In clandestinità (I narratori) (Italian Edition)

---

Pietro Alfano rated it liked it Oct 27, Mauro rated it liked it Nov 20, Roberta rated it liked it Sep 23, Stefano rated it it was amazing Oct 22, Effe rated it liked it Nov 11, Likos X rated it liked it Sep 03, Nicola Piscitelli rated it really liked it Oct 07, Michele rated it it was amazing Nov 30, Dino rated it really liked it Sep 30, Francesco Sandrelli rated it really liked it Sep 01, Adriano rated it liked it Jul 03, Ela rated it really liked it May 23, Marcello Marogna rated it it was ok Nov 15, Elena Finotto rated it it was amazing Aug 10, Ilario D'Amato rated it really liked it Jun 13, HarlockBandini rated it did not like it Jan 25, Luigi Mozzillo rated it liked it Jan 06, Delia rated it really liked it Jan 02, Michela rated it it was amazing Feb 19, Francesca rated it really liked it Jan 25, Umberto Melis rated it liked it Jun 15, If anyone should fall ill, you would be trapped there.

I am very pleased you sent back Agostino. I wish I had learned virtuous ways from you in the same way I learned to write long letters! I will say no more. May God protect you. She is perennially concerned for her workaholic husband, his obsession with amassing wealth and his nervousness, and she seeks to both solace and correct him with religious teaching.

Shop by category

It is clear that literacy and the reading from the Books of Hours go hand in hand — both for herself and young girls under their roof p. He is much older than she, a bourgeois, marrying in Avignon in his forties the sixteen-year-old wife in a family of noble exiles from Florence. They have no children between them but they raise Ginevra, his illegitimate daughter by the slave Lucia and she is married lavishly.

We know — beyond the pages of this book — that their friend, the notaio Ser Lapo Mazzei tells Datini to share the story of St. Birgitta of Sweden with her. What we have is like a Flemish interior painting of a woman with a letter, but instead with Mediterranean produce in Tuscany, a window into a full-rounded culture. Names still extant today in Florence such as Mazzei and Guadagni, are in its pages. She is both wife and competent business partner.

The Sword and the Pen. Notre Dame University Press, The interdisciplinary approach Eisenbichler takes is bold, lucid, and informed. This approach frames the study and persuasively establishes the relevance of the poets under examination. The work significantly contributes to our understanding of the dialogue that existed between learned men and literate women in sixteenth-century Siena.

Thus he reconstructs her authorial and personal portrait through historical documents, letters, and literary works dedicated to her. The political verve permeating her sonnets suggests a fierce, politically engaged spirit. By centering, on the one hand, on her poems and, on the other, on the ideological and cultural background that underpins her works, Eisenbichler affords his readers the pleasure of discovering a woman fully engaged on both the political and poetic fronts.

Italian Bookshelf and thoughtfulness that define his analysis provide an invaluable perspective on the Sienese cultural, literary, and historical landscape. By engaging in poetic discourses not only among themselves but also with their male counterparts, these women effectively re-drew the contours of the long tradition of masculine poetic dominance. Specialist and non-specialist alike owe particular thanks to him not just for breathing life into poets who share the same culture, hopes, and ideals, but also especially for translating into English their Italian poems.

Elegant, accurate, and luminous, even through implied associations, the translations capture both imagery and meanings of the original poems. Le Muse del Calvario. Angelo Grillo e la poesia dei benedettini cassinesi. Ferretti si interroga sui modelli che elargiscono materia alla lirica del monaco: Agostino, Tertulliano, Alberto Magno, Tommaso; le auctoritates contemporanee: Cesare Calderari, Basilio Zanchi, Daniele Mallonio; gli Esercizi spirituali di Ignazio de Loyola; il genere omiletico, data la valenza pedagogica della poesia spirituale post-tridentina; i cultori del genere delle lagrime: Italian Bookshelf lo splendido sonetto del poeta andaluso A la memoria de la muerte y del Infierno rielabora un testo della prima maniera grilliana Memoria del tempo Constituting selected and edited proceedings of the International Boccaccio Conference, held at the University of Massachusetts-Amherst, Boccaccio in America contains fifteen scholarly essays divided into five occasionally overlapping categories: Nevertheless a useful bibliography of primary and secondary sources does include all the references found in the various essays.

