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Preface to the volume Dante e il prosimetro. Dalla "Vita nova" al "Convivio" (Milano - Fribourg: 15, 17, 22 e 23 ottobre 2020), edited by Paolo Borsa and Anna Maria Cabrini, Milano, Università degli Studi, 2022. Premessa al volume Dante e il prosimetro. Dalla "Vita nova" al "Convivio" (Milano - Fribourg: 15, 17, 22 e 23 ottobre 2020), a cura di Paolo Borsa e Anna Maria Cabrini, Milano, Università degli Studi, 2022.

This essay will trace the ideological circumstances surrounding the composition of two of Dante's "minor works": the Vita nova and the Convivio. The inquiry into the inspiration of and the motives for the material projects of the two texts (based on information available to us today) will be followed by a study of their cultural significance in the later works and in the tradition as a whole. Il presente intervento si propone di tracciare i contorni delle circostanze ideologiche che hanno reso possibile la composizione delle due opere "minori" dantesche: la Vita nova e il Convivio. Dopo aver indagato l'ispirazione e i motivi del loro progetto materiale a partire dalle informazioni a nostra disposizione, si tratterà del loro significato culturale all'interno delle opere successive e di quelle della tradizione.

Index of manuscripts to the volume Dante e il prosimetro. Dalla 'Vita nova' al 'Convivio', a cura di Paolo Borsa e Anna Maria Cabrini, Milano, Università degli Studi, 2022 ("Quaderni di Gargnano", 5). Indice dei manoscritti del volume Dante e il prosimetro. Dalla 'Vita nova' al 'Convivio', a cura di Paolo Borsa e Anna Maria Cabrini, Milano, Università degli Studi, 2022 ("Quaderni di Gargnano", 5).

The early Italian literary record comprises a significant number of prosimetric works, alongside texts written entirely in verse or in prose: well-known prosimetra include Dante's Vita nova, Boccaccio's Ameto, Sannazaro's Arcadia and Bembo's Asolani. While individual prosimetra have often been studied in depth, more consistent, large-scale research into this category of texts is a more recent phenomenon, still lacking thorough investigation. The InProV research project aims to provide a comprehensive inventory of Italian vernacular prosimetra composed between 1250 and 1500. By analyzing the complete resulting corpus, the project aims to provide better insight into the development of this diverse literary tradition, which originates unquestionably with Dante's Vita nova. Esempi celebri quali la Vita nova dantesca, l’Ameto del Boccaccio, l’Arcadia del Sannazaro e gli Asolani bembeschi, sono sufficienti a dimostrare che nei primi secoli della nostra letteratura la tipologia prosimetrica rappresentava una alternativa non irrilevante alla produzione di testi scritti interamente in versi o in prosa. Eppure, benché non manchino studi specifici e approfonditi delle singole opere, cui solo di recente si è affiancato un primo tentativo di esaminarle all’interno di un quadro complessivo, un’indagine esaustiva di tale fenomeno non è stata ancora condotta. Il progetto InProV mira alla costituzione di un inventario che raccolga tutti i prosimetri in volgare composti tra il 1250 e il 1500, e ne fornisca una analisi puntuale, al fine di comprendere meglio gli sviluppi di questa variegata tradizione letteraria che trova nel libello di Dante il suo indiscusso capostipite.

Break forth... and jump into the interplay of triadic links found in the notable work bequeathed to us all by the progenitor of the Latin Aristotle. This event, chaired by William Passarini (Mansarda Acesa), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Wesley Chihyung Yu is Associate Professor of English at Mount Holyoke College. His interdisciplinary research on medieval poetics concentrates on literature’s relationship to the medieval language arts. Yu has focused in particular on rhetoric and logic, through which he considers medieval poetry’s place within the scope of intellectual history. He has written on early treatments of allegory and on literary uses of argumentation in the Middle Ages. Aside from teaching regular courses on medieval literary genres and authors, he writes and teaches on medieval perception and epistemology, poetic traditions, and reasoning in Old and Middle English literature. *** Homepage: https://www.uc.pt/fluc/uidief/act/io2s Auditorium: https://www.uc.pt/fluc/uidief/act/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani.

