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Discusses the development of St. Petersburg University, Russia, from its inception in 1819 when it was composed of dedicated, eager scholars to the purges in 1821. Concludes that Tsar Alexander I was instrumental in these purges because of his fear that the ideals of European enlightenment in education and politics fostered by the university would result in revolution. (KC)

This article suggests a reinterpretation of Vergílio Ferreira’s novel Manhã Submersa (1954) as an allegory of Salazarism. By searching for those semantic isotopies that support this interpretation, it will be shown how what the author had to conceal through disguises, rhetorical and discursive strategies, to escape censorship. In reality, these elements are clearly traceable within the text: through the story of an individual who, metonymically, embodies the entire Portuguese population, Ferreira denounces the contemporary society and its suffocating atmosphere.

The article analyzes the content of a student magazine published in 1941 by students of a high school in Milan. The magazine was created to raise money for Italian soldiers who had run into trouble at the front, and features many elements describing the interests, thoughts, and aspirations of the youth of the time. It contained few references to fascism, but many references to the country at war. Between the lines, we can discern original and critical positions, despite the climate of censorship and conformity typical of fascist totalitarianism. Overall, a picture emerges of the intellectual vitality of the young people, some of whom were to become protagonists of anti-fascism and of the Italian democratic culture after 1945. [ABSTRACT FROM AUTHOR]

In this article we aim to analyze the laughing character in late medieval and renaissance novellas, which is understood as a narrative strategy of the author, i.e. his voluntary and conscious action intended to offer an interpretative expedient for the correct understanding of the narrative. Starting from the first novella in Decameron, considered programmatic in various aspects, other novellas from the Decameron will be included in the diachronic analysis, as well as those written by Sacchetti, Salernitano and Grazzini. Since its birth and subsequent codification, the novella had a double value: its connection with the oral tradition implied direct contact with the public, themes of the moment or current social interest, wit and promptness of speech; on the other hand, the literary diegesis elaborated within the rules of the artes dicendi et narrandi was enriched by the individual preparation and singular style of the author. The literary novella is therefore the mirror of this communicative act par excellence, because it represents its totality and completeness; the extradiegetic and metadiegetic excursus provided not only descriptions of the place, time, occasion and participants of the narrative event, but also the considerations on the value and meaning of the work offered by the author himself or of the author as the second narrator. Consequently, the narrator's reaction to the story or the character's reaction to the narrated event that is at the origin of the story should be in line with the communicative message transmitted in it; the laughing narrator/character becomes the projection of the ideal narrative audience. The first theoretical treatises on the novella define it as a genre that imitates an ugly action according to the principles of ridiculousness in order to entertain. The comical effect is achieved by imitating the actions (res) or transmitting the words of others. Laughing at obscenity, religious hypocrisy or a joke is an indication of a critical society, capable of considering, measuring and accepting its own vices in order to be able to reproach them. Following the same logic, the absence of these themes together with the consequent ostracism of laughter from the literary space, denotes both censorship and social and moral crisis. [ABSTRACT FROM AUTHOR]

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to explore the portrayal of the female dimension by analyzing the utilization of names in literary and toponymic settings. Specifically, the adoption of pseudonyms in genre literature serves as a means of empowerment, allowing female writers to creatively assert their existence beyond the constraints of censorship. Likewise, female toponyms, frequently associated with natural landscapes like valleys, caves, or pathways, convey a sense of marginalization that appears to diminish within the realm of devotion, particularly with the presence of sanctuaries dedicated to women saints. [ABSTRACT FROM AUTHOR]

During the 19th century, accurate censorship laws were enforced in Modena and were designed to limit not only the printing of books considered dangerous, but also trading and import of such material from neighbouring countries. In particular, both Dukes Francesco IV and Francesco V adopted well-defined laws to place the content of books as much as possible under their own control. These laws were applied by professors from the University of Modena and members of the Academy of Sciences, Literature and Arts of Modena acting as censors. The present analysis of the role of the censors in Modena allows us to understand how universities and academies managed the complex relationship between the censorship requested by the dukes and the fast scientific progress that characterised science during the 19th century. This analysis shows us that censors, although aware of their role, opted for a more rational method of censorship, thus favouring scientific progress which has been at the basis of the cultural growth not only of the University of Modena, but also of the city of Modena altogether. [ABSTRACT FROM AUTHOR]

