captain.dev.serkanozel.engineer/stewards-of-the-white-circle.php Giovanni Sagredo est l'anagramme de Ginnesio Gavardo. Bandeaux, lettrines et cul-de-lampe.
Bel exemplaire dans une reliure du xviiie. Published by Giovanni Recaldini, Bologna About this Item: Giovanni Recaldini, Bologna, Conte Cesare Bianchetti Gambalunga 16x7,5 cm. Firme di appartenenza. Raccolta di novelle e facezie, divisa in otto giornate, racconta la vita gaia e spensierata trascorsa da tre cavalieri veneziani e dalle loro belle e vivaci dame, in una sontuosa villa veneta. Modena, MO, Italy. Opera che ebbe notevole successo e numerose ristampe, anche nell'ottocento seppure espurgate. Piacevole serie di racconti, motti, giochi e facezie spesso a carattere erotico e boccaccesco.
Piantanida, ; Melzi, vol. Seller Inventory 5a63a85adfecc. Pergamena semifloscia dell'epoca piccolo strappo riparato sulla cuffia inferiore. Leggera brunitura alle pagine. Legatura coeva in piena pelle, con titoli e fregi in oro, lievemente sbiaditi, al dorso a cinque nervature. Cartigli e capilettera incisi. Fogli di guardia marmorizzati. Abrasioni alla cerniera anteriore e al capitello superiore. Nella Vinciana non viene segnalata la presente edizione, molto probabilmente la seconda, come pure in Melzi, I, ; Brunet, V, ; Graesse, I, ; Gamba, "Serie dei novellieri", in tutti viene censita una edizione del Recaldini del In 24?
Celebre raccolta di 45 piacevolissime novelle prima edizione , versione definitiva sul modello del Decamerone, ambientate nelle ville palladiane della Riviera del Brenta, infarcite di motti, proverbi, detti misogini e garbatamente licenziosi, archetipo del romanzo settecentesco e della novella di costume, nonch? Venticinque il numero di edizioni, spesso clandestine, dell'opera. Non abbiamo trovato esemplari censiti di questa edizione nei database delle biblioteche da noi consultati.
Vinciana cita edizione dello stesso anno ma con diversa inc. VIII p. Bologna, Giov. Recaldini, , Condition: molto buono. Parenti, Luoghi falsi, p. Vinciana n. L'opera ebbe enorme successo e fu ristampata molte volte fino al Melzi I, Passano I, p. Gamba, Novelle ital. Vinciana Gay I, Brunet V, , note sotto Vacalerio. Choix d'Olschki IX, Papanti pp. Settima edizione, dedicata a Cesare Bianchetti Gambalunga, di questa raccolta di facezie e novelle che racconta con spirito boccaccesco la gaia vita trascorsa da tre cavalieri veneziani e dalle loro belle e vivaci dame in una dell sontuose ville del Brenta.
La prima edizione del ebbe quindici ristampe. Esemplare a pieni margini, completo, non molto fresco. Melzi, I, Passano, I, Item added to your basket View basket. Proceed to Basket. View basket. The third chapter of this section is dedicated to Dante. Titled "Dante e la stella della scrittura," this chapter describes how Dante's development of a poetic-rationalist model of writing is the product of a synthesis between Greek and Christian notions of testimonial writing. However, for Lollini, Dante also enriches the established tradition by placing emphasis on the role of the individual in acts of testimony.
Lollini analyzes this role in his exemplary reading of the final vision of Paradiso, where Dante, vainly seeking to understand the mystery of Incarnation through the description of the human face of Christ, finally acknowledges the absence of adequate words to represent the sacred space. While such absence gives truth-value to Dante's own, individual testimony, his desire to publicly relate his experience further suggests that a newly formed nexus between individuality and literary testimony has been established for Romance literatures.
The importance of the individual in the act of testimony is also present in works by Petrarch and Galileo, which are analyzed by Lollini in the fourth and fifth chapters, respectively. The fourth chapter, titled "'In guisa d'uom che pensi et pianga et scriva': Petrarca," focuses on those moments where Petrarch voices the inadequacy of his own writing by foregrounding how the other, personified in the face of Laura, remains irreducible to the order of representation.
For Lollini, such inadequacy reveals why the description of Laura is not only developed through the formulae of conventional lyric poetry, but is often accompanied by an ethical reflection on how the experience of the individual always exceeds the boundaries of symbolization. The fifth chapter, titled "Galileo e la faccia della luna," addresses Galileo's Dialogo dei massimi sistemi. Here Lollini argues that the importance of the new science resides not only in having freed human observation from the prejudices of scholastic philosophy, but also in having assigned a truth-value to the empirical observations of nature carried out by the individual.
The last chapter of this section, "La stella della redenzione: la nozione di testimonianza nella cultura neoebraica," contrasts the Western tradition of testimonial writing with the Judaic one. Lollini contends that, in Judaic culture, testimony is not the result of an intellectual quest or of a mystical vision but, rather, depends upon the obedience to a divine command. From here stems not only the importance of listening, as opposed to the act of seeing, but also the different notion of subjectivity developed by Judaic writers.
Having thereby established the historical development and specificity of the Western paradigm of testimonial writings, Lollini dedicates the remaining two sections of his volume to an exploration of works from the 20th century. While the second section, titled "Il testimone, la guerra e il carcere," is dedicated to Serra and Gramsci, the third section, titled "Etica della scrittura e testimonianza," focuses on Levi, Celan, and Calvino.
In the first four chapters of the second section, Lollini discusses a number of works by Renato Serra and firmly establishes this writer's importance in a context shaped by Croce's metaphysics. While, for Croce, writing is the manifestation of the ideal, Serra, through the philosophy of Kant and Shopenhauer, recognizes that there exist elements of experience that remain irreducible to narration.