يزخر التراث السردي العربي بنماذج أدبية متميزة بتعدد الأجناس الأدبية التي تنتمي إليها، وتعتبر المقامات من الفنون النثرية التي راجت في السرد العربي ولا سيما القديم منه، والمقامة كأي نص أدبي لها أسس تقوم عليها، ولا يستوي الفهم لدى متلقيها إلا بالوعي التام بتلك المقومات، ولعل الاستهلال أبرز تلك العناصر باعتباره عتبة نصية مهمة لولوج عالم السرد المقامي، وخطابا افتتاحيا للنص وإعلانا أوَّليا لوجهة السرد. إننا نسعى من خلال هذا البحث إلى التركيز على الاستهلال الذي افتُتحت به المقامات، وقد أخذنا نماذج مختلفة من فن المقامات الأدبية لتكون مجال بحثنا التطبيقي، فرصدنا جُمَلها الافتتاحية ثم أجملنا الحديث عن سماتها الفنية وعن قدرة كاتبها على نقل المتلقي من مجال الواقع إلى مجال الخيال، وتأسيسا على هذا، خرجنا بمجموع مواطن التقليد والتجديد التي ميزت الاستهلالات المقامية، وبالتالي مدى شعرية هذه العتبة النصية في النماذج المختارة. The Arab narrative heritage is replete with valuable literary models belonging to diverse literary genres. Prosimetrum(Maqama) is considered as one of the prosimetric literarygenres that prevailed in the old Arabic narratives in a distinctive way. Like any literary text, Maqamat is governed by a set of rules that help the reader understand the portrayed ideas of this literary text. Accordingly, the opening speech is assumed to be the most prominent element of Arabic prosimetrum as it is the key that enables the reader to enter the world of prosimetrum and discover the author’s intention. Therefore, this research study is intended to investigate Arabic prosimetrum opening speech by analyzing a group of ancient literary prosimetric texts in terms of their opening sentences, their various literary features and the author’s ability to take the reader out of reality to fiction. Finally, we tackled the areas of imitation and renewal that characterized Arabic prosimetrum opening speech and the level of its poetics. Abundan en la tradición narratológica árabe los modelos literarios que se distinguen por la multiplicidad de los géneros literarios a los que pertenecen. Las maqâmas son una de las artes épicas que se han vuelto populares en la narratología árabe, sobre todo la antigua. En rigor, la maqâma, como cualquier texto literario, se basa en unos cimientos fundamentales, cuya comprensión no se alcanza sin la consciencia de sus destinatarios en cuanto a la importancia de estos últimos. Tal vez, el íncipit sea uno de los elementos más importantes por ser un umbral textual, un discurso inicial de la obra y un anuncio preliminar que revela la dirección de lo narrado. Pretendemos, mediante esta investigación, enfocarnos en los íncipits con los que se inaugurarán las maqâmas. Hemos tomado varias muestras de las maqâmas literarias para que sean la materia prima de nuestro estudio práctico. Así como escudriñamos sus aperturas y luego tratamos sus características artísticas y la capacidad de sus escritores para trasladar al lector de lo real hacia lo imaginario. Finalmente, abordamos las áreas de imitación y renovación que caracteriza las maqâmas y el aspecto poético de este umbral textual en las muestras elegidas.

This dissertation examines a medieval genre that combines narration, in prose or verse, with inserted lyrical poems. Although well known in France, this “mixed genre,” whether as a prosimetrum or its all verse variation, has received very little scholarly attention in English, even though it was a very popular literary form in medieval England. Chaucer, for example, organizes his Troilus and Criseyde with a series of inserted lyrical set pieces designed to emphasize both the passions of love and its inevitable undoing. Medieval lyrics, however, have been described as playful exercises in rhetorical conventions, whose seemingly repetitive repertoire of conceits and figures point more to the rules of composition than to our Romantic conception of the poem as self-expression. And yet, within the mixed genre, narrative frames surround these conventional poems, grounding them in concrete incidents, and so create a “contextual subjectivity” for the singer, a fiction of the self that emanates from the song. In revisiting the problem of the medieval “lyric I,” so often called impersonal and conventional, I argue that the mixed genre introduces a new concept of song as a locus of subjectivity within a framed performance. I am interested in the form’s capacity to suggest, or even stage, the impression of a singular, emotional subject in a variety of works: Chaucer’s Knight’s Tale, the Tristan en prose, John Gower’s Confessio Amantis, Charles of Orleans’ two books, one in French and the other English, and Shakespeare’s Romeo and Juliet.