The article examines how Italian news coverage on Facebook has influenced the debate on cancel culture, linking it to phenomena like political correctness and framing it as an assault on freedom of expression. By analysing posts from 2020 to 2021 on the Facebook pages of major Italian newspapers, sourced through the CrowdTangle platform, the article explores the journalistic portrayal of cancel culture. It also considers how this media depiction has fostered an atmosphere of fear in a society where anxiety and unease, intensified by media representation, lose their tangible essence yet become increasingly pervasive. The thematic analysis identified two primary dimensions within the Italian journalistic discourse: the nature of cancel culture's targets (people/objects) and their temporal context (present/past). The results indicate that contemporary journalism constructs the notion of a "cancel culture", associating it with topics such as censorship, potential identity erosion, and the reinterpretation or denial of cultural and historical facets. This portrayal, intensified by the media, influences public perception and gives rise to growing feelings of unease and tension, culminating in a general climate of fear. [ABSTRACT FROM AUTHOR]

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Copyright of InTRAlinea: Online Translation Journal is the property of Department Interpreting & Translation (DIT) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of L'Ospite Ingrato is the property of Quodlibet S.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following work aims at analyzing some points of the cinematographic path of the Soviet director Andrej Tarkovskij, intersecting them with his biography and especially with the historical context he inherited. Placing cinema, life and history in a dialectical relationship, the text proposes a horizontal analysis of the director’s works, excluding the major concepts of Tarkovsky’s film theory, in order to address the Cold War as the canvas and matrix of his works. Investigating the moments of greatest crisis between the URSS and the USA and the specter of the atomic weapon in the years immediately following the great world conflict, this essay proposes an analysis of the themes dear to Tarkovsky as a consequence of sensations and ideas closely related to the escalations of the Cold War.

In 1946, the Edizioni dell’Orsa maggiore started to publish all the Radlyffe Hall’s books. The Author has been censored in England and her first literary work, The Well of Loneliness, became an incredible success (the first edition in England has been published in 1928 and in Italy in 1930 by the publisher Modernissima). In Italy, Hall is known thanks to two traslators (both are linked to Gian Dàuli and the publisher Corbaccio): Annie Lami and, above all, Mimi Oliva Lentati (the leader of Editrice dell’Orsa maggiore). The present article is about the little publisher Orsa and its brief, but very important for italian lesbian movement, history.

The philosopher Norberto Bobbio was an important exponent of Italian liberalism and exerted considerable influence on Italian political thought of the second half of the twentieth century. The article examines the few texts by Bobbio relating to cinema. These are three essays published between 1961 and 1962 concerning censorship, freedom of art and eroticism. In these essays Bobbio expresses an opinion contrary to censorship but he critically judges the spread of eroticism in cinema and literature. He therefore calls for an evolution of customs capable of setting limits on erotic excesses. The underestimation of rules – also noted by other commentators in references to other areas of his thought – is a weakness in Bobbio’s reflection of censorship

In the present essay, I will investigate the role of censorship in Italian Mondo films made in the 1960s and 1970s, such as Africa addio (1966, Gualtiero Jacopetti, Franco Prosperi), Africa segreta (1969, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio), Africa ama (1971, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio). In particular, I will focus my analysis on the works made by Angelo and Alfredo Castiglioni with Guido Guerrasio. In addition to their relationship with censorship boards, their film – despite some similarities with Mondo genre – demonstrates the attempt to elaborate a different projectin the subgenre dedicated to the African continent.

How to escape censorship when graphic art is under surveillance by an authoritarian government? Which subterfuges can artists use to enforce their message, so to make themselves understood by their audience? These are the two questions inspiring the following paper, which analyzes the production of Belmonte, a famous caricaturist from São Paulo who gained prominence between the 1920s and 1940s. Guided by a Cultural History of the Political and by the documentary method for analysis of images, the article demonstrates how the Brazilian artist experienced and managed to overcome censorship during Getúlio Vargas' Estado Novo. In particular, one of his main strategies, i.e., the performativity of the caricatured characters, is scrutinized.