However, Serra's recognition does not bring him to a position of nihilism, but, rather, prompts him to accept the inevitability of both the limits and the necessity of writing. Close readings of Serra's Partenza di un gruppo di soldati per la Libia and Esame di coscienza di un letterato establish the validity of Lollini's claims. Furthermore, these readings also reveal Serra's crucial role in anticipating some of the reflections of Gramsci. The discussion of Gramsci occupies the last two chapters of this section.
In "L'importanza dell'ombra: il giovane Gramsci, Serra e la cultura del primo Novecento," Lollini argues that the influence of Serra on Gramsci's work is revealed in a number of Gramsci's early articles. As it is well known, this mode of writing will be concretized in Gramsci's own Lettere dal carcere, which is analyzed in the chapter "Il testimone invisibile: le Lettere dal carcere di Antonio Gramsci.
A cogent reading of Gramsci's notes on Dante's tenth canto of Inferno becomes Lollini's primary evidence of Gramsci's painful realization that no representation will ever be capable of expressing the trauma of the subject. This awareness might explain why Gramsci's project to tie politics to the ethical and personal dimensions of life in an autobiography was never realized. The issue of the subject in relation to testimonial writing is again addressed by Lollini in the third section of his volume.
Titled "Etica della scrittura e testimonianza," this section is dedicated to works by Levi, Celan, and Calvino. Such a process is brought to completion by collections such as Atemwende and Fadensonnen Here Celan's poetry renounces meaningful communication and begins to exhibit the aphasic expressions of an anti-writing. Nonetheless, as Lollini argues, despite the different visions that inform the work of these writers, Levi remained very interested in Celan's poetry.
In fact, he not only sought to explore the reasons for Celan's obscurity, but detected a coincidence between the poet's abdication of communication and his desire for non-being, expressed not only by his writing, but also by his dramatic decision to commit suicide. The remaining chapters on Levi are focused upon the relationship between science and literature. Lollini explores how Levi, despite a desire to communicate, was always skeptical of monological truths.
Such truths encompassed, for Levi, not only literary, but also scientific knowledge. As in the case of Leopardi, for Levi, scientific knowledge increased the mystery of the world and forced the poetic vision into that state of radical uncertainty exemplified by Levi's "Plinio" and "Autobiografia. Lollini not only suggests that the relationship between science and literature was also fundamental to Calvino's work, but he also argues that it developed according to the philosophical perspective of phenomenology.
This perspective brought Calvino to reject the idealist division of subject and object upon which scientific inquiry from Descartes onwards depends. Further, it also led him to acknowledge the irreducible opacity of the world. A discussion of Calvino's Palomar and Racconti per i cinque sensi complements Lollini's reading. However, as has been the case in other examples of testimonial writings discussed in this volume, in Calvino's work, the complexity of experience never coincided with a refusal of referential expression.
Rather, it developed into an ethics of writing, specifically into a meditation upon the relative and partial truth-value of human representation. Such truth-value was evident in Calvino's more autobiographical works, particularly in the short stories "La strada di San Giovanni" and "Ricordo di una battaglia" A fourth section, titled "Sintesi, conclusioni e aperture: verso un'etica del soggetto," reprises some of the most important arguments addressed earlier on, and provides a brief conclusion to the volume.
In summary, with his latest book, Lollini offers a clear and sophisticated account of very complex philosophical issues. While Lollini's description of testimonial writings from antiquity to the modern era establishes a solid historical paradigm, his analysis of 20th-century testimonies foregrounds the paradoxes of a mode of symbolization that, while revealing its inevitable inadequacy, also expresses its own compelling necessity. Finally, then, thanks to Lollini's subtle discussion, not only do writers as diverse as Serra, Gramsci, Levi, and Calvino, converge in a shared ethical effort to provide some sense to the chaos of the world of personal and public history, but reveal that a position mid-way between the weak subjectivity of the deconstructionist project and the strong Subject of metaphysical idealism remains a viable possibility for future literature.
An extremely intelligent book, Lollini's Il vuoto della forma will undoubtedly become an important addition to the existing bibliography on the topic. Furthermore, because Lollini's solid philosophical analyses are always corroborated by insightful close readings, the volume will most certainly be a very valuable work for scholars of Italian literature and culture.
The Rose in Contemporary Italian Poetry. Gainesville: UP of Florida, If De Sanctis takes up the rose in tracing "la splendida e sconcertante avventura dell'arte nell'amara stagione del declino" 9 from Lorenzo il Magnifico to Giambattista Marino, then Thomas Peterson, in his recent The Rose in Contemporary Italian Poetry, follows this most privileged flower in its many incarnations through a century of rapid evolution and innovation. In the preface to the volume, Peterson recalls Walter Benjamin's temptation to write a book consisting entirely of citations, as well as the new method of "drilling" as opposed to "excavating" and the resulting "forcing of insights" such a project would entail.
He goes on to liken his own study of the poetic rose to Benjamin's project: "To study a topos is also an act of critical drilling" vii. In keeping with this notion, Peterson's commentary, at times quite orthodox, at times provocative and corrective of other critics, is often intentionally restrained, the book's sense relying rather upon the "placement or dispositio" of the citations - as Hannah Arendt says of Walter Benjamin's project - "so as not to ruin everything with explanations that seek to provide a causal or systematic connection" vii.
Peterson acknowledges that such an approach requires that readers "bring powers of inference to the poetry and sort through fertile ambiguities" ix-x. That the author allows the occurrences of the rose in contemporary Italian poetry to dictate the book's organization forces us to consider these poets from less common perspectives: alongside and very often in place of the traditional categories of Twilight, Futurist, Hermetic, and Neo-Hermetic poets, we hear also of poets of advent and of otium, as well as encyclopedic, apotropaic, and Anacreontic poets.