Indice dei nomi del volume Giosuè carducci prosatore (Gargnano del Garda, 29 settembre - 1° ottobre 2016), a cura di Paolo Borsa, Anna Maria Salvadè e William Spaggiari, Milano, Università degli Studi, 2019., Quaderni di Gargnano, N. 3 (2019): Giosuè Carducci prosatore

This dissertation examines the mutual involvement of prose and verse in the work of four gay writers of the Victorian period, to assert a connection between queer object choice and generic hybridity. It contextualises the works in question as being on the cusp of both a liberalisation of traditional boundaries drawn between verse and prose, and a revolution in the conception of same-sex desire. Through close attention to the experience of verse entrainments in prose, this dissertation finds a common thread of concern in the works of G. M. Hopkins, J. A. Symonds, Baron Corvo, and Sir Richard Burton; in each, what happens at the threshold of prose and verse becomes fused with experiences of, and anxieties about, same-sex desire. Prosimetrical forms���forms which combine verse and prose���provide both a generic touchstone and a conceptual key for the dissertation. My dissertation does not suggest a line of influence, but identifies effects at the prose-verse threshold which furnish each of these writers with resources to figure their concerns, which include the irreconcilability of conflicting desires (Hopkins), the lease of the theoretical present on the erotic past (Symonds), the apposition of codes about sexuality (Burton), and the discovery of a historical precedent for marginal desires (Corvo). Throughout, the work of Roland Barthes provides a theoretical basis for considering the binaristic structure of these texts. Barthes, who was self-confessedly ���enamoured of binarisms���, provides a theoretical basis for demonstrating the strained but co-equal relation of prose and verse in the texts I study. In these texts, neither verse nor prose can be exegetically subsumed by the other; instead, their encounter yields both irony and pleasure. This dissertation argues that this pleasure works against the totalizing energies of the emergent sexological writing of the late nineteenth century. It thus makes a case for an alternative queer textual erotics that maintains, rather than liquidates, a binaristic logic while preserving the liberatory potency embedded in the term ���queer���. In doing so, this dissertation aims to bridge recent work in historical poetics and queer theory, arguing that each area of inquiry might profit from further contact with the other. This dissertation���s interest in prosody and poetics is inseparable from its account of queer subjectivity. It implicitly argues therefore that the study of verse technique might play a more prominent role in understanding gay subjectivities historically than it does at present. Significant weight is placed in the idea of the ���prosimetrical��� which, the coda suggests, has a life in queer writing well into the twentieth century, suggesting a possible field of textual and rhetorical analysis beyond the hybrid texts that comprise its four chapters.

Reginsmál is an eddic poem which was early identified as the conflation of twoprior texts combined with a late addition of prose passages. This article deals with theconsequences of this conflation and thus, the meaning added to the text by the compiler’swork. Reginsmál is a prosimetrum made up of prose and two different metres, ljóðaháttr andfornyrðislag. The use of prose enables the compiler to split the main theme of the poem:transmission. The prose is concerned chiefly with that of gold, and the stanzas with that ofknowledge and wisdom. The main strategy of the compiler consists in turning ljóðaháttr partsinto intradiegetic poems, hinting at the transmission of eddic poetry itself was the drivingforce which launched Sigurðr’s adventures., Reginsmál est un poème eddique qui a très tôt été identifié comme la fusion dedeux textes antérieurs, complétée tardivement par des passages en prose. Cet articles’intéresse aux effets provoqués par cette fusion, et donc au sens conféré par le travail ducompilateur. Reginsmál est un prosimètre qui présente un mélange de prose et de deux typesde vers, ljóðaháttr et fornyrðislag. Le recours aux passages en prose permet de dédoubler lathématique centrale du poème : la question de la transmission. La prose se chargeprincipalement de la question de l’or, et les strophes de celle de la connaissance. La stratégieprincipale du compilateur consiste à conférer aux strophes en ljóðaháttr le statut de poèmesintradiégétiques, laissant sous-entendre que la transmission de la poésie eddique fut lemoteur qui permit l’existence des aventures de Sigurðr.