The discovery of Giovanni Parè’s publishing and bookstore catalogues, a Venetian printer and bookseller at the end of the Seventeenth century, is an opportunity to reconstruct his activity as a book dealer and the close relationship he had had with Giovanni Palazzi, historian, man of letters, engraver. Parè will publish Palazzi’s some works, many of which affected by censorship control due to the evident influences of the Quietist, current accused by the Congregation of the Index and by the Santo Uffizio as not conforming to the dictates of the Catholic Church.

The present study analyses the arbitrariness of censorship during Franco's regime. It is pointed out how the works of José Jiménez Lozano are a challenge to the censorship principles: the stories show the consequences of using authority as a deterrent of freedom,as wel l as, the irreducibility of a free conscience. It is based on the unpublished letters regarding José Jiménez Lozano's writings on 1960. In them appears the muddled warnings issued by the political authority, following the advice of the ecclesial authority,against his articles. Secondly, the present work studies the censo rship files regarding the three first novels of the writer: Historia de un otoño (1971), El sambenito (1972) and La salamandra (1973), which are kept at Archivo General de la Administración. The censorshipau thority urges to maintain Spain's image of a country of one faith and one thought.

In the Eighties Slavoj Žižek uses the psychoanalytic metaphor of the "symptom" to discuss the actions of Slovene youth subcultures in relationship to the Jugoslav socio-political system. The analysis of each communicative language used by Slovene artistic and music movements, in this case, takes into consideration a meaningful and specific fellowship, that is the one between the Ljubljana School of Psychoanalysis and youth subcultures. The aim of the present article is to report on an important period of the Slovene cultural history, through a recount of the variety of players that are involved in it, and the defense of the Slovene peculiarity. From this perspective, cultural productions are parts of a discourse that concerns, most of all, the collective subjectivation processes. This study was partially presented in the course of the Seminar Day dedicated to the re-edition of the book La Rivolta dello Stile (University of Salento, December 6th, 2021) edited by Prof. Stefano Cristante. [ABSTRACT FROM AUTHOR]

Communism, a totalitarian system that wanted to oversee all spheres of public life and in some cases also of private citizens. One of the institutions fulfilling this task was censorship, functioning in all countries of the so-called People’s Democracy. It supervised verbal and written communication, i.e. the transmission of truth which had been previously infiltrated and manipulated. The Catholic Church remained the last area of free speech in Poland, conducting also journalistic activities of official bodies or these in the form of magazines, wherein the first were directed to the clergy providing on the one hand curial and pastoral information and on the other theological knowledge. In the case of the Ordinariate of Gorzow (Gorzów), which covered 1/7 of the country, these were first Orders from 1945, and from 1957 Gorzowskie Wiadomości Kościelne. The task of censorship was to supervise the content of subsequent issues. Excerpts or even entire articles, that according to the censor were contrary to the interests of the regime, were removed. The resources of the Zielona Gora (Zielona Góra) Delegacy of the Office Controlling the Press, Publications and Spectacles, collected in the State Archives are largely incomplete, hence the author, presenting examples of interference in the publishing activity of Gorzowskie Wiadomości Kościelne, focused only on the years 1957–1959.

The monograph Forbidden Knowledge investigates the relationship between scientific activity and censorship in the early modern period, bringing together historiographical concerns and fields that have only recently begun to be considered in a joint perspective. It reconsiders questions on the role of scientific cultures and practices in early modern European societies that renewed the history of medicine and of science, and it does so in the light of methodological proposals from the material history of books and reading practices and debates that have allowed for a reconsideration of the history of censorship and its impact on cultural productions in 16th- and 17th-century Italy. [ABSTRACT FROM AUTHOR]

The article deals with a form of film censorship enacted from the late 1910s to the mid- 1970s by the Italian state: the so-called “preventive censorship”, i. e. the pre-shooting check of the screenplays that Italian producers wanted to turn into movies. In particular, the article focuses on the preventive censorship of Italian horror cinema, showing that, in addition to fighting obscene representations of the sexual sphere, the Italian state was an attentive observer of the horror business from 1956 (when the first Italian horror film was put into production) to 1973-1974 (when preventive censorship was discontinued).