Consequently, names often collocated under, for example, the unwieldy term of Hermeticism find their way into fresh and thought-provoking categories Sinisgalli and Gatto, for instance, are by turns encyclopedic, Anacreontic, or exemplary of the characteristic of wonder or of the ironic reframing of traditional figures of the rose. The first chapter, "In the Garden of Italian Literature," serves as an introduction to the presence of the rose within the Italian and romance traditions, as well as to the critical approach informing the volume.
Peterson notes a crucial shift in poetic practices in the early twentieth century that profoundly altered the relation "between poetic form and content, between the facts of language and those of theme," and the consequent need for a criticism responding to this situation: "Given the nature of this transition, one cannot rely on a single semiotic, stylistic, linguistic, sociological means of exegesis. Rather an 'endogenous' criticism is required that is sensitive to a poem's interpretive needs on a case-by-case basis" 2. This recognition, together with the desire to "minimize the importance of 'lines'" x , results in a broad selection of poets that incorporates many names often omitted from critical surveys of twentieth-century Italian poetry, not to mention an impressive sampling of dialect poets, such as Salvatore Di Giacomo, Giacomo Noventa, Achile Serrao, Biagio Marin, Franco Scataglini, and Abino Pierro.
Together with this extensive array of Italians are the names of several poets from the European poetic tradition. Rilke's prolific use of the rose introduces a discussion of "a host of Italian poets whose prayer, including secular prayer, engages the rose of sacrament as a votive object" , and Celan's rose "expresses a transformation of archaic religious objects, icons, and rituals into a form of spirituality that is negative and catastrophic" Laconic but Arcadian, the Anacreontic poet regales in the luxurious and exquisite, and possesses a heightened sense of the sensual and melic qualities of the poetic word" The use of figurative language, of course, touches on the problem of rhetoric, whose role is to persuade and lend coloring and conviction.
Or how, given the lexical nature of our study, does the evasion or deformation of a lexeme signal a change in literary sensibility? The poets under discussion respond to this situation in one of two ways: with a "rhetoric of rarefaction," or the "rarefaction of rhetoric. This recourse to the second-hand rose is an instance of what Harold Bloom has referred to as "the interpretive and revisionary power of a poetry perpetually battling its own belatedness" The imperative of having to position oneself with regard to an established literary culture is also keenly felt by writers familiar with the experience of marginalization.
Chapter eleven, "The Feminine Voice, and Other Alibis," examines the poets of the feminine voice, who aim at "creating an alibi or space apart from the coteries of the male-dominated literary world, and the 'pseudo-nature' of that world" The alibi, a "result not of a flight, but of dialogue and questioning" , situates the feminine voice "elsewhere" with respect to the assertive verbal armature of the masculine linguistic space.
Peterson begins his survey of the feminine voice, quite understandably, with Sibilla Aleramo, then turns to "an example of a male poet with a feminine voice" He finds in Diego Valeri Paolo Volponi, Roberto Sanesi also figure in Peterson's discussion of the feminine voice that lexical indeterminacy and contingency that allow him to resist "the rationalistic and formalistic tendencies of much twentieth-century verse" Amelia Rosselli appears not among the poets of the feminine voice, but in the concluding chapter, "The Otiose Rose," where Peterson looks at the rose in poems conceived of as contemplative, theoretical enterprises.
I molti volti della comunicazione scientifica. Perugia: Guerra Edizioni. MR provides important information on soft tissues involvement, synovial reaction, chondral and subchondral bone injuries and the association of flexor hallucis longus synovitis, if present. Andree construxit ibidem et Canonicis ibidem Deo servientibus Ecclesiam decestretune in Episcopatu Elyensi que de nostra est donacione Cum omnibus ad illam pertinentibus in liberam et puram et perpetuam elemosinam. Io ho scelto la valigia. However, Vitullo also identifies residues from oral narration that reveal da Barberino's desire to seek the legitimacy of tradition. La mia rovina
In his discussion of Rosselli, Peterson ties together a number of the strings that run throughout the volume, and demonstrates an outstanding sensitivity to the complex nature of the poet's work. Here the author himself eases the rapid pace maintained through much of the book, a pace determined by the range of material treated in a relatively small space.
Indeed, many poets are accorded little more than a brief paragraph, and consequently one often wishes Peterson were able to devote to them as much attention as he does to those few discussed at greater length. In citing Maria Luisa Spaziani's phrase, "nebuloso mistero da vincersi a ristroso" from the poem "Quell'uomo-stella" , as an "inadvertent description of the rose topos itself, which must be denied in order to be validated" , Peterson recognizes a fundamental trait of the modern relationship to topoi in general.
The phrase evokes as well what faces the critic engaged in clearing up the mysteries of textual interaction; and, in fact, the reader of The Rose in Contemporary Italian Poetry might wish that Peterson had ventured further in this direction, following the reverse path of influence and elaborating on the interrelations among texts.
Many of the poetic fragments examined remain just that - isolated fragments - and the reader is left to formulate many of those "causal and systematic connection[s]" toward which Peterson professes a certain skepticism in his Preface. Nevertheless, The Rose in Contemporary Italian Poetry is an extremely rich and challenging book, and goes a long way toward redeeming the study of literary topoi.
It is both a welcome source and model for the scholar interested in such studies, as well as a "rosa dei venti" for the general reader on the high seas of twentieth-century Italian poetry. Viktor Berberi, Indiana University. Iannace, ed. Maria Vergine nella letteratura italiana. The Blessed Virgin Mary, or Mary of Nazareth, is a complex figure in the contemporary academic scene, subject to, and of, diverse interpretations.