An appendix with the complete program of the International Boccaccio Conference follows the final section. In the spirit of full disclosure, I acknowledge that I have been a longtime member of the American Boccaccio Association, sponsor of the above- mentioned conference, and served for more than twenty years, starting in , as a regional representative for the organization. The first section on Boccaccio and the senses of taste, hearing, and smell follows and contains three essays: Olfactory Sensitivity in Dante and Boccacio.

Ciabattoni, on the other hand, offers a comparatively sedate study, although not necessarily more scholarly. Kleinhenz, well known for his wit and good humor, does not disappoint in the final essay of this initial trio. Devoted to the intersection of Boccaccio and Dante, the second section offers another triad of essays: The first two deal extensively with medieval manuscript traditions relative to Boccaccio and are clearly intended for specialists. Practical Philosophy in the Decameron. Migiel similarly warrants kudos for her excellent, close reading of Decameron 3.

In like manner, Shepard offers a sensitive reading of Decameron 6. The final section deals with Boccaccio and literary tradition: In conclusion, this handsomely edited volume attests to the vibrancy of Boccaccio studies in America and exemplifies one of the chief ways in which the Certaldese author will be celebrated during the septcentenary of his birth in La lingua di fuoco. Dante e la filosofia del linguaggio. In questo saggio, dal titolo La lingua di fuoco. Dietro la parola si nasconde un vissuto, che a sua volta si imprime nella parola. Per Dante, quindi, la parola non si limita a descrivere la cosa in quanto tale, ma ne esprime allo stesso tempo il sentimento che nasconde.

Idee, queste, che Dante elucida, ovviamente nel De vulgari eloquentia. Lo Spirito Santo si manifesta agli apostoli sotto forma di lingue di fuoco, e gli ascoltatori arrivati da regioni differenti si sentono annunciare la gloria di Dio, ciascuno nel suo idioma materno. Il miracolo della Pentecoste, la divisio linguarum, appare come il momento finale dopo una lunga parentesi di peccato.

Da questa affermazione, quindi, prende spunto il titolo stesso del saggio di Gambale. Desire in Dante and the Middle Ages. As set forth in the introduction, the papers were written not only by Dante specialists such as Giuseppe Ledda and Fabio Camilletti, but also by experts of other disciplines, such as art history Peter Dent and philosophy Paola Ureni , and by scholars working in other languages, such as French Bill Burgwinkle , German Almut Suerbaum and Annette Volfing and Latin Monika Otter.

Teatro di narrazione

The result is an interdisciplinary collection that focuses on the different notions of desire in the Middle Ages as seen in various fields that also encompass language, sexuality and subjectivity. Is it a losing of the self, or rather the discovery of a new and different one? Nevertheless, whatever the answer is, this experience does not remove the existence of desire itself.

In fact, even though desire can be influenced by a meeting with the Divine, it never disappears; it represents a permanent goal, more or less evident in the different texts analyzed in this first part. According to Burgwinkle, love represents for Dante a vital force, as it did for his predecessors Arnaut Daniel and Sordello. The four essays in Part 2, contributed by Peter Dent, Robert Sturges, Paola Ureni, and Marguerite Waller, concentrate on senses and intellect and on how they can be combined in order to generate desire.

Here, desire is identified as the result of a corporeal process — a process of the senses — and as something related to the field of knowledge. Finally, the five essays in Part 3 explore how desire and textuality can be linked to each other. In other words, desire and language are two inseparable entities, especially when it comes to the language of desire.

According to Southerden, Petrarch is a poet who often denies the possibility of reaching God through poetry, of being reconciled to Him. To sum up, the volume is well organized and presents a wide array of contributors with varied specializations. The collection benefits from its focus on Dante as well as on the broader medieval context. Extensive notes , a substantial bibliography , and a useful index conclude the volume.

It deals with many tales in each of the ten days, even paying attention to each of the ballads sung at the end of each day: Next, the fundamental role of ingenium needs to be associated with two other key concepts: In fact, throughout their study, the Grudins point out that just as for Cicero, so for Boccaccio, too, rhetoric is essential for the building of a well-governed society — an important observation for the proper assessment of some very long tales or long speeches within the tales. In the next ten chapters, as well as in the conclusion, the Grudins refine this succinct reading of the entire masterpiece.