The aim of this thesis is to analyze and updating the manuscript tradition of the Comedia delle Ninfe Fiorentine, written by a young Giovanni Boccaccio in Florence, as he came back there from Naples. The current edition by Antonio Enzo Quaglio (1963) only provides, as was customary at the time, a brief and inaccurate description of the witnesses surveyed. For that reason, in this work manuscripts have been dated a divided into a prezzo and per passion copies. Where possible, a biographical profile of the copyists have been included. Moreover, each copy has its own detection form.The second part of the thesis consists of a historic-literary commentary: the Comedia delle Ninfe is has been interpreted on the basis of the biography of the author and of his literary production. The two draftings of the Comedia have been also dated according to the biography of Niccolò di Bartolo del Buono, to whom this opera was dedicated. Besides, the Comedia has been compared to the Caccia di Diana and the Amorosa Visione, on the basis of the use of the capitolo ternario. A chapter on the prosimetrum provides some hypoteses on the literary sources Boccaccio may have, or may not, referred to. At last, by analysing the bucolic literary works by Boccaccio, the Comedia can be considered the first example in this genre, regarding the use of the vernacular.; La thèse se propose, dans une première partie, d’analyser et d'actualiser la tradition manuscrite de la Comedia delle Ninfe Fiorentine, œuvre de jeunesse de Giovanni Boccaccio, composée immédiatement après le retour à Florence de la cour angevine de Naples.L'édition actuelle de Comedia delle Ninfe, est due à Antonio Enzo Quaglio et remonte à 1963. Elle fournit, comme il était d'usage à l'époque, une description brève et peu précise des témoins interrogés. Les manuscrits sont donc classés selon un critère socioculturel (copie a prezzo et copie per passione), datant des codex au quart de siècle. Quand cela est possible, un profil biographique des copistes est fourni. Le travail est complété par les fiches de chacun des témoins individuels acceptés dans le corpus.La deuxième partie de la thèse est un travail de commentaire d’historie littéraire divisé par thèmes. La composition de la Comedia delle Ninfe est liée à l'expérience biographique de son auteur et au développement de son expérience littéraire.L’histoire du dédicataire de l’œuvre, Niccolò di Bartolo del Buono, nous permet de fournir des repères chronologiques pour chacune des deux rédactions de la Comedia.La proposition de mettre en relation Caccia di Diana, Comedia et Amorosa Visione nous donne l’occasion de comparer trois œuvres de Boccaccio, en considérant l’utilisation du capitolo ternario comme premier dénominateur commun.Le chapitre sur le prosimètre donne un aperçu des sources possibles auxquelles Boccaccio peut, ou ne peut pas, faire référence pour cette forme particulière (prose et vers).Enfin, l'analyse de la production bucolique de Boccace et de son évolution amène à considérer le Comedia comme une première œuvre de ce genre avec l’utilisation du vulgaire.; La tesi si propone, nella prima parte, di analizzare, aggiornandola, la tradizione manoscritta della Comedia delle Ninfe Fiorentine, opera della giovinezza di Giovanni Boccaccio, composta subito dopo il ritorno del Certaldese a Firenze dalla corte angioina di Napoli. L’edizione esistente della Comedia delle Ninfe, datata 1963 per la cura di Antonio Enzo Quaglio, fornisce, come d’uso all’epoca, una descrizione sommaria e poco accurata dei testimoni censiti. Si classificano quindi i manoscritti secondo un criterio socioculturale (copia a prezzo e copia per passione), datando i codici al quarto di secolo. Si fornisce, ove possibile, un profilo biografico dei copisti. Il lavoro è completato dalle schede di rilevamento dei singoli testimoni accolti nel corpus, redatte secondo un criterio stabilito a priori.La seconda parte della tesi è un lavoro di commento letterario suddiviso per tematiche. La composizione della Comedia delle Ninfe viene messa in relazione con l’esperienza biografica del suo autore e con il dipanarsi della sua esperienza letteraria. La vicenda del dedicatario dell’opera, Niccolò di Bartolo del Buono, permette di collocare con riferimenti cronologici l’identificazione delle due redazioni della Comedia.Occasione di confrontare tre opere del Boccaccio è la proposta di mettere in relazione Caccia di Diana , Comedia e Amorosa Visione considerando come primo denominatore comune l’utilizzo del capitolo ternario.Il capitolo sul prosimetro fornisce una rassegna sulle possibili fonti alle quali Boccaccio può, o non può, aver fatto riferimento nella composizione dell’opera con questa particolare forma.Infine l’analisi della produzione bucolica del Boccaccio, e della sua evoluzione, propone di considerare la Comedia come un’opera prima in questo genere per l’utilizzo del volgare.

