Search

Copyright of Nuova Rivista di Letteratura Italiana is the property of Edizioni ETS 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.)

Copyright of Bulletin of Hispanic Studies (1475-3839) is the property of Liverpool University Press / Journals 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 article offers a detailed reading of the surviving sonnets of the poet known as the Compiuta Donzella di Firenze, paying particular attention to her performance of a feminine subject and critical engagement with common lyric tropes. A lack of biographical information about the Compiuta Donzella, the first woman to whom literary texts in the Italian vernacular are attributed, has led to speculation over her identity and ‘authenticity’, or to biographical readings of her texts. Acknowledging the same sorts of playful, ironic, and performative lyric subject and content in the Compiuta Donzella’s work that are commonly ascribed to other lyric voices allows us to appreciate the technical and thematic artifice in her sonnets. Comparative close readings of her surviving texts and some responses to them (by Guittone d’Arezzo, Maestro Rinuccino or Guido Guinizzelli, and an anonymous poet) provides a broader perspective on her work as engaged in active dialogue with the lyric context of thirteenth-century Italy. [ABSTRACT FROM PUBLISHER]

The article offers poetry review of the poem "The Brothers Poem" by Sappho. It explores the gender and genre used and mentions that it belongs to subgenre of the epic "Nostos." Comparisons have been made with poet Homer's poem "Odyssey." The poet has also created a lyric medium in her own image.

In illuminating a diverse array of poetry and archival documents by leftist artists, Ehlers revisits material previously considered overtly propagandistic and challenges flat, utilitarian views of political poetry by unfurling its technical and stylistic innovations. In addition to providing close readings of some of I The Book of The Dead i 's most riveting passages, Ehlers charts Rukeyser's efforts to convert the experimental poem sequence into a documentary film. [Extracted from the article]