For, in fact, the tales of the first nine days record and chronicle the ongoing, pervasive, overall destruction of the old order, namely, of the medieval world and life view: Creating Magnificence in Renaissance Florence. Center for Reformation and Renaissance Studies, He was known for his wealth and his patronage of building projects in Florence.

Italian Bookshelf the author relocates the origins of Florentine public discourse on magnificence by focusing on the years between , a full thirty years earlier than other scholars. He argues that Florentines were learning that magnificence was a virtue, and that this view was influenced by mendicant preachers who worked with medieval texts and who influenced wealthy patrons in guiding them in their donations for building projects.

Howard asserts that the very shape of Florence was related directly to preaching. Magnificence was a virtue of action, an action which required spending great sums of money to build imposing projects such as churches, chapels, hospices for pilgrims, hospitals and palaces that reflected the status of its leading citizens. And it was the rich and powerful who could exercise the virtue and express their wealth for the common good and the glory of God. Aristotelian aesthetics had been gradually absorbed into Tuscan culture and the language of Aquinas was appropriated for sermons.

Public speeches, including sermons defined, reinforced or created a shared culture for all the citizens, not just the privileged few or the literate. Chapter 3 explores the textual materials and doctrinal traditions preachers drew on. Paul and drew on an array of examples from the Bible and proverbs to prepare his sermons. He adopted the work as a moral guide for expressing magnificence which was voiced in the piazzas and churches. The mendicant orders depended on the generosity of their wealthy patrons and had to court them. Antoninus had to deal with issues surrounding patronage at a time when Florence was undergoing an ecclesiastical building boom.

The textual resources available to preachers allowed them to construct a theology of magnificence. Italian Bookshelf Sermons would appeal to local pride and generosity and stir the citizenry to action. Several times Howard reminds the reader that there are no written accounts of how an audience reacted to sermons.

What is lacking is what today we would call reception studies. There are, however, lists of the prominent and influential people who packed the churches to hear the sermons. Chapter 5 analyzes the Summa and its sources and the exempla that had direct references for wealthy patrons such as the Rucellai, who were in the midst of elaborate construction projects.

Antoninus excerpted material from this source, excluded references to Venice, and revised and edited the book to suit his purposes to address the needs of the Florentines. He is presented as cultural translator distilling, reclassifying, concretizing, and circulating ideas. The authority of ecclesiastical office gave power to his words. For the author, the years were the crucial decades during which a splendid Florence was created. By the end of the s, however, magnificence had ceased to be an expression of virtue and became the display of vanity against which Savonarola, another Dominican friar, preached a few decades later.

Italian Bookshelf Timothy Kircher. Living Well in Renaissance Italy: Arizona Center for Medieval and Renaissance Studies, This monograph centers — as the title suggests — on Leon Battista Alberti and particularly his views on and approaches to virtue, but does not treat Alberti in isolation. The following two chapters treat humanist friendship in Alberti Ch. The final chapter returns more specifically to the issue of irony, outlining other ways of discussing virtue in Valla and in later Florentine humanism, including Poliziano.

This learned book is valuable for a number of important features, including its close reading of a whole range of Albertian texts rather than engaging in the usual near-exclusive concentration on the Della famiglia, which has plagued Anglophone scholarship on Alberti.

It employs a considerable bibliography, including secondary sources in Italian and English to a lesser extent, also in French and German , and must be commended for offering transcriptions of the original sources both Latin and Italian , all of which are rendered into English. Alberti privileges literature and poetry vs. But the relationship of these disciplines is not altogether straightforward.

His practice of irony provided the focus on the ethical primacy of living over reading [ Italian Bookshelf particularly given that Kircher e. The answer appears to be that most humanists were enamored of booklearning, scholarship, erudition and Latinity, and saw these along with the cultivation of rhetoric as the foundation of ethics.

See a Problem?

And, if one is referring to contemporary philosophical assumptions, would it not be appropriate to discuss the stance of the scholastics, who are strangely absent from the book? After all, the range of questions outlined at the opening of Living Well 1: How is happiness attained? What is [the] importance of wealth, health, or political power? A slightly different question is one of methodology. Would their complexity not have been clearer by allowing the multiplicity of voices and possibilities to stand? Smaller points could be raised: It is a poignant reminder of the close interconnection between literature and morals, and of the value of examining the two in tandem.