The article deals with one of the first “scandals” connected to the sexual sphere on Italian television, just out of its experimental period: the apparent nude (actually a pink leotard, hidden by the stage lights and the black and white) of dancer Alba Arnova in the variety show “La piazzetta” (1956). This story highlights the tension between the incident to be concealed and the need to discuss the rules of a newborn medium. More broadly, it underlines the dialogue between Italian traditional avanspettacolo, the model of “US-like” commercial television, the European public service ideal, and Catholic control.

The fear that man, subjected to practices considered emasculating, could “regress” to the female state was culturally central in the early modern definition of the man-woman polarity. In this context, effeminacy was used as a stigma against practices to be banned or controlled and was among the main accusations raised by the religious controversy against the emerging professional theatre. Through the close reading of some librettos produced in Venice between 1641 and 1668, the essay aims to show how the authors appropriated some tòpoi of the antitheatrical controversy, building an artistic acrobatics in which love was seen as a “disease” capable of removing the hero’s virility and was observed within a practice (theatre, and especially opera) which was itself considered effeminate and emasculating. The essay revolves around a progressive intensification of ambiguities, transvestitisms and allusions, showing how the librettists of Venetian opera also attempted an investigation of gender codes at the textual level and pushed themselves to the limit beyond which the mechanism of censorship inevitably triggered.

The article analyzes the case of the alleged marian apparition that occurred to a girl of Alice Belcolle (Alessandria) in the spring of year 1900. The matter, which is part of the intense season of mariophanies (full of antimodern meanings) occurred between the nineteenth and twentieth centuries, had wide prominence in the national press and attracted the attention of Italian public opinion, as well as doctors and scientists (among others, even Cesare Lombroso dealt with it in an article written for «La Stampa»). The huge eclat aroused by the case triggered dynamics of control and censorship by the ecclesiastical authorities, leading first to the removal from the place of the mariophanies of the young seer, then to his “confession” which would have revealed the fraudulent character of the apparition. [ABSTRACT FROM AUTHOR]

Starting from the classic ethical problems and reviewing the modern regulated ethical norms regarding freedom of speech and its limitations in media communication, the current paper aims to verify the following hypotheses in media communication: (1) Alerting European Court of Human Rights (ECHR) of the infringement on freedom of speech entails a positive response for journalists who fight for this right, (2) Press censorship is the result of editorial policy and the political orientation of the press, which can generate mass resignations of journalists, (3) The more politicised the media institutions, the more limited the right to freedom of speech is for journalists.

The present paper proposes a reinterpretation of Mihail Sebastian’s diary from the perspective of its footnotes in which the editor preserved many expressions and phrases that were suppressed in the officially authorized text. By paying attention to the author’s own corrections, we can notice a constant alternation of meanings, options and circumstances. Moreover, the reader of this text is most fortunate to be witness to the construction of the author’s discourse. Highly informative, the supresseed phrases and expressions often communicate much more than what the author may have intended and increase the authenticity of the whole text.

Censorship as a literary subject has sometimes been necessary in times of change, as it may show how the flaws in power relations influence, sometimes very dramatically, the access to and the production of knowledge. The Woman in the Photo: a Diary, 1987-1989 by Tia Șerbănescu and A Censor’s Notebook by Liliana Corobca are two books that deal with the issue of censorship in the 1980s (the former) and the 1970s (the latter). Both writers tackle the problem from inside the ruling system, aiming at authenticity in different ways. On the one hand, instead of writing a novel, Tia Șerbănescu kept a diary in which she contemplated the oppression and the corruption of the time and their consequences on the freedom of thought, of expression and of speech. She thoroughly described what she felt and thought about her relatives, friends and other people she met, about books and their authors, in a time when keeping a diary was hard and often perilous. On the other hand, using the technique of the mise en abyme, Liliana Corobca begins from a fictitious exchange of emails to eventually enter and explore the mind of a censor and reveal what she thought and felt about the system, her co-workers, her boss, the books she proofread, their authors and her own identity. Detailed examinations and performances of the relationship between writing and censorship, the two novels provide engaging, often tragi-comical, insights into the psychological process of producing literary texts. The intention of this article is to compare and contrast the two author’s perspectives on the act of writing and some of its functions from four points of view: literary, cultural, social and political.