On pose ici les jalons d’une étude sur l’Elogio en prose de Gabriel Lobo Lasso de la Vega à l’illustre marin du règne de Philippe II, don Álvaro de Bazán, marquis de Santa Cruz. Il s’agit d’abord d’élucider les circonstances dans lesquelles le poète en vint à s’intéresser à cette figure particulière pour composer un triple éloge qui rassembles aussi les figures du roi Jaime de Aragón et du conquérant Hernán Cortés. On ouvre ensuite des pistes pour une étude poétique et historique de cet éloge en prose, en le comparant avec ses sources (avec l’éloge antérieur de Mosquera de Figueroa, en particulier), en listant les épisodes historiques auxquels il est fait allusion et en commentant les stratégies panégyriques que Lasso de la Vega y emploie (le style élevé, les figures héroïques, la résonance entre l’éloge et les gravures du portrait et des armes du marquis qui ouvrent le volume). Enfin, on considère l’aspect le plus original de ce panégyrique : la reproduction de seize poèmes et onze fragments de prose précédemment composés par d’autres poètes et historiens. Il s’agit-là de pièces historiques destinées à faciliter le travail de ceux qui voudraient chanter la mémoire du marquis, et d’autant de preuves de la fécondité de la veine panégyrique ouverte par l’auteur. Ce texte illustre à la perfection la porosité entre histoire et poésie, entre fait vraisemblables et merveilleux dans l’écriture de l’éloge. This study offers a preliminary analysis of the Elogio in prose written by Gabriel Lobo Lasso de la Vega and dedicated to one of the most illustrious naval officers of the reign of Phillip II, don Álvaro de Bazán, marquis of Santa Cruz. I begin by exploring the circumstances which led the poet to praise this particular military figure through his use of a triptych including two other important men: King Jaime I of Aragón and the conqueror Hernán Cortés. I then lay the groundwork for poetic and historical research of the Elogio in three ways: by comparing the work with its sources (in particular a panegyric by Mosquera de Figueroa), by summarizing the historical episodes alluded to, and by analyzing the strategies used to praise Bazán (an elevated style, heroic figures, and Bazan’s portrait and emblem, which were represented in two engravings at the beginning of the volume). I finally consider the most original aspect of the Elogio: the reproduction of sixteen poems and eleven prose fragments from other poets and historians. Conceived as historical documents to help praise the marquis in the future, these fragments also demonstrate the success of the panegyric style initiated by the poet. This text perfectly illustrates the ways in which history and poetry, vraisemblance and wonder, are closely related concepts and tools for praise in the early modern period. Este estudio propone un primer acercamiento al Elogio en prosa de Gabriel Lobo Lasso de la Vega al ilustre marinero del reinado de Felipe II, don Álvaro de Bazán, marqués de Santa Cruz. Elucida las circunstancias en las que el poeta se interesó por esta figura militar en el contexto de un elogio triple en el que Santa Cruz aparece junto con el rey Jaime I de Aragón y el conquistador Hernán Cortés. También abre pistas para un estudio poético e histórico del elogio en prosa: lo compara con sus fuentes (en especial, con el anterior elogio de Mosquera de Figueroa), recapitula los episodios históricos aludidos y comenta las estrategias panegíricas acumuladas allí por Lasso de la Vega (estilo elevado del prosímetro, figuras heroicas, correspondencia entre el elogio y los grabados del retrato y de las armas del marqués que encabezan el texto). Finalmente, se hace hincapié en lo más original de este panegírico: la reproducción por Lasso de la Vega de dieciséis poemas y once fragmentos de prosa compuestos en los años anteriores por otros poetas e historiadores. Son a la vez piezas históricas que facilitarían el trabajo de los futuros poetas deseosos de alabar la figura del marqués y pruebas de la fecunda vena poética y panegírica abierta por el autor. Como ningún otro, este texto ilustra la porosidad entre historia y poesía, entre hechos verosímiles y maravillosos en la escritura encomiástica.