This is a useful challenge to academic disciplines that tend to focus on one or the other language, without giving proper attention to their interrelationships. Italian Bookshelf but was of significant interest also to scholastics, literary men, political leaders, courtiers, and many others. New Worlds and the Italian Renaissance.

Contributions to the History of European Intellectual Culture. Brill Studies in Intellectual History. This volume brings together expanded versions of papers originally delivered at a Yale graduate conference in Twelve contributions by, for the most part, rising young scholars explore paradigmatic shifts in the intellectual climate of the Age of Discovery. Mazzotta traces the shift towards the kind of subjective individualism which has traditionally been associated with the emergence of secular modernity in the sixteenth and seventeenth centuries back to the years leading up to and immediately following the discovery of the Americas.

Civic Panegyrics of Bruni, Poggio, and Decembrio. Italian Bookshelf critics, Komorowski advances an inclusive view of civic humanism which looks beyond the narrow confines of Florentine republicanism. More than just political grandstanding, he argues, humanist panegyrics served as diplomatic missives, advertising, and petitioning for collaboration between neighboring city-states. Adroitly jumping from film criticism to literary history, from Olmi to Aretino, Leisawitz draws provocative analogies between two cultures at the crossroads of technological innovation.

The section concludes with a study by Jason Taylor that closely compares how Machiavelli and Livy each weighed the political utility of religion. The Case of Girolamo Savonarola. Like many of the contributors in this volume, Stark perceives shifts within Quattrocento humanism that anticipate the emergence of modernity a century later. The two concluding essays of the volume are literary in focus. Italian Bookshelf body of the text in their original language, pushing their translations down to the footnotes.

The sheer volume of Latin passages is overwhelming, and interrupts the flow of his otherwise fluid prose. As the editors make clear in their introduction, the papers contained within New Worlds and the Italian Renaissance offer suggestive, though not definitive approaches to study the early modern Italy.

A number of strong contributions from emerging scholars will make this an attractive volume for specialists from a variety of disciplines, and bodes well for the future of Renaissance scholarship in general. Conquista, cittadinanza e conflitto nei Discorsi sopra la prima deca di Tito Livio. Italian Bookshelf ascolto, il successo gli sarebbe stato tributato dalle opere dei repubblicani inglesi, pubblicate dopo la vittoria di Cromwell, e dal filone del pensiero illuministico francese che giunge sino a Colbert, attento a valutare la forza degli stati in base al numero dei cittadini James Wilson, firmatario della Dichiarazione di indipendenza degli Stati Uniti, nelle Lectures on Law, fece riferimento ai Discorsi, commentando le disposizioni del suo paese sulla naturalizzazione dei nuovi arrivati Quali sono le tesi machiavelliane che si discostano dalla trattatistica politica umanistica?

I letterati si affidavano alla citazione rassicurante, tratta dal Bellum Iugurthinum di Sallustio, secondo cui nella concordia i piccoli stati crescono, mentre per effetto della discordia persino i grandi decadono Invece di proseguire la tradizione teorica di Aristotele, Platone, Senofonte, Cicerone, Seneca, rompendo con il repubblicanesimo classico e gli umanisti, Machiavelli estrae il sapere pratico riposto nelle storie antiche Italian Bookshelf per la cogenza con cui ricostruisce una ricorrenza tematica e strutturale nel poema.

Italian Bookshelf questa intuizione circa la struttura del Paradiso, Priest intuisce che tutto il resto del poema procede con lo stesso ordine. Questi canti riflettono il Padre in quanto essi offrono la fondazione del regno infernale, e riflettono anche il Figlio in quanto presentano peccati corporali. Se passiamo ai canti vediamo che ira ed eresia riflettono lo Spirito.

Quindi tutta la cantica riflette la matrice trinitaria anticipata dalle tre bestie, alla base del viaggio, possiamo dire, e poi verificata alla fine del viaggio, da dove il tutto ha principio. Questo sistema si ripete per le tre cantiche, rispettando in un modo ineccepibile la natura trinitaria del poema. Per il momento posso dire che questa prima lettura mi dispone in modo positivo a valutare le prove offerte da Priest. Dobbiamo essere grati a Paul Priest per questo nobile sforzo.