For the traditional Catholic academic, she may be primarily a co-redemptrix, object of devotion as the earthly mother of Jesus Christ; for the Marxist or the atheist, she may be among the most visible and fertile symbols of the collective illusion of religion; for the liberal feminist, she may be a dangerous icon of patriarchal domination and female subordination to the role of mother and wife; for the feminist or liberation theologian or believer, she may be an example of full humanity achieved against all the odds of an oppressive, colonized context.
Among these multiple figures, the first is the dominant one in the essays collected in Florinda Iannace's Maria Vergine nella letteratura italiana. These generally short pieces there are over thirty of them in the admittedly long volume were originally presented as lectures at a congress at Fordham University entitled "The Virgin Mary in Italian Literature.
Tusiani, a surprising presence in the book, is an Italian-American poet who writes in English and comments as critic - he is the author of the essay on himself - on his own poetic production. Moreover, there are some general survey essays on Mary in Catholic theology and in Italian literature. Several different interpretive methods are used in the essays: there are stylistic, psychoanalytic Jungian, Kristevan, and Lacanian , and historical approaches, as well as biographical and devotional readings.
Like the chronological frame and the interpretive methodologies, the quality of the essays is also wide-ranging: while some, more traditionally devout critics may find the pious tone used in many of the essays appealing, many readers will be put off by a heavy rhetoric likely to discourage not only non-believers "i critici miscredenti," as one of the contributors hastily describes them, , but also non-traditional believers like myself, from entertaining a dialogue with the critics. This hagiographic approach is what we read in the introduction to the volume, where we find no mention of a more simpatica Virgin Mary, the Mary of Nazareth evoked, for example, by some contemporary theologians.
Many of the essays abound in platitudes, others are not much more than an introduction to an author, a summary of texts, a compilation of quotations with minimal critical intervention. Let me also note, while I dwell on this negative paragraph, that the copy-editing of the volume leaves much to be desired, at times even impeding a clear reading of the text the year is placed for instance in the third century, That having been said, the volume includes several solid traditional literary readings - I am thinking, for example, of the essays on Dante by Walter Mauro and Giuseppe Di Scipio - as well as some veritable gems.
Although it bears no connection with the literature invoked in the collection's title, Father Avery Dulles's essay on the role of the Virgin Mary in Catholic theology is a useful, clear, and inclusive survey of Mary's interpretations in the second part of the twentieth century. I was happy to find it at the beginning of the book, and disappointed that many of the subsequent essays did not display an awareness of the breadth of interpretations so vividly presented by Father Dulles himself.
The most insightful of the three essays which pay attention to sexual difference, Rinaldina Russell's work on Vittoria Colonna, is a well-written and original piece which explores Colonna's connection with the spirituali through an analysis of her writings on the Virgin Mary. In these texts, "Mary becomes a figura of the possible coming together of the human and the divine" , a union central to Colonna's existential and poetic quest. For Colonna, and for Torquato Tasso as well, Mary is a figure who above all else represents a point of juncture between humanity and divinity.
This connecting role is highlighted in Giuseppe Mazzotta's contribution on Tasso's "Le lagrime della Beata Vergine," an absolutely brilliant piece, and all too short. In little over three pages, Mazzotta evokes, with a critical prose that is itself highly poetic, a meditation on Mary's tears as they incarnate the impossible desire to re connect the mother's body and the son's pain, maternity and death. Thus, Tasso's link between sorrow and thought is also the link between pain and philosophy, strikingly allegorized in Mary's tears.
Gaetana Marrone's Lacanian reading of Elsa Morante's Aracoeli stands out in the collection for its theoretical sophistication, but unfortunately it mentions only very tangentially the Virgin; its inclusion in the collection left me baffled. Finally, I found useful and engaging, as well as very well written, Alfredo Luzi's introduction to the presence of the Virgin Mary in twentieth-century Italian poetry. Because of the great chronological and interpretive spectrum, no one critic is likely to be engaged and profit by all of the essays in Iannace's collection.
What I found annoying others may find inspiring, and vice versa. Therefore, I would recommend the volume to anyone interested in the topic evoked in the title, or, even more generally, in the connection between religion and literature, spirituality and textuality. Cristina Mazzoni, University of Vermont. A History of Women's Writing in Italy.
Cambridge: Cambridge UP, In these works, the authors sketch a broad historical and thematic introduction to women's writings, which is then followed by studies of the main themes present in the works of individual authors. Panizza and Wood propose here an overview of seven centuries of women writing and the diverse genres in which they simultaneously participated. The book is divided into three major historical categories: the Renaissance, Counter-Reformation, and seventeenth century; the Enlightenment and Restoration; and the Risorgimento and modern Italy, The historical division allows for the inclusion of women's writings "beyond the conventional genres classed as literature" 1.
As Wood and Panizza point out in their introduction, writing literature in Italy has always assumed a classical education as well as one in Dante, Boccaccio, and Petrarch. Since women were largely self-taught and often did not adhere to fixed models or discuss certain themes prevalent in male writers, their writing has largely been underestimated if not ignored.
The volume includes 19 essays written by women literature and history professors from the United Kingdom, North America, and Italy; six essays were translated from Italian. In addition to the essays, there is a useful bibliographical guide which gives a brief description of the writers discussed, followed by a short list of selected works and critical works.
All works cited in the essays are included in the bibliography that closes the volume and that, admirably, attempts to recognize criticism on Italian women writers from both sides of the Atlantic. It is not intended here to uncover a tradition of women's writing, a concept the editors deny. Most of the articles are primarily expository in nature. The diverse essays are united by their focus on the principal historical and cultural features of the periods the book addresses and how they "impinged on what women wrote" 3.
