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Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. 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.)

Starting from a survey of Wisława Szymborska Italian success, the contribution analyses the reception of her work by contemporary Italian poets. They employ two main elements from her poetry: "simple style" and irony, particularly present in Vivian Lamarque's poetry. While the former allows a colloquial tone, which aims to establish a communicative relationship with the reader, the latter is mainly used in a lyrical function: it aims at revealing con-tents that are unusual for the enunciative self. The investigation ends by taking into consideration some thoughts on the Polish poet by Italian authors. They demonstrate how it is possible to reconsider the image of Szymborska beyond any stereotype and, above all, how she helps to question the centrality of the lyric self, as in the case of Antonella Anedda. [ABSTRACT FROM AUTHOR]

The paper examines five poems in which the Portuguese Baroque poet Frei Jerónimo Baía (1620-1688) depicts the portrait of the beloved woman. Each of these texts features the list of the different body parts praised for their beauty, following a model already present in the Petrarchist tradition. Baía combines to this model, like other authors of the same period, a display of wit and a playful disposition for wordplay, hyperbole, and paradox.

The essay offers a review of the occurrences of Catullus’ fifth poem within Torquato Tasso’s works, and it aims at contextualizing all these allusions while also discussing the use of the intertextuality and its diachronic evolution. Tasso reprises Catullus’ reflection on nature as cyclical as opposed to human finitude in four circumstances, thus demonstrating the outstanding importance of this particular carmen for his own poetry.

This article focuses on the reception of natural disasters in Baroque lyric poetry and aims to show the proximity between prose and verse in Southern Italy’s literary output. Through the analysis of three poems from the second half of the 17th century and their comparison with a scientific “discourse” by Tommaso Cornelio –on a solar eclipse in 1652–, it is possible to reveal not only similarities in the narrative structure of these texts, but also the use of the same images and the same lexicon. This study, which allows us to delve further into the relationship between science and poetry during the 17th century, outlines a poetic product that was very widespread in the Spanish Viceroyalty of Naples: the poetry of disaster. The demonstration also underlines that the poetry of disasters is the fruit of Neapolitan scientifical knowledge, as well as the particular product of a territory frequently struck by natural disasters.

The manuscript Urb. Lat. 366, known as one of the most authoritative philological sources of the Commedia, is furnished with a network of glosses that have, until now, been left undiscussed by scholarship. These glosses offer notable insight into the cultural formation of readers of Dante in the late Fourteenth Century and add detail to our understanding of the exegetical reception of the myths cited in his poem. Through a careful philological reconstruction of one of these glosses, a comment to Purgatorio 28 which relates to the myth of Hero and Leander, this article offers new points of departure for considering the possible interpretations of the myth in the postclassical period. From a philologicalpalaeographical study of the difficulties posed to reading the gloss, the article opens out to offer a critical interpretation of the reception of the myth of Hero and Leander from the Classical era to fourteenth-century Italy, aiming to reconstruct the cultural environment in which a glossator or reader may have encountered Dante’s poem and its mythological references. What emerges is a hybridisation of medieval and classical themes pointing to a veritable re-elaboration of the myth in relation to poetic tropes common in lyric poetry, particularly the trope of the loving gaze, which dominated vernacular lyric expression from as early as the Eleventh Century. [ABSTRACT FROM AUTHOR]

Starting from the analysis of a cycle of sonnets neglected by criticism (Rime 126-130), this paper aims to demonstrate the meaning of the private themes in Bembo's lyrics with regard to the historical context of the first thirty years of the XVI century, in connection with the uncertainty generated by the Italian Wars as well as with the role of intellectuals and writers in Renaissance society. All of the texts are tied to a precise moment, the year 1526: the extremes of the sequence are two civic-political sonnets, addressed to Clemente VII and his datary Giberti, while the central texts are dedicated to the theme of friendship and to la Morosina's illness. The series appears particularly uneven, even more so because of its position just behind the ending of the amorous canzoniere and before the spiritual texts; however, the sonnets are bound together by the theme of fortune and history, in which is rooted Bembo's idea of the love lyric. The paper proves that this thematic thread hints at an articulated discourse about poetic autonomy, grounded in the Latin classics, which represent the true substrate of Bembo's poetry. The study of the sources and of the macrotext confirms the importance of Propertius and Horace in the Rime: specifically, in the Venusian poet Bembo identified a point of reference for the definition of the writers' position vis-à-vis power and for the idea of constructing a monumental work, capable of making eternal not only the memory of its author but also that of his friends, lovers, and lords who are involved in the verses; in Propertius, instead, he saw an example for the treatment of the amorous theme in poetic discourse. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek 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 his early poetic career Rilke was particularly fascinated by Dante and namely by the Vita nuova. He recommends the book to his friend Wilhelm von Scholz in 1898 and later, in his lecture on Modern Lyric, he claims that modern lyric poetry began with the Vita nuova. In Paris, when he met Rodin and saw him working at The Gates of Hell, Rilke immediately identified the link with the Commedia as his book on the French artist reveals. The “memories of Dante” in the Gates of Hell have left traces in Rilke’s poetry. The poetic itinerary described in the Duino Elegies resembles the pilgrim’s journey in the Divine Comedy in that it is a progress from the desperate lament of the first elegy to the jubilation in the tenth elegy. [ABSTRACT FROM AUTHOR]

The essay recognizes the production in Italian of Louise Labé (in limine of her 24 French sonnets) and Pernette du Guillet (the two octaves of the Rymes) as a poetic micro manifesto. It is a lyric that shows with extreme competence its sources -- Petrarch but also Serafino Aquilano and Leon Ebreo -- to introduce a reflection on the poetry of the 'dame' and its cultural implications, not least those of an editorial policy sensitive to the feminine theme and in competition with the Parisian market at the same time. [ABSTRACT FROM AUTHOR]