The Toronto Series 7. Il libro curato da Elissa Weaver combina questi due filoni di ricerca, queste due correnti degli studi sul teatro dal Medioevo al Settecento fornendo in versione bilingue i lavori teatrali di Antonia Pulci, la prima donna autrice di sacre rappresentazioni. Attraverso una precisa ricostruzione documentaria, la studiosa prova che la famiglia originaria della scrittrice fu quella dei Tanini.

La parte introduttiva del volume si divide in varie e documentatissime sezioni: Importante anche il bel lavoro di traduzione di James Wyatt Cook che ha dovuto affrontare, aiutato dai suggerimenti della curatrice, il non facile compito di rendere in inglese la ritmatissima, a volte quasi cantilenante, ottava fiorentina. I quattro testi in questa edizione sono quelli riconosciuti come di Antonia Pulci.

Seller information

In questo finale giustamente Weaver nota i debiti con una sacra rappresentazione del marito di Antonia, Bernardo Pulci, e la sua Rapprersentazione di Barlaam e Josafat. Sempre molto acutamente, Weaver fa notare come queste storie appartengano a una cultura romanza tipica delle sacre rappresentazioni.

A cura di Sonia Maffei. Testo stabilito da Paolo Procaccioli. Moreover, considering that the great success of the Iconologia came to a sudden halt at the end of the eighteenth century but had a second and rich life beginning in , it is understandable why its originality, value, role and function have undergone many different interpretation.

Thus the close look at the authorial intentions and achievements which this edition provides should be most appreciated. The Iconologia was first published in and issued again in The second edition appeared in and has illustrations and several additions to the prose text. There were five more editions: They were all produced or supervised by the author, yet the edition included some illustrations and texts attributable to other authors.

There were 18 new posthumous editions in the seventeenth century and 15 in the eighteenth century, the last one appearing in Amsterdam in It was translated into the major European languages. Faced with this unstable situation, the decision of using the first edition as the basis for the new one seems to be the correct and the wise choice.

Thus the best option remains the one taken by Maffei and Procaccioli. Italian Bookshelf foresee was that this openness would invite interpolation and cuts on the part of the editors and publishers in the course of time. Ultimately, as Maffei maintains, the responsibility for this outcome rests not so much on the nature of the language Ripa wanted to create, but rather on the way in which he formulated it.

Maffei shows us that Ripa stands at the peak of two Renaissance trends of using symbolism and allegory, that is, a synthetic and an analytic way of representing reality, a combination perfectly achieved by his icons. The symbolic aspect is an abstract idea that can attain universal understanding through pictorial means; thus, for example, to most people a man in chains means prison or serfdom, whereas the allegorical meaning is not intuitive but can be understood through historical knowledge.

Indeed a chain can be an attribute of matrimonial obligations, of friendship, and other liaisons, but only the combination with other elements or attributes establishes its meaning. Iconologia combines several rich Renaissance trends. Another is the combination of image and words found in robust genres such as emblems, stemmas, coins, medals, and hieroglyphics, all genres that Maffei surveys with magisterial competence.

In these genres words and image complement each other, whereas in Ripa they integrate each other: Ripa, as Maffei proves, was not an expert in classical literature or art, but he drew most of his classical quotations from repertories of commonplaces. The abstract quality of the icons with their aura of antiquity was the key to the enormous success of the Iconologia, but ultimately it caused it to fall into disrepute.

That moment came when Winkelmann in an essay of wanted to demonstrate that Ripa did not merit such a high regard as an expert of ancient art; in fact he was a mediocre dilettante. Sonia Maffei — who has already written an impressive volume on Ripa Le radici antiche dei simboli. La stanza delle scritture, — takes upon herself the full responsibility to document all the aspects and problems discussed in the introductory essay, which is a lucid, brilliant examination of the work, and an extremely learned overview of the cultural context in which the Iconologia was composed.

The commentary reconstructs piece by piece the way in which Ripa found and used his learning; also, it identifies the painters and the authors who made use of his suggestions. To track down sources — especially if quoted indirectly or, even worse, wrongly — is always a difficult and laborious task, and it is an area where only great erudition can make strides. Italian Bookshelf and emblematic literature both combine images and words , not to mention her detailed knowledge of ancient and modern art.

