While anthropology, the study of history and of religious history have devoted considerable attention to gesture, for literary studies this is mostly uncharted territory. By comparing the two oldest chansons de geste, Roland and Guillaume, this paper tries to shed some light on the ideology that underlies such texts, and that can be best described and interpreted through an analysis of gesture, as gesture directly links written texts to their performance.
The essay presents the first results of a research and of the new database (Epigraphic Database Vernacular www.edvcorpus.com/wp) which classifies inscriptions in the vernacular produced (and preserved) in Italy between the IXth and the XVth centuries, their distribution in time and space, and their functions. The catalogue constitutes a precious repository of practical texts, hitherto unpublished and often unknown, which documents uses of the vernacular in the Middle Ages and Early modern period, and the different uses of Latin and vernaculars over time in communities which moved from a diglossic situation into bilingualism.
The paper illustrates the critical method adopted by Piero Vettori as it emerges from his own remarks annotated in the margins of some printed editions, his Commentarii to the works of Greek and Latin authors. The paper examines some passages from the Ciceronian Castigationes in which Vettori does not strictly adhere to the theoretical principles often enunciated by him, but in the face of specific cases, he declares that he is not convinced of the lesson handed down by the codex optimus and he sometimes does not make any correction at all.
The essay investigates the making of I Detti memorabili di Filippo Ottonieri, one of the Operette morali, written by Leopardi in 1824. The analysis moves from the study of three important notes written by Leopardi in preparation to the composition: an index with 58 cross references to the Zibaldone, known as the Danno del conoscere la propria età; and two lesser and shorter notes. Object of the study is first of all Leopardi’s arrangement of his reflexions, the encounter of ancient and contemporary sources in the writing of his text, but also the intertextual connections between the Zibaldone and the Ottonieri: the author wishes to encourage a reappraisal of a text, the Ottonieri, which has often been judged rather negatively.
Oltre Petrarca: Vittoria Colonna da Boccaccio a Dante
Maria Serena Sapegno
Vittoria Colonna’s poetics has been based from the beginning on a re-reading of Petrarchism. Moving from that shared code, her creative path lead her through Dante’s and in part also partly Boccaccio’s texts to the Scriptures, and to elaborate a new interpretation of the lyric code as spiritual poetry.
Critical literature about the two 10th century blessings of Clermont-Ferrand has generally connected them to the pre-Christian tradition of magic therapy formulas. In the second charm, however, the mysterious protagonists highlight precise references to the Passion: the events suffered by Christ are the mythical antecedent that is evoked to verbally treat an analogous pain. The spell must be associated with the Longinussegen, the incantation to arrest bleeding, which was widespread especially in the German area.
The essay introduces the Cantare di Giusto Paladino, with particular reference to its date and circulation, and offers a possible identification for the scribe responsible for the most famous manuscript carrying the text, carried out through the study of archive materials. The essay concludes with a detailed discussion of the anonymous author his sources and the narrative materials he used.
This second part of this contribution (for the first see «Critica del testo», XX , 2) examines the correspondence held at the Mussafia Archive: its main characteristics (chronological range, type, consistency, people involved etc.), preservation issues and possible reorganization. The latter part of the essay discusses Mussafia’s correspondence with Giuseppe Valentinelli, Ernesto Monaci and François Guessard.