Hence, the chapter divisions by generic form i. Rather these rubrics enable each critic to group together diverse women who used the same form to negotiate those various yet ever recurring practical, social, and ideological obstacles to writing that made it necessary for each generation of women writers to define and defend themselves anew. The number of chapters in each section - six essays in Part 1; four in Part 2; nine in Part 3, including five chapters for the novel form alone - tells at a glance the ebb and flow of women's participation in writing across the centuries.
The first major "genre" women used was letter writing. Maria Luisa Doglio's fine article reviews classical references which attributed the invention of this literary form to a woman who either counseled her sons or spoke of waiting for a loved one. She then discusses Catherine of Siena's religious writings dictated to a scribe; Alessandra Strozzi's letters to her sons; Vittoria Colonna's more spiritual and intellectual letters; Veronica Franco's Lettere familiari ; and finally actress Isabella Andreini's Lettere printed in , three years after her death.
Despite the differences in tone and content of all these letters, Doglio finds that "by writing to instruct, women demolish the barrier of submission founded on the age-old ban forbidding women to teach" In a brief chapter, Letizia Panizza examines the work of women humanists who wrote in Latin, such as Laura Cerati and Cassandra Fedele.
Although she finds it "hard to trace a continuity between these women humanists writing in Latin and their successors writing in Italian in the next and later centuries," the arguments in defense of women, such as those of Isotta Nogarola who questioned the Church's blaming of the fall of man on women since "where there is less intellect and less constancy, there is less sin" 27 , introduce a theme that will be repeated in almost every essay, that is, the need for Italian women writers of all generations to defend or deny their sexual difference since they experienced the Biblical paradigm for women not only as an account of a fall from innocence but as a definition and limitation of their creative abilities.
Giovanna Rabitti's chapter on lyric poetry from to discusses Vittoria Colonna again, along with Veronica Gambara, Gaspara Stampa whose "titillating" poetry has received perhaps "an excess of critical attention"  and ends with Isabella Andreini Her essay makes it appear that there was a Renaissance for women in the realm of lyric poetry brought about by "a shared experience" According to Virginia Cox in "Fiction, ," after the s the main model for women's writing was the Petrarchan lyric in its "amatory and spiritual variants" and the lettere familiari.
Cox argues that women's writing flourished in a rather "long sixteenth century," since the privileged literary idiom of Petrarchism was paradoxically amenable to assimilation by women. The Counter Reformation's moral repression "allowed for the return of pious and decent women on stage" in courtly pastoral dramas and for women to write historical poemi eroici. In her chapter, "Polemical Prose Writing, ," Letizia Panizza shows how the writings of women such as Moderata Fonte, Lucrezia Marinella, and Angela Tarabotti shifted the focus of participation in disputation in dialogues on love and friendship between men to defenses of women's moral character and against, as in the case of Tarabotti, social and legal injustices.
In the same time frame, as Gabriella Zarri writes in the concluding chapter of this section, women were also active in religious and devotional writing. Although these writings were not published, and so their influence was limited, they did reflect the Church's favorable attitude towards women engaged in mysticism and prophetic sanctity.
Cox finishes her essay saying that at the beginning of the Seicento women seemed headed for the mainstream. However, the 18th century provided no mainstream for women's writings. The literary genres in which their writing had flourished were no longer viable. Luisa Ricaldone's essay on the Enlightenment and the Restoration explains the sparse participation in writing by women of this era, and the oblivion into which the works of previous women writers fell.
Moral treatises assigned literature a role in women's education, if it was kept at an "amateur level" Few Italian women earned their living by writing or engaging in cultural activities Even fewer wrote novels: Giuseppina di Lorena-Carignano wrote some prose romances, but she wrote them in French. Verina Jones discusses women's entry into the field of literary journalism, ladies' magazines, and political journalism.
Adriana Chemello introduces another new genre, literary criticism. Women went from participating in debates on the "excellence and dignity of women" to debates on whether or not they should be admitted to the study of the arts and sciences. Chemello also discusses the work of Luisa Bergalli who, among other things, wrote an anthology of women's writing published in Venice in The final section begins with Silvana Patriarca's informative essay on women's increased participation in journalism. After , new outlets appeared for women, such as the periodical press for which women and men from the petite bourgeoisie could write As usual, women joined in debates on the role and function of women's education, and the first "feminist" journal, La donna, was founded by Gualberta Alaide Beccari in Patriarca reviews not only the "feminist" views of Beccari, Maria Mozzoni, and Jesse Mario White, but also the works of Cesare Lombroso's daughter, Paola, who published ethnography studies on the mentality of the lower classes along with children's books, whom she contrasts with Ida Baccini, a prolific author of articles for literary journals and the director of a popular girl's journal, Cordelia.
If Baccini's work exudes the values of the patriotic middle classes love of order, industriousness, etc. She quotes Delfina Dolza to defend Lombroso who, "like the other women, even when they appeared to be writing and sharing male opinions, was shaped by a sensitivity to the social context of women's subordination which made the author subvert some of the very convictions of her intellectual milieu" Lombroso's concern with a lack of civic spirit or participation in a democracy by people who were uneducated is looked upon as a sort of subversion of the same values of submission she openly espoused.
The essays on women's fictional writings - Lucienne Kroha's "The Novel, "; Anna Laura Lepschy's "The Popular Novel, "; Lucia Re's "Futurism and Fascism"; and Ann Hallamore Caesar's "The Novel, ," - deal as well with how to interpret the overt antifeminism of many women writers and their participation in conservative and Fascist genres.