So much erudition does not distract from her intelligent insights into problems of poetics and questions of mythology or history, which continuously surface in her commentary. Thanks to an exemplary combination of erudition and critical intelligence, Sonia Maffei brings to light the real Iconologia, its experimentation with a new language, erudition, and unique ability to appeal to a vast public for centuries to come.

The learned world can today be thankful to her for being able to read this unique work as the author intended. Much gratitude goes also to Paolo Procaccioli, an excellent philologist, who guaranties the accuracy of the text using philological judgment in making some well justified emendations and slightly updating its orthography.

NEW Il patto dei gentiluomini (Italian Edition) by Maurizio Campisi | eBay

Procaccioli provides a list and bibliographic description of all the editions published before , adding in each case indication of the world libraries where they can be consulted. Sonia Maffei creates the indexes which facilitate the consultation of this edition. We must thank the two experts who have made this miraculous revival possible. Overture to the Opera: Italian Pastoral Drama in the Renaissance. A Pastoral Play with facing English verse translations and three essays that place the two seminal works into the context of their contributions to the development of Italian opera.

The authors state in the Preface that they wanted to offer these two fundamental texts in new dual-language translations for anyone who is interested in the history of theatre, opera, entertainment, or pastoral poetry. Poliziano Angelo Ambrogini 94 was the author of the first non-religious dramatic piece in Italian theatrical literature? This work was not translated into English until by Elizabeth Bassett Welles, who used unrhymed iambic pentameter. Although Tasso claimed it was hastily written, Aminta quickly established itself as one of the masterpieces of Italian theatre of the Renaissance.

As Brand points out, pastoral drama could easily be performed with music, song and dance, and it did not need elaborate stage settings. The suspense was maintained by reports about the lovers, and the audience was further entertained by references to contemporary figures of the court. According to Andrews, both works heralded the foundation of spoken-language theatre in Europe and drama expressed through music. Aminta set the model for pastoral drama with five acts and the use of a chorus.

The pastoral format, midway between comedy and tragedy, lent itself to experimentation: The group which called itself the Florentine Camerata began to speculate on musical delivery during the performance of Greek drama, and hence spurred the innovations that led to opera. Passages from five-act plays were often set to music. Italian Bookshelf music and sung as arias.

Andrews traces the trajectory of opera through Dafne, first performed privately in and revised in , with music written by Jacopo Peri and Jacopo Corsi, to future documented operas which addressed the story of Orpheus, who would forever be linked to opera for his musical prowess. Useful footnotes explain who the speakers are and identify the mythological characters, making this translation accessible to even beginning students.

Especially successful is the rollicking and visceral translation of the Bacchantes chorus in Orfeo. The book succeeds in bringing these two important Italian works to new light, using faithful and readable facing-page translations. This dual-language edition would be useful to students of Italian and to students of translation as well as to anyone interested in the development of opera and drama. Through the informative essays and the rhyming translations that try to reproduce the lyricism of the originals, it shows how the pastoral provided a framework for the way drama could be presented on the stage, and how humanistic interest in mythology led to profane rather than religious works that could thus be considered, as the title states, overtures to the opera.

Armour and Masculinity in the Italian Renaissance. Toronto University Press, La seconda sezione invece analizza la rappresentazione di tre figure storiche di grande rilievo: Springer offre una serie di analisi di grande interesse di corazze e pitture, come la famosa rotella di Caravaggio con questa immagine evocativa: Nel testo della Pastore Passaro sono raccolte esattamente poesie suddivise in tre parti. La prima parte 73 poesie, considerando la doppia variante della numero XXVIII contiene le rime dedicate a Lucrezia Bendidio, che Tasso conobbe nel a Padova quando lui aveva diciannove anni e Lucrezia quindici.

A New Translation in Terza Rima. Every year one or more translations of the original Italian poem appears in English — without counting the numerous translations in other languages. Torrance joins the competitive race with his Italian and English parallel text edition of a new translation in terza rima. In his preface Torrance observes rightly that he views terza rima as an essential aspect of the poem, and that no poetic translation can possibly aim to be literal.