International audience; On pose ici les jalons d’une étude sur l’Elogio en prose de Gabriel Lobo Lasso de la Vega à l’illustre marin du règne de Philippe II, don Álvaro de Bazán, marquis de Santa Cruz. Il s’agit d’abord d’élucider les circonstances dans lesquelles le poète en vint à s’intéresser à cette figure particulière pour composer un triple éloge qui rassembles aussi les figures du roi Jaime de Aragón et du conquérant Hernán Cortés. On ouvre ensuite des pistes pour une étude poétique et historique de cet éloge en prose, en le comparant avec ses sources (avec l’éloge antérieur de Mosquera de Figueroa, en particulier), en listant les épisodes historiques auxquels il est fait allusion et en commentant les stratégies panégyriques que Lasso de la Vega y emploie (le style élevé, les figures héroïques, la résonance entre l’éloge et les gravures du portrait et des armes du marquis qui ouvrent le volume). Enfin, on considère l’aspect le plus original de ce panégyrique : la reproduction de seize poèmes et onze fragments de prose précédemment composés par d’autres poètes et historiens. Il s’agit-là de pièces historiques destinées à faciliter le travail de ceux qui voudraient chanter la mémoire du marquis, et d’autant de preuves de la fécondité de la veine panégyrique ouverte par l’auteur. Ce texte illustre à la perfection la porosité entre histoire et poésie, entre fait vraisemblables et merveilleux dans l’écriture de l’éloge.

The loves of Psyche and Cupid by La Fontaine is a romance of mixed genres, combining the features of a tale, a narrative poem and a philosophical dialogue. The author of this study classifies it as a prosimetrum, to focus her analysis, on the one hand – upon the interrelation between prose and verse, functions and means of introducing rhyming parts, etc., on the other hand – examining metatextual texts of the narrator who provokes interesting aesthetic reflection.

La présente publication est la première édition critique intégrale des textes en vers insérés dans les romans en prose formant le cycle de Guiron le Courtois. L'édition est précédée d'une introduction substantielle et complétée par des notes critiques, un glossaire et un index des personnages et des lieux., This publication is the first integral critical edition of the verse texts inserted into the prose narratives which constitute the cycle of Guiron le Courtois. The edition is preceded by a substantial introduction and complemented by critical notes, a glossary, and an index of characters.

L’article aborda comparativament un motiu de l’art verbal i alhora la seva interacció amb un problema general de l’estudi del folklore: el dels gèneres mixtos i llur significació. El motiu en qüestió és designat «Twining branches» (E631.0.1) en l’índex de Thompson. S’assenyala l’eventual precedent clàssic ovidià i se’n considera la presència en romanços de la tradició romànica peninsular i en balades angloamericanes, gèneres versificats. Si comparteixen el motiu de les branques entrellaçades, difereixen en aspectes funcionals i argumentals. S’aporta una narració oral beduïna del desert Líbic que conté l’argument i el motiu. Aquest text oral és un gènere mixt: hi coexisteixen prosa i vers (prosimetrum). S’analitzen diferències funcionals respecte als textos anteriors i se’n vincula l’especificitat a la naturalesa de l’ordre social en la societat beduïna, a la ideologia que hi és hegemònica, a la identitat ètnica i a la cultura verbal beduïna arabitzada. S’interpreta el gènere mixt en funció de conceptes desenvolupats a partir de la poètica jakobsoniana i, sobretot, en funció del context en què es produeix, això és, de l’especificitat històrica i d’una interpretació èmica, la qual ens permet accedir a la significació que vehicula la juxtaposició de prosa i vers en un context d’actuació específic.

Turcan-Verkerk Anne-Marie. Le Prosimetrum des Artes Dictaminis médiévales (XIIe-XIIIe s.). In: Archivum Latinitatis Medii Aevi, tome 61, 2003. pp. 111-174.

This paper analyzes the way each of the recensiones (RA and RB) of the Historia Apollonii regis Tyri reworks one of the most typical and widespread topoi, not only in the tradition of the ancient novel, but in all classical literature: the tempestas. To this end, first of all, I will check the numerous problems related to this late novel (the place and the date of composition, the language of the original, the status of the preserved Latin text); then, the main characteristics of tempestas will be defined in the ancient literature, with particular emphasis on the storm of Aeneid I and its relation to the Historia Apollonii; and, finally, the analysis of Historia Apollonii 11 – the moment in which the storm appears under the form of an epica tempestatis descriptio. I will discuss as well the prosimetrum and the cento form that the text assumes in this section. The central purpose is to demonstrate that RB deepens the poetical dimension of the narrative. Este trabajo se propone analizar de qué manera cada una de las recensiones (RA y RB) de la Historia Apollonii regis Tyri reelabora uno de los topoi más característicos y extendidos, no sólo dentro de la tradición de la novela antigua, sino de toda la literatura clásica: el motivo de la tempestas. Para ello, en primer lugar, se revisarán los numerosos problemas relacionados con esta novela tardía (el lugar y la fecha de composición, la lengua del original, el status del texto latino conservado); luego, se definirán las características principales de la tempestas en la literatura antigua, con particular énfasis en la tormenta del libro I de la Eneida virgiliana y su relación con la Historia Apollonii; y, finalmente, se ofrecerá el análisis del cap. 11 de la Historia Apollonii –momento en que se nos presenta la tormenta bajo la forma de una epica tempestatis descriptio– sin dejar de lado algunos aspectos como el prosimetrum y la forma centonaria que asume el texto en esta sección. El propósito central es demostrar que RB intenta profundizar la dimensión poética de la narración.

