This article interprets Ariosto's women warriors as hybrid figures who stand between the literary genres of romance and epic. While Bradamante emerges primarily as a romance character and Marfisa as an epic one, each woman also symbolizes within herself the tension in the Furioso between the two genres. Through an investigation of two key episodes of the poem, where different dilemmas that stem from the women warriors' ambiguous identity are described through the common metaphor of a nodo or knot, the article shows how Bradamante and Marfisa enable the poet to interrogate the boundaries of difference, both sexual and generic.
The article analyzes Pier Paolo Pasolini's spectacular authorship as a response to the modified conditions of power in nineteen-sixties Italy. Perceiving the advent of consumer modernity as the affirmation of a disciplinary society, the author is forced to replace the avant-garde strategy of marginality with a spectacular identity that is created and circulated through both literary and non-literary means. Rather than succumbing to the "death of the author" he redefines authorial identity through images. Interviews, printed, broadcast, inserted in poems or film, serve as the privileged arena to observe the author's public performance and his employment of it for critical purposes.
This article analyzes the key function and meaning of Dante's imitation of God's creation through three Books of revelation (Scripture, Nature, History-Memory), as elaborated in Singleton's major critical works on Dante written between 1949 and 1958 (An Essay on the "Vita Nuova;" Dante Studies 1. "Commedia:" Elements of Structure; Dante Studies 2. Journey to Beatrice). It also aims to connect Singleton's investigation of Dante's use of allegory and symbolism to the Judaio-Christian tradition as primary source as well as to the American philosophical tradition from Ralph Waldo Emerson's transcendentalism to George Santayana's thought which served as a foundation for the American Dante Scholar.
La tregua describes Primo Levi's return from Auschwitz through eastern Europe to Torino. Levi's narrative elaborates a Judaism that is transgressive of community, social expectation, and above all of the notions of purity and unity propagated in the Leggi razziali of 1938 which denied him his identity as an Italian, and led, via the Carta di Verona of 1943, to Auschwitz. Levi's authenticity lies in his becoming a Jew as non-Jew. Dottor Levi accordingly serves an apprenticeship in survival skills under small-time thieves, charlatans, and whores. His new identity will be differential and impure, an identity à venir. Levi elaborates a justice that erupts through both law and proscription.
This essay analyzes the relationship of charismatic authority to different kinds of remythicization in the work of Marsilio Ficino, using the theories of Max Weber and Hans Blumenberg as background. Ficino had unorthodox views on poetry and rejected the human component of composition, reducing even the vatic poet to a mere instrument of divine will. Paradoxically, however, Ficino manipulated the myths of the prisci poetae and the furor poeticus, along with the myth of Orpheus, in creating his own personal charismatic agency among the members of his inner circle of Neoplatonists. The essay discusses Ficino's means of reconciling this paradox, drawing on such texts as the De amore, the De divino furore, and the Platonic Theology.
Nel saggio si vorrebbero evidenziare le modalità con cui Decameron e Corbaccio entrano in contatto, nella speranza di mettere in luce aspetti dell'attività scrittoria di Boccaccio, avvicinando così anche due opere che, per toni e stile, sembrano lontane. Gli elementi in comune sembrano rispondere a quattro modalità basilari: rinvii intertestuali; analogie tematiche; geminazioni di parti del Decameron e del Corbaccio dal medesimo sottotesto (Satira VI di Giovenale); nonché, da ultimo, l'utilizzazione dell'ars combinatoria, tipica del Boccaccio. In tale processo si proporrà una nuova lettura della novella di monna Sismonda (Dec. VII 8), che coinvolge soprattutto il personaggio della suocera.
By comparing the utterances of the fictional Augustine in the Secretum to the autobiography of the historical Augustine, the paper argues that the personage of Petrarch's text quotes Augustine's Confessiones, though incompletely. This is evidenced by the personage named Franciscus hinting at the omissions. The text thus points to the tension between theology of grace and moral theology. In conclusion, the paper discusses how it is that a text from the 14th century seemingly anticipates debates that we would rather associate with the Reformation. The Secretum may be the contingent result of a hybridization of the contemporary technique of writing poetry, based mainly on quotation and emulation, and a theological topic.
In light of contemporary literary criticism autobiography seems to be an almost impossible exercise. If it is impossible to recount one's story as it has been lived since truth and authenticity must be partially abandoned to take into account the "fictional" elements of one's life, what sense is there in writing autobiography? Is it possible then to write a fictional autobiography that is also true to one's life experience?
In this article, I explore Ortese's most complex literary endeavour: the creation of a "fantastic" autobiography: Il Porto di Toledo (1975) where the facts of her life are openly transformed into fiction in the attempt to represent a constantly evolving "utopian" female identity that is determined to escape a predetermined status of social inequality.
As a completion of salvation history, Dante's Commedia conceives its author as a prophetic writer, who strives to communicate his divinely inspired vision of the afterworld and his knowledge of the last and ultimate things by performing an anti-Thomist revaluation of poesia. This strategy however does not lead to an absorption of the secular poetic mode by prophetically inspired speech. On the contrary, it cannot but create heavy tensions between the two poles, resulting unexpectedly in a promotion of poesia as a testimony of secular authorial exceptionality and worldly fame. This becomes especially obvious in the Paradiso, which constitutes the focus of the textual analysis of this article.
This paper argues that Petrarchan lyric poetics were instrumental for Tasso's development of a successful vernacular epic. Following discussions of epic and lyric in his prose, I trace the relationship between Tasso's poetic theory and practice by examining Petrarchan allusions in the Gerusalemme liberata. I show how the Rime sparse becomes instrumental for Tasso's successful integration of romance variety and meraviglia into the cinquecento epic. More important, by programmatically associating the romance wandering (errare) of the Liberata with the lyric giovenile errore of the Rime sparse, Tasso uses this lyric frame to reconcile the seemingly antithetical impulses of romance wandering and epic teleology.