Copyright of InTRAlinea: Online Translation Journal is the property of Department Interpreting & Translation (DIT) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rivista Italiana di Educazione Familiare is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In The Gag (1954, original title: La mordaza), Alfonso Sastre recovered the external stylistic features of a rural drama to protest against the censorship of the Franco regime which, at the time of the composition of the play, began to prohibit or oppose the staging of his dramas. Using cues taken from the crime news, mindful of the lesson by O’Neill in Desire under the Elms and refining previous personal experiences, Sastre wrote a sparse drama of unquestionable communicative efficacy, in which the situation of an entire country is evoked through the events of a family tyrannized by a father-master. The Gag opposes to the forced silence the responsible and revealing words of denunciation of a rebellious character and the confident words of its creator. He does not fail to reflect on the distortions that every winner imposes on language. [ABSTRACT FROM AUTHOR]

Between its implementation in 1751 and its abolition in 1848, book censorship in the Habsburg Monarchy was anything but one-dimensional. This article looks at the special case of the Italian-language areas of the empire: Austrian Lombardy in the 18th century; Venetia after 1797; and Lombardy-Venetia after the Congress of Vienna. It traces the evolution of censorship through a number of conceptual and formal changes, all the while considering its central role in the field of literary - at a crucial point before the publication and distribution of all written material. The central argument concerns the various political uses of censorship and how conflicts between nationalism and conservatism could play out in different ways, depending on the manifold organizational and legal processes involved, including the centralizing tendencies of the Viennese bureaucracy after 1815. [ABSTRACT FROM AUTHOR]

Intellectual freedom has a continual implementation at library, particularly in collection development. This article first examines intellectual freedom and censorship in some statements of IFLA, of few European library associations and, last, of ALA. The ALA's tools to defend intellectual freedom are then analyzed, focusing in particular, compliant to the specific ALA "manual", on collections development and selection policies and on resources reconsideration procedure, as tools for prevention and defense policies against challenges to intellectual freedom in library. Then this article explains the main types of censorship concerning library collections, including the self-censorship, also called "silent censorship", its characteristics and strategies against it; furthermore this paper deals with a particular type of commercial pressure in the process of selection, with the risk of overlapping collections. Finally, this article exposes the position of Michael Gorman in relation to intellectual freedom, reaffirming again: intellectual freedom is a value also for collections development and selection. [ABSTRACT FROM AUTHOR]

Bartolomeo Benincasa (1746-1816), translator from French and German, polymath and journalist, occupied the function of Chief Censor of the Illyrian Provinces in Laybach (Ljubljana) for 13 months between 1810 and 1811. While exercising this function, he made good use of the experience he gained from his earlier collaboration with Vincenzo Dandolo, superintendent from 1806 to 1809 of Dalmatia, which had been annexed to the Kingdom of Italy. Benincasa's role as censor marked the end of a long career in which he had also been active as a (political) journalist, starting in 1797 and, after a short pause, again in 1803. The present article, which draws on the archives of the Chief Censor's Office held at the Narodna in univerzitetna knjižnica in Ljubljana, shows the wide range of activities which Benincasa was involved in during his time in the administration of the Illyrian Provinces. [ABSTRACT FROM AUTHOR]

Reading Lolita in Teheran is an autobiographical novel. For two years (1979-1981) the author, Azar Nafisi, professor of Anglo-American literature in Teheran, every Thursday morning gathers, her pupils, seven young women, only women, in living room of her home, to read forbidden fiction authors: Nabokov, James, Austen, Fitzgerald. The meetings are clandestine because, under the Ayatollah Khomeini's regime, those books are considered the mirror of blasphemous western culture. [ABSTRACT FROM AUTHOR]

This work will analyze obituaries published in the local papers at the time of death of Croatian writer Fran Galović, namely, the dailies Obzor, Hrvatska, Hrvatski pokret, Narodne novine and the monthly magazine Savremenik. Special attention will be given to obituaries which made mention of the postal card Galović sent to Milan Ogrizović shortly before his death and how it spawned alternative theories about his death. Additional material includes various texts written under the watchful eyes of the censors framing the poet’s tragic death as a heroic act in service to his country.