Paradoxes abound. Re writes how Futurism's iconoclasm was appealing to many women writers. Under Fascism more women's works were published than ever before. Fascism was "contradictory, 'imperfect,' and flexible enough to tolerate a wide spectrum of relatively emancipated social and cultural modes of behavior and expression" But even women as different as Serao and Aleramo still "felt that there was something illegitimate about their writing as if it constituted the invasion of a masculine terrain and a betrayal of femininity for which they had to constantly apologize" These women are seen as open to more international influences, namely European modernism, through their interest in translations Yet these women writers were denounced by feminism's first authors, who threw literature and its compromising structures out.
Adalgisa Giorgio, in "The Novel, ," focuses on how the writing in her time frame "parallels the shift in Italian feminism from the political phase of emancipation and reality to the more cultural phase of affirming female difference in the imaginary psychic and symbolic linguistic and intellectual structures of society" Starting with Francesca Sanvitale, Maria Corti, and Alice Ceresa as writers who launched an inquiry into the role of gender in literature as well as the theme of female genealogies, Giorgio also includes writers from the s, thus making this essay a much needed supplement to the one done by this reviewer 11 years ago "From Margins to Mainstream: Some Perspectives on Women and Literature in Italy in the s," Contemporary Women Writers in Italy: A Modern Renaissance, ed.
Catherine O'Brien divides women poets into three major groups: those influenced by symbolism, those influenced by the hermetic movement, and finally those who "have advanced the case of women's poetry by achieving equality and recognition," although their work does not differ thematically or stylistically from that of their male counterpart The collection closes with Sharon Wood's essay on critical theory, which "seeks to place women's thinking about contemporary aesthetics and cultural practice, theoretical considerations on women and literature, and by necessary extension on women and language, within a historical or philosophical context" Since Wood dealt with these issues in Italian Women Writers, there might have been more of an advantage here if she had tried to outline some of the new directions for criticism and theory that these essays, with their wealth of information, have now made possible.
The few misspellings and bibliographical omissions e. The genre and time divisions work well to show the diversity in women's writings across the ages as well as to highlight the recurring similarities in themes and cultural debates. And the information included here makes it possible for future scholars to realize the volume's goal, which is, in Wood's words, to "not only rewrite the history of Italian women's writing, but to reshape our reading of Italian literature itself" Carol Lazzaro-Weis, Southern University.
La scrittura e l'interpretazione. Palermo: Palumbo, These two tomes comprise the second half of Luperini and Cataldi's work, of which the first two volumes cover Italian literary history respectively up to and from the Counter-Reformation. The last years are thus accorded as much space as the previous six centuries. This reflects escalating literary productivity, but also privileges modernity and contemporary relevance, to the extent, for instance, that not much less space is given to "il classico del secolo" Montale 41 pages , than to Petrarch 43 pages.
This is partly the effect of not very closely considering earlier Italian literature written in Latin, but more largely springs from the pedagogical intent of the work, which is implicitly aimed at students in the licei and in the early years of university. For these, it is an excellent guide, and it will also be extremely useful to their teachers and, indeed, to academics wishing to home in or update rapidly on unfamiliar areas, as well as presenting a reader-friendly introduction to the general lover of Italian literature.
For such pedagogical and informative purposes, it is admirably laid out. Each "Part", covering a historical period, opens with a long chapter mapping out broad socio-economic, intellectual and cultural developments in the western world and in Italy. The subsequent chapters respectively cover literary movements and debates within the same period, followed by each of the main literary sectors - poetry, narrative, discursive writing, and theatre. For each sector, there is a gradual zoom-in from developments in Europe and the Americas to those in Italy.
Major non-Italian writers - Baudelaire or Tolstoy, T. Eliot or Kafka - as well as all the major Italian writers have an individual chapter devoted to them, and there are also primi piani - chapters devoted to individual works of outstanding importance, whether Italian or not. Approximately a third of the text is thus given over to things other than Italian literature, in keeping with the principle enunciated in the introduction to the whole work, that Italian literature must be seen in the context of western culture generally, especially now that the role of the "national" literature in shaping the Italian nation-state has been historically superseded.
This cultural contextualization is aided by rich pictorial and photographic illustration in somewhat muted colours , but popular or mass culture is referred to mainly as a threat to "high" literature and culture. The work's pedagogical project is also furthered by numerous chronological tables and explanatory windows of schede e informazioni on historical and cultural phenomena , passato e presente on shifting debates , itinerario linguistico on specific terms , testi e studi bibliographies.
Bury St. Edmunds: the Cathedral. Nel marzo Onorio III scrisse a Guala riferendo le lamentele ricevute da Old Sarum e incaricando il legato di raccogliere informazioni in proposito. Tra il marzo del e il marzo del Guala rispose al Papa confermando la fondatezza delle lamentele. Relativamente ai monaci scozzesi disponiamo di un mandato di Walter of Wisbech che per volere di Guala, il 25 marzo , ordinava a tutti i monaci cistercensi della Scozia di astenersi dal celebrare le loro funzioni religiose Il mandato rivela che i cistercensi si erano considerati immuni dalla sentenza di interdetto che il legato aveva precedentemente pronunciato contro la Chiesa scozzese 11 novembre Per tutti i riferimenti alla vicenda della cattedrale di Salisbury contenuti nel presente lavoro si rimanda a Vincent,N.
In primo luogo egli assunse il diretto controllo della Chiesa scozzese. Anche i vertici dei monasteri benedettini di Westminster e di Canterbury Christ Church Canterbury furono scomunicati da Guala Bicchieri. Le lettere erano brevi, chiare e costruite secondo un impianto lucido e regolare. Per i quali si rimanda a Vincent,N. Le informazioni relative alle lettere di Guala di cui si parla in questo libro sono tratte principalmente da Vincent,N.
