Oltre Spitzer: «La bellezza artistica dell’antichissima elegia giudeoitaliana
The Judeo-Italian Elegy La ienti de Sion represents one of the first well structured Italo-Romance literary monuments. Preserved in three Machzorim in Hebrew characters, it is a kinah, an elegy associated to the religious services of the ninth day of the month of Av. The language is a Jewish koiné of Central Italy with southern linguistic features. It is datable XIIIth ex.-XIVth in. The peculiarity of the work consists in its being an Italian poem on a Hebrew theme, which bends a Romance language within a Hebrew metrical form. The antiquity and originality of the text have enticed scholars’ interest since its discovery. The present contribution offers a new interpretation of it on the strength of Spitzer’s observations, attempting a stylistic examination and adopting some rhetorical reading strategies, without losing sight of the more recent critical input from Cassuto and Sullam Calimani.
Esercizi di esegesi montaliana: l’«eternità d’istante» e lo specchio
The article is a commentary of Montale’s poem La bufera. The poem is, by virtue of its title and position, fundamental for the understanding of the section Finisterre and the collection La bufera e altro. It also probably represents, taken on its own, one of the best achievements of Montale’s poetry. Therefore, analysing La bufera is to take one step further in the comprehension of Montale’s poetic world. The article focuses on the relation between the I and you of the poetic enonciation, the centrality of the «eternità d’istante» in determining the nature of that relation, and the tension between an oppressive physical chaos and the obstinate quest of a metaphysical mirror that be the hope of a persistent meeting with oneself and the other.
Les mentions du nom de Marco Polo dans les principales rédactions
du Devisement du monde
The authors discusses the role played by Marco Polo as author in the redaction of his Milione entrusted to Rustichello da Pisa. He examines the seven most important versions of the text and demonstrates they could be classed in three groups and argues that Polo gradually intervened on the text introducing a first person narrative. Therefore there probably is not a single archetype as the source of the text, but the work was in constant flux and could be defined as a work in progress.
Il canzoniere trobadorico J e il ms. Conventi Soppressi F IV 776: constitutio codicis e storia esterna The article traces the different stages and places of production of the ms. Conventi Soppressi F IV 776 of the Biblioteca Nazionale Centrale in Florence, which preserves Andrea da Grosseto’s Italian translation of Albertano da Brescia’s Latin Trattati Morali, a drafting of anonymous Fiori di Filosafi and the Occitan collection known as ms J. Moreover, the essay tries to establish a plausible terminus ante quem for the draft of ms J, by identifying its first owner.
Una prospettiva inedita per un cantare antico: le fonti scritte della
Guerra di Troia in ottava rima
Guerra di Troia is a text in ottava rima dating back at least to 1369, which shows hybrid features, that normally afforded by cantari, as well as the use of written sources. It is therefore reasonable to trace its origins back to a merchants’ atelier – where high-literature products (classics, ancient novels and chivalric romance) were adapted and made available to a new public, discovering for the first time an uncharted intellectual world.
Du nouveau sur les rédactions des Mémoires d’outre-tombe
This study provides a material and micro textual approach to some passages that are present in the only complete manuscript of Chateaubriand’s Mémoires d’outre-tombe (the copy sent to the notary Cahouet in 1847) and in the first edition of the work (Penaud 1849- 1850). An original analysis of the pagination of the manuscript sent to Cahouet, connected with the examination of a fragment published by M.-J. Durry in 1933 and later deleted, as well as the collation of the references to the revisions carried out in the text, allow us to provide some evidence of Chateubriand’s latest corrections.
L’origine del canto: Guglielmo di Saint-Thierry e Bernart de Ventadorn
The paragraph 139 of Guillaume de Saint-Thierry’s Expositio super Cantica Canticorum, a less known work in Romance studies when compared to the De natura et dignitate amoris, shows a revealing structural affinity with the first cobla of Chantars no pot gaire valer, making it possible to suggest a case of intertextuality between two remarkable testimonies of the discussion on love during the 12th century. The article reconstructs the meaning of the keyword cantare in Guillaume’s work, in relation with the idea of love caritas, and dwells upon the textual data that this work shares with the cobla, aiming to illuminate the cultural weight of the Bernart de Ventadorn’s manifesto.