Critica del testo. XIX/1,2016.

Testata: Critica del testo • Anno di pubblicazione: 2016
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pp. 292, ISBN: 9788867287383
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Nuove ricerche sull’Aspramonte quattrocentesco in ottave
Antonella Negri

Marco Boni in 1963 compiled a catalogue of the various editions of the Aspramonte. No further studies have focused on the poem, even though it is one of the most important in the Carolingian tradition. The present essay brings to light four new editions of Aspramonte, which were not included in Boni’s catalogue and focuses on a 1547 Ferrara edition, which is not mentioned either in Boni or in current bibliography. The text of the sixteenth-century editions of Aspramonte counts twenty-four cantos, for a total of approximately twenty thousand verses. No modern editions of the Aspramonte are yet available.

Sulla tradizione manoscritta del Judici d’amor di Raimon Vidal. Le testimonianze parziali di LN e l’apporto dei frammenti
Giuseppe Tavani

In preparation for a critical edition of the Judici d’amor by Raimon Vidal, the author re-examines through comparison the three most important manuscripts relating the work: R the most complete of the three, as well as the two partial testimonies L, N. The author argues that to establish the text it is necessary to consider also two of the fragmets of the work, r and a1 and argues the unreliability of the third fragment, a2, which consequently should be disregarded.

Le traduzioni nel Saggio sopra gli errori popolari degli antichi (1815)
Elisabetta Brozzi

Leopardi’s essay Saggio sopra gli errori popolari degli antichi is based on a constant dialogue between the original texts and their translation. The young Leopardi in presenting this essay said that he attached to his translations of Greek and Latin authors direct quotations of the original texts in order to allow readers to verify personally the quality of his work. The present essay discusses the nature of Leopardi’s translations and the reasons for the different treatment of Greek and Latin authors – the former being normally presented without quotations of the original texts. The author argues that at the roots of this choice sit Leopardi’s intention of reproducing l’illusione antica.

Lontano da dove? Tradizioni culturali e coscienza linguistica in Europa
Nadia Cannata

The article discusses the relationship between historical lin- guistics and textual criticism in relation to the making in Europe of national linguistic identities, with particular reference to Italy. Since no major European language lacks a written tradition (a process which preserves language by altering its nature) historical linguis- tics should consider as a direct object of study also the processes through which languages acquired a written form – the very form which, in turn, enabled individual languages to function as symbols of cultural identity of multilingual cultural areas.

Note sulla tradizione dei volgarizzamenti italiani del Livre de Sydrac
Patrizia Serra

This paper explores the manuscript tradition of The Book of Sydrac, an Old French encyclopedic text of the 13th century, extremely popular in the Middle Ages. It suggests a new criterion for classification of the Italian translations of Sydrac, based not only on the different order of the questions, but also on the analysis of the varia- tions of the macro-textual structure.

Les arcs et les èches d’Amour chez Guillaume de Lorris
Pierre-Yves Badel

As Marc-René Jung showed in his work Études sur le poème allégorique, the poems in the Métamorphoses which describe how Cupid took his revenge on Apollo by arousing in him a passion that Daphne refused to satisfy, so fascinated the poets of oc and oïl that they reused the theme of the arrows of desire that produced the opposite effect, even though they did not agree with the fin’amor. The reuse of the Ovidian theme by Guillaume de Lorris distinguishes itself from its predecessors or contemporaries to the extent that by using the narrative thread of the «mystery» (v. 1600) of hideous arrows, he tends more than them to neutralise the opposition between the two kinds of arrows.

L’allégorie amusante ou le délicat équilibre du didactique et de l’humoristique
Alain Corbellari

Allegory and humor have as a common point to constitute a form of displacement. Indeed, the first examples of narrative allegories in French, before the Roman de la Rose, contain quite a few elements of humour. Their authors were close to scholarly culture, and were aware of the oddity of staging personi cations that are always at risk of falling into contradictions or redundancy, or even the grotesque, as Eric Hicks described it. The Roman de la Rose itself, including the section attributed to Guillaume de Lorris, is more generous that one may think when it comes to the use of ironical gures of speech directed towards the system it is illustrating.

Le macchie lunari e la questione femminile
Raffaele Pinto

The article moves from the interpretation of the gure Jean de Meun reads in the shadows on the moon, which is related to his averroism and misoginism, according to which the feminine matter is opposed to the masculin and has to be subjugated by it. In Convivio Dante agrees with such vision, and links lunar shadows with linguistic change, as an expression of the natural and feminine component of language. In the Comedy, Dante reconsiders the issue from a neoplatonic and tomistic perspective, celebrating the feminine as a necessary counterpart to the masculin in the order of the universe.

Qualche riflessione sul Fiore
Luciano Formisano

The recent discussions about the Fiore reopened a question which invites to consider issues not directly related to the actual text, but rather to reconsider other data such as the internal signature, the mentioning of the murder of Siger of Brabant or Federico da Porto’s testimony. Among the “internal” arguments some relevance must be granted to the sequence Rose – FioreComedia especially if seen in connection with the common source of both Fiore and Commedia. As for the composition of the Fiore in France, it con icts with what is currently known about Dante’s biography. It is rather signi cant that scholars show some difficulty in acknowledging the link between Fiore and Detto d’Amore a fact which strengthens the impression that the quaestio becomes more problematic when seen outside of the perspective of Dante’s experimentalism.