Sembra condivisibile. Secondo la diplomatica in un documento si possono individuare tre parti principali: 1. Nel caso del saluto da un superiore ad un inferiore la salutatio si esprime sotto forma di augurio accusativo dipendente da un verbum dicendi sottinteso. Quando la lettera non era diretta ad una. Talvolta veni-. Non sono state trovate tracce dei sigilli usati per le lettere inviate dalla Francia, mentre Vincent ha trovato 6 tracce del sigillo usato tra il e il , proprio gli anni della missione inglese. Mentre i sigilli degli altri legati erano in genere di forma. Intorno ai bordi del sigillo si legge quanto segue:.
A destra compariva il sigillo di William Marshal. Giova precisare come non sia casuale il legame tra Guala Bicchieri e la Magna Carta: il legato infatti possedeva una vasta competenza giuridica ed era apprezzato per la sua saggezza e la profonda esperienza in materia di giurisprudenza. Si veda pag.
Andreae Vercellensis sumtibus Henrici Regis Anglorum. Dux Normannie et Aquitanie. Comes Andegavie. Universitati vestre notum facimus quod nos intuiti Dei et pro salute nostra et pro animabus predecessorum nostrorum. Andree construxit ibidem et Canonicis ibidem Deo servientibus Ecclesiam decestretune in Episcopatu Elyensi que de nostra est donacione Cum omnibus ad illam pertinentibus in liberam et puram et perpetuam elemosinam.
Sigillum parvum e cera viridi pendens a funicolo membranaceo rapraesentat bellatorem insidentem equo, et gestantem dextra ensem: circum autem haec Ephigraphes. Il dono fu concesso su consiglio di otto vescovi e cinque notabili, tra cui il reggente, il justiciar e il conte di Winchester. Con la donazione di Chesterton il re intendeva premiare il legato, che. Frova, G. Nel loro documento di garanzia si legge:. Qui pro pace sua et regni diu et multum laboravit.
Ecclesiam de Cestretune que de sua erat advocacione cum omnibus pertinentibus ad illam. In cujus rei testimonium presentibus litteris sigilla nostra fecimus apponi —. Sigilla appensa funiculis membranaceis sunt XV. Nella stessa opera si trova anche il documento di pag. Robertus Dei gracia Elyensis Ecclesiae electus. Salutem in Domino. Ad universitatis vestre noticiam volumus pervenire. Quod nos Ecclesiam de Cestreton nostre diocesis de donatione Domini Regis.
Ecclesie ac fratribus S. Andree Vercellensis in puram et perpetuam elemosinam ad usus proprios. Divine pietatis intuitu ob reverentiam quoque Domini Guale tit. Quam eis Dominus Rex de communi consensu, et voluntate totius consilii sui concessit. In hujus autem rei testimonium has nostras litteras patentes sigilli nostri munimine roboratas dictis Fratribus duximus concedendas.
Waltero de Kurham. Gilleberto Clerico. Johanne Marescallo. Henrico de Pontefracto.
Una raccolta di storie brevi dal tema ironico-licenzioso. Il carattere goliardico delle storielle le rende un piccante e, allo stesso tempo, divertente passatempo. Storielle brevi e licenziose - Vol 1 (Italian Edition) - Kindle edition by Barbara Picci. Download it once and read it on your Kindle device, PC, phones or tablets.
Alcuni anni prima, nel , la. Costui, tuttavia, entro il 29 giugno scomparve dalla scena: non sappiamo con certezza cosa fu di lui e possiamo pensare che in quel periodo si sia ritirato a vita privata e persino che si sia schierato con il clero ribelle. In quel periodo certamente un collaboratore di Guala Bicchieri noto in Inghilterra come Laurence of S. Nicolo, descritto come rettore della Chiesa di Chesterton, fu ricompen-. Il villaggio mantenne la sua indipendenza amministrativa sino al , quando una parte di esso venne inglobata nel territorio del Comune di Cambridge.
Pressutti, 2 vols. Roma, , n. London, , ; Cambridge, Trinity College muniments ms. Box Jonathan Smith del Trinity College di Cambridge per aver collaborato alla formulazione di queste ipotesi. Guala era noto per essere un uomo intelligente e colto. Questa ipotesi sembra. Fin dal un terreno di 2,5 acri a nord della chiesa conteneva una canonica abitata dai vari procuratores. Si tratta di una costruzione squadrata, a due piani, con una torretta. Malauguratamente esistono ben pochi documenti relativi a quelle vertenze.
Al Vicar spettavano i. In questa lapide, posta nella chiesa di St. Andreae de Cestretune Elyensis diocesis, quam quidem Ecclesiam Dominus Henricus tertius rex Anglorum illustris contulit Prioratui nostro quem in honore beati Andreae construximus Vercellis. Habebit autem dictus Adam nomine Vicarie totum Altaragium integre tamen garbis exceptis, et tertiam partem Mansi pertinentis ad Ecclesiam et duas acras terrae arabilis quarum una proxima est Hysuenewenelle et extenditur versus Becheweye, et alia est in Ferfurlongo ubi Ecclesia habet quinque Rodas.
Habebit etiam novem solidos annuos de redditu Tenentium Ecclesiae quos recipiet in quatuor terminis anni per manum Custodis Ecclesiae. Ita in Membrana Nel , in coincidenza con la separazione tra St. Le trattative si protrassero per un certo periodo, ma poi si interruppero senza risultati apprezzabili. La donna era intenzionata ad. Era il Sovrano della dinastia Lancaster. Le vicende terrene della vita di Henry VI sono state ripercorse da Shakespeare.
