Critica del testo. XVIII / 1, 2015.

Testata: Critica del testo • Anno di pubblicazione: 2015
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pp. 268, ISBN: 9788867284832
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Su un’inedita “libera riduzione” di Stefano D’Arrigo: Il compratore di anime morte
Daria Biagi

Su un’inedita “libera riduzione” di Stefano D’Arrigo: Il compratore di anime morte
The Archivio Contemporaneo of the Gabinetto Vieusseux, preserves the hitherto unknown and unpublished typescript of a novel entitled Il compratore di anime morte, a free interpretation of the famous poem by Gogol Mërtvye duši (1842) which D’Arrigo enacts in 1860s Sicily. The article discusses the relationship between the source and D’Arrigo’s novel on the basis of the translation he used and the role played by the novel in D’Arrigo’s production.


Nuove acquisizioni sul Pergaminho Vindel (New York, Pierpont Morgan Library ms. 979)
Simone Marcenaro

Nuove acquisizioni sul Pergaminho Vindel (New York, Pierpont Morgan Library ms. 979)
This article discusses new data resulting from the direct examination of ms. 979 (New York Pierpont Morgan Library), also known as “Pergamiño Vindel”. It collects seven cantigas de amigo composed by the Galician troubadour Martin Codax (mid-13th century) and undoubtedly represents an artifact of considerable importance for the tradition of Galician-Portuguese lyric, as one of the very few extant examples of Liederblatt. While recent studies have refuted the possibility advanced by previous scholars that ms. 979 could have originally been a rotulo, new evidence emerging from this research supports the hypothesis that the manuscript – a bifolio initially designed for independent circulation – was bound into a larger volume at an unknown moment in the tradition. On the basis of these observations, Gröber’s notions of Liederblätter and especially Gelegenheitsammlungen are investigated against the backdrop of Galician- Portuguese tradition. Finally, the author amends the stemma codicum of Martin Codax’s poems.


I tre imitatori della canzone Bon’aventura don Dieus d’Elias de Barjols (BdT 132,6): Lo Vesques de Clermont Dalfin d’Alvernha, Oliver de la Mar
Giorgio Barachini

I tre imitatori della canzone Bon’aventura don Dieus d’Elias de Barjols (BdT 132,6): Lo Vesques de Clermont, Dalfin d’Alvernha, Oliver de la Mar
The article discusses the three coblas BdT 95,3; 119,4; 311,1. It proposes new dates and new identifications for the people mentioned in them. As regards BdT 95,3 and 119,4 – on the basis of new archival evidence as well as the reappraisal of old documents – the author suggests a new date (1220-1224) and an interpretation in a sexual perspective of its contents.


«Le due di queste cagioni». Nota per il restauro d’un luogo del Convivio
Lorenzo Mainini

«Le due di queste cagioni». Nota per il restauro d’un luogo del Convivio
At the beginning of Convivio Dante defines his public and the subject of his treatise. Cv. I, I, 5, a central passage for the understanding of Dante’s authorial intentions , is however corrupted by a lacuna. The integration traditionally accepted does not seem entirely satisfactory. Based on internal elements of the text and with the purpose of harmonizing the incomplete fragment with the rest of the incipit, the paper proposes a new integration.


Graziadio Isaia Ascoli nei carteggi con colleghi e allievi letterati
Amedeo Benedetti

Graziadio Isaia Ascoli nei carteggi con colleghi e allievi letterati
The essay reconstructs important episodes of Graziadio Isaia Ascoli’s biography and aspects of his scientific work through the unpublished correspondence he entertained with men of letters and literary historians such as Ruggiero Bonghi, Cesare Cantù, Giosuè Carducci, Domenico Comparetti, Alessandro D’Ancona, Francesco D’Ovidio, Vigilio Inama, Ernesto Monaci, Ernesto Giacomo Parodi, Pio Rajna.


Scataglini e il canone poetico del secondo Novecento
Roberto Antonelli

Scataglini e il canone poetico del secondo Novecento
Through the analysis of the arrangment of the most important anthologies dedicated to XXth c. Italian poetry, the author remarks how literature written in a dialect (as opposed to dialectal literature) has been gaining importance as a constituive part of Italian and European literature. From this point of view Scataglini is of great importance for the linguistic quality of his “invented” dialect, which appears “translatable”, more than that of other great poets and marked by the search for roots («an die Würzel der Dinge gehen»), as is the case of the greatest Novecento poetry. For this reason as well, Scataglini is a classic of contemporary literature.


Scataglini e il giardino della lingua
Antonio Prete

Scataglini e il giardino della lingua
The essay discusses Scataglini’s poetry and some of its most recurrent figures: apparition, memory, lightness. It also investigates issues of poetic translation and invention, popular language and musical language and the place of the Rose in the garden of language, from locus amoenus to the tragic.


Per Olimpo da Sassoferrato: sinopie di un’antologia
Annie Fantasia, Tiziana Mattioli

Per Olimpo da Sassoferrato: sinopie di un’antologia
The article studies the sources of Scataglini’s edition of the Madrigali e altre poesie d’amore, by Olimpo degli Alessandri, originally lacking any indication as to the texts used. The research also suggests that Scataglini’s aim was to disrupt the original sequence of the poems and to correct his language according to a criterion of archaicisation, counterbalanced by modernization and normalization. This seems coherent with the linguistic choices he made in his E per un frutto piace tutto un orto, the poetic collection published in 1973.


Scataglini e Guillaume de Lorris
Pietro G. Beltrami

Scataglini e Guillaume de Lorris
Although in his La Rosa Franco Scataglini freely reworked the beginning of the Roman de la Rose, it is still possible to identify the editions he used. In the first section of this paper I give a survey of verses by which I prove that the poet worked on more than a single text, in the second section I make some remarks about the poetic, rhetorical and metric features of La Rosa: Scataglini is inclined to make the allegorical and symbolic side of the French poem explicit, and to emphasize the pathetic element. As for the choice of the couplets of settenari instead of novenari, I believe it agrees with Scataglini’s own poetic style.


Franco Scataglini: un poeta romanzo. Dalla Rose alla Rosa
Monica Longobardi

Franco Scataglini: un poeta romanzo. Dalla Rose alla Rosa
The essay analyses the memory of Provençal poetry in Scataglini’s poetry as well as the tecniques he employed for his rewriting of the Rose. The author identifies for the first time the tecniques through which he “translates” rhymes and in general the rhetorical devices in his source, and how he elaborates through them his original poetic invention.