El trabajo presenta la edición de los poemas que aparecen en el libro de caballerías Floramante de Colonia, Segunda Parte de Clarián de Landanís, de Jerónimo López, de la que se parte para abordar el estudio de las características de la métrica, el estilo y el lenguaje de los poemas y su relación con la poesía de cancionero. El estudio abarca también el análisis de los modos y funciones de las inserciones poéticas del que se deriva el acercamiento a los aspectos temáticos predominantes, relativos a la enfermedad de amor, y a la vinculación de este caso de prosimetrum con otros géneros narrativos de la época.

Este trabajo se propone analizar de qué manera cada una de las recensiones (RA y RB) de la Historia Apollonii regis Tyri reelabora uno de los topoi más característicos y extendidos, no sólo dentro de la tradición de la novela antigua, sino de toda la literatura clásica: el motivo de la tempestas. Para ello, en primer lugar, se revisarán los numerosos problemas relacionados con esta novela tardía (el lugar y la fecha de composición, la lengua del original, el status del texto latino conservado); luego, se definirán las características principales de la tempestas en la literatura antigua, con particular énfasis en la tormenta del libro I de la Eneida virgiliana y su relación con la Historia Apollonii; y, finalmente, se ofrecerá el análisis del cap. 11 de la Historia Apollonii momento en que se nos presenta la tormenta bajo la forma de una epica tempestatis descriptio sin dejar de lado algunos aspectos como el prosimetrum y la forma centonaria que asume el texto en esta sección. El propósito central es demostrar que RB intenta profundizar la dimensión poética de la narración. This paper analyzes the way each of the recensiones (RA and RB) of the Historia Apollonii regis Tyri reworks one of the most typical and widespread topoi, not only in the tradition of the ancient novel, but in all classical literature: the tempestas. To this end, first of all, I will check the numerous problems related to this late novel (the place and the date of composition, the language of the original, the status of the preserved Latin text); then, the main characteristics of tempestas will be defined in the ancient literature, with particular emphasis on the storm of Aeneid I and its relation to the Historia Apollonii; and, finally, the analysis of Historia Apollonii 11 – the moment in which the storm appears under the form of an epica tempestatis descriptio. I will discuss as well the prosimetrum and the cento form that the text assumes in this section. The central purpose is to demonstrate that RB deepens the poetical dimension of the narrative. Fil: Carmignani, Marcos Flavio. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Centro de Investigaciones y Estudios sobre Cultura y Sociedad. Universidad Nacional de Córdoba. Centro de Investigaciones y Estudios sobre Cultura y Sociedad; Argentina

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El presente estudio supone una nueva aproximación al Grimalte y Gradisa de Juan Flores. Para su confección, se han descrito de manera exhaustiva los géneros y recursos literarios empleados por el autor en la composición del texto (cartas, poemas, diálogos, monólogos, etc.). A su vez, el artículo también muestra cómo Flores enlaza su novela con la tradición de la ficción sentimental italiana y española de finales de la Edad Media, aportando su propia e irónica perspectiva del género, como ya había hecho en Grisel y Mirabella., The following study intends to develop a new approach to Juan de Flores's Grimalte y Gradisa through an exhaustive explanation of the main literary genres and compositive resources used by his author during the redaction of his work, such as letters, poems, dialogues and monologues. In addition to that, this article also shows how Flores links his novel to the late-Mediaeval tradition of Spanish and Italian sentimental romance in a very particular, ironic and personal way, as he has already done, probably a few years before, with his Grisel y Mirabella.