Mary era cattolicissima e legata a Casa Savoia da vincoli di amicizia e parentela. Proprio quando la soluzione era sembrata a portata di. Da allora St. Quanto agli ecclesiastici che animarono e amministrarono il complesso abbaziale vercellese nel corso dei secoli, dobbiamo registrare una storia piuttosto complessa e travagliata. Ad essi fecero seguito i cistercensi, ma solo per pochi anni, in quanto nel il governo francese che allora domi-. Il presente lavoro non pretende certo di fornire un resoconto completo della storia della basilica.
Per approfondimenti : Bo, G. Vecchia Vercelli Vercelli, ;Bo,G. La Basilica Vercelli, ; Ordano, R. Sommario della storia di Vercelli Vercelli, ; Ordano,R. Andrea in Vercelli Vercelli, ; Verzone, P. Andrea Vercelli, Per tutto il XX secolo essi hanno pregato e operato sotto le antiche volte della basilica e nella pace mistica del chiostro.
Vincent sostiene che Guala rimase in ottimi rapporti con la Santa Sede e con il collegio dei cardinali anche dopo la conclusione della sua missione inglese e respinge la tesi di Tillmann secondo la quale Guala sarebbe stato richiamato a Roma dopo aver essere caduto in disgrazia presso la Santa Sede, o comunque dopo. Luard, 7 vols. La missione si era rivelata eminentemente politica, piuttosto che religiosa. E proprio dal punto di vista politico si era conclusa con un successo davvero. Wright, vi p. Cronologia essenziale degli eventi relativi alla missione inglese e degli spostamenti di Guala Bicchieri in Inghilterra Sappiamo che nel mese di dicembre del il cardinale si trovava a Gloucester e che probabilmente trascorse il Natale a corte, accanto al piccolo re che aveva appena perso il padre.
Tra agosto e settembre fu ospite a Windsor, presso il meraviglioso castello voluto da William the Conqueror al tempo della conquista normanna. Non abbiamo notizie precise su come trascorse il Natale del , ma in quel periodo doveva trovarsi a Northampton Edmunds, Oxford, Lewes, Wargrave e Londra. Non deve sorprendere il fatto che il legato abbia soggiornato poco nella capitale inglese. Guala, inoltre, aveva bisogno di viaggiare per occuparsi personalmen-. In generale possiamo schematizzare come segue la rete degli spostamenti di Guala:. Conosciamo solo alcune delle tappe.
Fu durante questo vertice, o forse in un momento privato tra le varie assemblee, che il legato persuase Marshal ad accettare il ruolo di reggente che King John aveva scelto per lui prima di morire. Il Papa aveva ritenuto possibile annullare il documento appellandosi al fatto che esso era stato estorto al re con la forza dai rebel barons. Contestualmente fu concessa anche la Charter of the Forest. Entrambe le leggi recavano il sigillo del legato e di William Marshal. Il 27 luglio Gaugi si arrese al re e il castello fu restituito al vescovo di Lincoln con il beneplacito di Guala.
In tale documento il cardinale sottolineava che Westminster non doveva considerare violati i suoi diritti per effetto della scelta di Gloucester quale sede della cerimonia. To Lorna Dazeley, with gratitude. Era la residenza dei canonici che amministravano St. Appartengono al Trinity College di Cambridge, che li conserva da secoli in quanto patron di St. William Bishop of Vercelli and administrator of St. Si ringrazia Jonathan Smith per la collaborazione. Nella foto prima riga in alto si legge chiaramente il nome della basilica vercellese.
Ritratto di Guala Bicchieri conservato a Chesterton. Courtesy Rev. In cuius rei testimonium presentem paginam scribi fecimus et nostri sigilli munimine roborari. Fu redatta dalla cancelleria del cardinale il 3 giugno a Howden, secondo un modello che molto probabilmente gli scrivani del legato seguivano in tutti i casi analoghi. Durham Forest Charter. Dal in poi, ogni volta che veniva riconcessa la Magna Carta parallelamente veniva riconfermata anche la Forest Charter.
Museo Leone. Cofanetto di Guala Bicchieri. Courtesy Museo Leone - Vercelli. Per gentile concessione del Presidente Amedeo Corio. Scrinium Cardinalis. I suoi antenati erano facoltosi possidenti terrieri, esponenti di spicco del Comune e delle istituzioni ecclesiastiche locali. Nel divenne cardinale con il titolo diaconale di Santa Maria in Portico.
Ingeborga di Danimarca. Poco dopo aver redatto il suo testamento il cardinale concluse la sua missione terrena. Era il 30 maggio New York U. Annales Monastici, 5 vols. Luard, H. Arborio Mella,C. Arborio Mella,E. Allen Brown, R. Bunson, M. Romano a cura di Gotico in Piemonte Torino, Il cardinale Guala Bicchieri committente e collezionista, in E. Pagella a cura di , Arte in Piemonte. Il Gotico Ivrea, Bede, History of the English Church and People trad. Sherley-Price, L. Binski, P. Bresslau, H. Pubblicazioni degli Archivi di Stato, Sussidi Roma, Thirteenth century England, Vol.
Cheney, C. The Papal Legate and English Monasteries in , vol. Chibnall, M. Ciaconius, A. Clanchy, M. Cohen, E.
Pubblicazioni degli archivi di Stato. Sussidi, 3, Roma, Contamine, Ph. Coss, Peter R. Davies, R. Domination and Conquest. Duby, G. Lo specchio del feudalesimo. Sacerdoti, guerrieri e lavoratori Roma-Bari, Documenti vercellesi collegabili ai temi del pellegrinaggio e della processione a cura di Capellino, M. Vercelli, Rymer, T. I, part. I, ed. Clark, A. New Edition, London, Fonseca, C. I Milano, Fred A. Cazel, Jr. Biblioteca Civica di Vercelli A.