Anacr. PMG 353 hints at the occupation of the 'sacred city' (IρOV AσTU) by some dissidents rebelling against the tyrant Peisistratus, who are called μUθιNTαι. It is usually believed that the AσTU is the town of Samos, but this fact, not attested elsewhere, is unlikely. The paper proposes an alternative interpretation, namely that Anacreon could re- fer to what happened to the dissidents after their departure from the Samos, when, as Herodotus (3, 57-58) says, they occupied the urban centre on the island of Siphnos. [ABSTRACT FROM AUTHOR]

The paper contains a detailed investigation of some colour terms (poikilos, chlor6s, erythr6s, p6rphyros and their compounds) which are examined in their semantic aspects and in their use by the Greek archaic lyric poets as well as by ancient physicians, particularly in erotic contexts. It emerges, according to previous studies by other scholars on this issue. that both Ark poetry anti medicine contribute to an extension and upgrading of the traditional semantic and cultural range of these terms, often to the detriment of their chromatic traits. Specifically, the comparison between the poetic and medical, particularly Hippocratic, use of the colour terms considered shows some correspondences in representation and imagery of erotic experience: in the case Of chlorbs, love is represented as a disease which consumes the lovers, while the adjectives erythrds (ind pdrphyros express the blood agitation which makes the person in love blush. according to the topic Of the fire of love. Poikilos is used in poetic context to allude to the deceptive and seductive aspects cd love, while in the medical language it refers to a theatrical show of technical skills, where no apparent connection with erotic motifs is present. [ABSTRACT FROM AUTHOR]

In following the evolution of the ordering principles of letter collections of the eleventh and twelfth centuries, this contribution tries to demonstrate that a corpus epistolarum is much more than a collection of individual missives. The collection as a whole has a message to convey. Careful analysis of the arrangement of the letters and of the different accents it creates does not perhaps teach the modern reader much about events of the time but it does have a great deal to teach him or her about the compilers' qualities and the messages they wanted to convey. The article wants to achieve this aim by presenting the epistolary collections of Gerbert d'Aurillac, Hildebert of Lavardin, and Bernard of Clairvaux.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Estudis Romànics is the property of Institut d'Estudis Catalans 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.)

Within the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory. [ABSTRACT FROM AUTHOR]

Nel presente lavoro si propone una lettura della poesia e della prosa di Dante raccolta intorno a una possibile genesi stilistica del verbo muovere, a partire da un fondamentale incontro con la scrittura di Cavalcanti. L’episodio di Farinata (un Farinata preso nella rete di una progrediente critica ideologica, etica e politica) e i versi d’Inferno X costruiti intorno al verbo muovere sono insieme il punto di partenza e di arrivo di una riflessione in cui una modalità della lirica duecentesca (l’ibridazione dei generi e degli stili) diviene il presupposto per una visione poematica dottrinalmente coerente. A reading of Dante’s poetry and prose is proposed here in direct relation with the style that has its beginning in the genesis and use of verbmuovere, starting from a fundamental comparison with the writing of Cavalcanti. The Farinata episode (Farinata caught in the net of an ideological, ethical and political progressive critique) and Inferno X verses built around the verb muovereare at the same time the starting point and the arrival of a consideration where a manner of the thirteenth-century lyric poetry (such as hybridization of genres and styles) becomes the premise for a doctrinally coherent poetic vision.

Il contributo esamina il problema attributivo posto dal sonetto Naturalmente chere ogni amadore, responsivo al primo della Vita nuova, la cui paternità è contesa, nella tradizione manoscritta e a stampa, tra i nomi di Cino da Pistoia e Terino da Castelfiorentino. La rivalutazione dei dati ecdotico-documentari sinora acquisiti, unita all’analisi di alcune corrispondenze di contenuto tra il sonetto e la restante produzione di ambedue i rimatori, lascerebbe preferire, in definitiva, l’attribuzione al meno noto poeta originario di Castelfiorentino. The paper examines the sonnet Naturalmente chere ogni amadore, written in response to the Dante’s sonnet A ciascun’alma presa e gentil core. Manuscripts attribute the sonnet both to Cino da Pistoia and Terino da Castelfiorentino, but a new analysis of the philological and documentary data suggest that Terino’s authorship would be more plausible. This hypothesis seems to be supported by content-based similarities between Naturalmente and others Terino’s poems.

This short article outlines the life and work of Tuğrul Tanyol, a prominent living Turkish poet and one of the protagonists of the generation of poets who started their activity in the 1980s. In presenting the main biographical, stylistic, and thematic aspects of Tanyol’s decades-long career, this article aims at making the Italian reader familiar with Tanyol’s poetic world. A selection of his poems is presented in Italian translation.

This short article outlines the life and work of Tuğrul Tanyol, a prominent living Turkish poet and one of the protagonists of the generation of poets who started their activity in the 1980s. In presenting the main biographical, stylistic, and thematic aspects of Tanyol's decades-long career, this article aims at making the Italian reader familiar with Tanyol's poetic world. A selection of his poems is presented in Italian translation. [ABSTRACT FROM AUTHOR]

This essay is focused on two sonnets of Dello da Signa and Pace, Tuscan poets who lived in the XIIIth century. These sonnets are both built around a numerical riddle which hides the names of the author and/or of the receiver. In Pace the use of this technique is connected to the theme of the homosexual love which characterize a well defined group of his poems. [ABSTRACT FROM AUTHOR]