As to aids for his own translation, he cites three English versions among those he had access to, namely, those of John D. Singleton, and Carlyle-Okey- Wicksteed. As stated in his short introductory sections, Torrance makes indeed a diligent attempt at preserving the metric and rhythmic patterns of the poem by rigorously laying down ten syllables per line in an overall iambic pentameter pattern.

One of the chief differences between Italian and English is that the former lends itself to the bel canto and dolce stile thanks to its rich and short syllabic patterns, while the latter in this regard offers a parsimonious and long- patterned inventory of the same. As a result, the most conspicuous and re- sounding effect derived from these two language systems is the different way in which the morphemes and, most importantly, the phonemes in the two idioms are created and function. In the case in question, the effectiveness of terza rima appears to wear out very soon, and the reader is made to overhear the percussions, in the back of the orchestra, as it were, creep heavily into the symphonic beat generating dissonance rather than boosting it — to make use of a musical metaphor.

There are even fewer cases in the history of the English language, which fact reinforces the different language model one ought to deal with. The partial off-rhymes at the end of Canto 21, however, yield a more felicitous result. These two elements, however — the subject matter and its depiction — do not quite coalesce in the English language, and the reader is left with a rather absolute and in many respects inflexible paradigm.

Italian Bookshelf Inferno, the prosodic pattern, may be better endured within a less rigid mold that does away with the teasing rhyme and frees the meter. The Ogdoas of Alberto Alfieri. Written in fifteenth century Italy, the Ogdoas is a minor work by a lesser-known author who nevertheless shows interest in themes treated by the major humanists in their well-known works during this time: Very little is known about the author himself, but our editors provide some information about biography and context.

According to Carla P. Ann Matter, Alberto Alfieri fl. In his prologue, however, Alfieri indicates that he was born in the district of Vercelli and, thus, that he was also a Milanese citizen. Italian Bookshelf comprised of eight dialogues among the following interlocutors: Gabriele Maria has recently been executed by the French governor Boucicaut; it is his arrival in the afterlife that gives way to successive dialogues with souls from the Visconti family.

The topic of their discussions centers on the virtuous and just leader and how this conduct leads to eternal salvation. These encounters are preceded by a prologue in which Alfieri dedicates his work to Jacopo Adorno, the Consul of Caffa. The treatment of themes such as education, morality, justice, and salvation is indeed quite superficial and is generally comprised of insufficient verbal exchanges between the Visconti family members. Alfieri clearly wrote with the expectation that the family would bestow favors upon him.

Without such translations, scholarship in this field risks becoming limited and biased, and so the inclusion of minor works in this corpus is welcome. Moreover, it sheds light on the differences with which humanists approached humanistic ideals and on the biases humanists had towards certain powerful families of the Renaissance. The Ogdoas is, in fact, more effective and convincing as a historical account of fifteenth-century colonialism than it is as a philosophical or moral discussion on education and civic virtue.

We offer combined postage for additional items at no extra charge. If you buy more than one items, the total shipping cost will only be highest shipping cost among all your purchased items. To combine postage, after adding all the items in your shopping cart, please send us a message to request for combined invoice.

Please do not pay before receiving the combined invoice otherwise eBay will charge multiple Shipping and Handling fees. Please allow 5 to 10 working days for dispatch, unless otherwise stated in the listing. However, in most cases we can dispatch the item considerably quicker. Items can only be delivered to the address associated with your PayPal account so please double check that the delivery address is correct before completing the PayPal payment.

Please choose carefully as AusReseller does not accept return of goods if you change your mind or made a wrong decision. AusReseller will accept goods for return if the goods are found to be defective or of unacceptable quality. You are entitled to a replacement or refund for a major failure and compensation for any other reasonably foreseeable loss or damage. You are also entitled to have goods repaired or replaced if the goods fail to be of acceptable quality and the failure does not amount to a major failure.

Please refer to the ACL official website for details. For any questions, feel free to contact us.

• Digiheaven
• Coeur Cerise - Tome 1 (GF CATH CASSIDY) (French Edition)
• Darwins Pharmacy: Sex, Plants, and the Evolution of the Noosphere (In Vivo)
• The Adventurous Seven Their Hazardous Undertaking
• Paper Tiger
• (Nana sen de batto o katte) (Japanese Edition)
• Should We Change Our Game Plan?: From Traditional or Contemporary to Missional and Strategic