errors to a more authentic life. As Folengo would say: “Et ingannato al fine si ritrova chi lascia la via vecchia per la nova” (And he who leaves the old way for the new finds himself tricked in the end) (Chaos, R 381; Mullaney, 216)
Recommended from our members
Bold Fantasy: The Macaronic Epic of Teofilo Folengo Between Ariosto and Rabelais
No full textThe Baldus, a lengthy macaronic epic crafted over the course of a lifetime by one of Italy's greatest poets, is a masterpiece of Christian serio ludere which presents to readers a rousing and protracted rebuttal to the Platonic critique of poetry. This dissertation performs a three-chapter examination of the language, genre, and text of the four editions of the Baldus, those curated by Teofilo Folengo, with the aim of illuminating how the diachronic and synchronic features of his epic, as well as his use of a mixed-language style, Macaronic, in dozens of texts linked to this central project, are not simply `symptomatic' expressions of the convergence and conflation of humanist cultures, vernacular literary traditions, and ancient and medieval Latinities in a single text, but are rather highly generative, extraordinarily influential, and totally coherent parts of an anti-epic whose fictitious author, Merlin Cocaio, aims to outdo both Virgil and Homer---the greatest poets of the Western classical tradition---in macaronic verse. I demonstrate how three aspects of this poem---its language, genre, and textual presentation---interact with 'para'- and intertextual materials in the macaronic book and with an encyclopedic range of sources, to form a poem, collection, and even formalized prosodic system for Macaronic. Known to modern readers by way of the final, posthumous edition (1552), the Phantasia Macaronicon as the Baldus was titled in the 1521 'Toscolana' edition) was not only read by many of the most prominent Italian poets of its moment, but is alluded to and imitated by important writers operating outside of Italy's tightly-controlled borders, including Rabelais and Cervantes
The Harmony of the Chaos. Teofilo Folengo's Chaos del Triperuno: a Book of Renaissance Crises
No full textTeofilo Folengo is the author of the mock epic poem Baldus, a lengthy epic crafted over the course of a lifetime. In 1527, following a radical shift in his life, which included leaving the monastery where he had spent ten years, Folengo moved to Venice and wrote the Chaos del Triperuno, a prosimetrum in three parts. In this work, he examines his life and processes the crises that shaped it. This dissertation undertakes a four-chapter examination of the languages, genres, and themes in Chaos del Triperuno to demonstrate how the poem’s structures, the crises it depicts, and its mixed-language style are not only symptomatic of Folengo’s personal religious and epistemological crisis but also reflect broader Renaissance crises. I argue that four central themes in the poem—soul, harmony, hell and doubt—interact with the religious and political turmoil of the first thirty years of the Cinquecento, highlighting how Folengo recorded the most problematic aspects of his time and tried to metabolize them. Despite its complexity and the enigmatic narrative scenes, it depicts, Chaos del Triperuno is a unicum in Folengo’s opera omnia and in the broader context of Italian Renaissance literature. The Chaos as a journey to truth, to Christ and grace, seems to be an educational process that leads one out of the maze of false beliefs and errors to a more authentic life. As Folengo would say: “Et ingannato al fine si ritrova chi lascia la via vecchia per la nova” (And he who leaves the old way for the new finds himself tricked in the end) (Chaos, R 381; Mullaney, 216)
Recommended from our members
Sacred, Epic and Picaresque: Violence and Genre in Cervantes
No full textThis dissertation analyzes selected texts from Cervantes and his classical and early modern sources, focusing on his treatment of violence. It aims to respond to Nabokov's famous indictment that Don Quixote was `the cruelest' book ever written. Building on a critical framework that includes the work of René Girard, Steven Pinker and Frederick de Armas among others, my study looks at violence specifically from the perspective of genre - primarily the chivalric, the epic and the picaresque - emphasizing how the author's thinking about violence was inevitably colored by pre-existing fictional paradigms. Instead of approaching violence by bringing ethics and philosophy to bear upon literature, such as the debate over the role of humor in the early modern period, I am more interested in examining how various literary categories inflect and nuance the author's treatment of sacred, chivalric, epic or picaresque violence. To this end I examine 1) the particularly quixotic conjunction of chivalry and hagiography manifest in the episode of the saints in Don Quixote Part II, 2) Cervantes' frequent, conflicted and evolving use of Virgilian formulas for the purpose of epic characterization, and 3) the tendency of the picaresque genre to feature prominent facial and bodily scars on its protagonists, a marker for social stigma that the author adapted quite cleverly in his Prologue to the Novelas ejemplares. This analysis ultimately concludes that Cervantes worked within well-established classical and early modern traditions, infusing new life into them with often brilliantly unexpected results
Sull'inquadramento sistematico delle obbligazioni nella Parafrasi di Teofilo (e nelle Istituzioni giustinianee)
No full textThe contribution deals with the origin of the particular place assigned in the Paraphrase of Theophilos to Obligations in relation to the Institutional System ‘personae-res-actiones’. The Author suggests that the displacement of Obligations from the field of the res to the field of the actiones and the representation of Obligations as “mothers of actions”, instead of deriving from an existing idea of Theophilos or from a general byzantine view, is influenced by some passages of the Justinian’s Institutions
Macaronic Publishing 1521: Five Letters by Teofilo Folengo, Alessandro Paganin and Federcio Gonzaga
No full textA letter from Folengo's pseudonym-personality, Merlin, to the printer Paganini, claiming that he does not want to relinquish his own copy for publication; a response from Paganini telling him that he got a copy of the text from Federico Gonzaga (accompanied by the letter Gonzaga sent to Paganini, 1520); a letter to the reader from Paganini, and a response from the author (Merlin). Original letters and English translations
Arban, Saint-Jacome, and O'Hara's rule of three: An analysis of the methods of Arban and Saint-Jacome and an updated approach to trumpet pedagogy
No full textHistorical trumpet methodologies differ greatly from one another, yet most method books
contain a standard learning process. Method books typically begin with a brief informational
section, which includes information about the author, fingering charts, and/or descriptions of
how to make the instrument sound. From there, method books tend to provide relatively simple
exercises that gradually increase in difficulty. Whether the method book is from the 1630s, the
1860s, or the 2020s, this basic structure remains the same.
While many of these method books are based on the exercises present in historical
methods some exercises need to be more thorough, other exercises need to be re-introduced, and
still others are missing entirely. I contend that these omissions, while not necessarily intentional
oversights on the part of method book authors, must be addressed. Foremost of these omissions
is a clear method for the learning of a piece of music.
Throughout this paper, I will discuss the pedagogical history of the trumpet including a
very detailed analysis of Jean-Baptiste Arban’s Grande Méthode Complète pour Cornet à Pistons
et de Saxhorn and Louis Saint Jacome’s Grand Method for the Cornet. With that information, I
will propose a new method book that will contain elements of the existing books that work,
while expanding those areas and adding elements that are missing. Trumpet and the Rule of
Three, the proposed method book, is the culmination of this research, and pedagogical
exploration