This paper takes as a starting point the fact that political correctness spread across the western countries in the same decade (1960-1970) in which the motto «Il est interdit d’interdire» got also trendy. And, since explicit prohibi-tions seem to be politically incorrect, politically correct language resorted to ambiguity and indeterminacy of meaning for prohibiting indirectly as well as other procedures such as the rewriting and/or the reinterpretation of some texts of the past.

Pareto, or on the Imaginary Interpretation of “Virtuism”: The Immoral Evil of Veiled Culture. The essay proposes a socio-communicative analysis of the relationship between censorship, art and power, inspired by the imaginary interpretation of immoral representations probed by Vilfredo Pareto in the Virtuist myth and the immoral literature (1914). In particular, this essay is inspired by the visit in Rome of the Iranian President Rohani, made in January 2016. In that occasion the museum officials decided to cover up some old statues with plywood panels. The backdrop is the fast development of the possibilities of technical reproducibility of information, images, contents. This phenomenon engenders some relevant issues regarding the strategies of message sharing, in the era of permanent connectivity.

From September 1915 until the end of the First World War, the Viennese Romance scholar Leo Spitzer was dispatched to the Censorship section of the Austrian Central Bureau of Information on Prisoners-of-War, where he was in charge of examining the correspondence of the Italian prisoners. In the unusual dual role of censor and philologist, he was the first to collect extensive documentation of popular Italian written texts during a crucial period of Italian linguistic history. The first part of the present paper focuses on the linguistic and communicative properties of the letters included and analyzed in the volume Italienische Kriegsgefangenenbriefe, published by Spitzer in 1921 and translated into Italian in 1976 (Lettere di prigionieri di guerra italiani), whereas the second part deals with stylistic and onomasiological aspects of the circumlocutions expressing hunger, on the basis of Spitzer’s study Die Umschreibungen des Begriffes “Hunger” im Italienischen (1920) and with reference to his work Motiv und Wort (1918).

The article analyzes the morphology of Giulio Cesare Vanini's De admirandis naturae, the context in which the Roman censorship took place and the role of the censors. Vanini's thought takes place in a European cultural landscape, where free thinkers gradually abandoned the usual techniques of dissimulation and simulation. In particular, the essay focuses on the documentation kept in the Archive of the Congregation for the Doctrine of the Faith (formerly the Holy Office) to understand the strategies adopted by Rome to repress the various libertine currents present in Seventeenth-century Europe. [ABSTRACT FROM AUTHOR]

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The article aims to analyze the image of Dante within the grammatical codification in the Italian Renaissance. As it is well known, the grammarians took as their model the thirteenth-century language of the Three Crowns to develop the rules to be applied later to the written language. If the language of Petrarch and Boccaccio fixed the model to follow for poetry and prose, in this century the language of Dante experienced a sort of "Bembian censorship". This censorship was due to the interpretation, within the Prose della volgar lingua by Pietro Bembo, of the crude and dishonored words of the Comedy (see Prose II. 5). The article traces the positions of the main grammarians with respect to Dante's linguistic structures: through a systematic investigation of the quotations of Dante's works within the main grammar books of the sixteenth century (by Fortunio, Bembo, Del Rosso, Gabriele, Giambullari, and Varchi), the way in which Bembo's position was interpreted and accepted or not in the Renaissance will be outlined. The article will show that after the death of Bembo the grammars will begin to receive more quotations from Dante's works. [ABSTRACT FROM AUTHOR]

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Copyright of Studi Storici is the property of Carocci Editore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)