Raimon, who composed in the second half of the twelfth century and into the beginning of the thirteenth century, sends the song as his messenger to the king of Aragon. Raimon thereby imbues his song with speech, mobility, and agency, human characteristics that transform the song from what seems like an outward expression of Raimon’s inner feelings to a personified entity in itself. Through the enactment of its tornada (a half-stanza that occurs at the end of troubadour songs) the song moves out of Raimon’s body via his singing voice toward a second figure (that of his patron). Much scholarship exists on the troubadour lyric corpus, thanks to its status as the earliest such corpus in a Romance language; it provides insight into the roles men and women played in Occitan courtly society, and marks the beginning of a tradition of romantic secular lyric poetry that continues in later contexts. Scholars in musicology and comparative literature alike have produced
{"title":"Song Personified: The Tornadas of Raimon de Miraval","authors":"A. Levitsky","doi":"10.1353/MDI.2018.0001","DOIUrl":"https://doi.org/10.1353/MDI.2018.0001","url":null,"abstract":"Raimon, who composed in the second half of the twelfth century and into the beginning of the thirteenth century, sends the song as his messenger to the king of Aragon. Raimon thereby imbues his song with speech, mobility, and agency, human characteristics that transform the song from what seems like an outward expression of Raimon’s inner feelings to a personified entity in itself. Through the enactment of its tornada (a half-stanza that occurs at the end of troubadour songs) the song moves out of Raimon’s body via his singing voice toward a second figure (that of his patron). Much scholarship exists on the troubadour lyric corpus, thanks to its status as the earliest such corpus in a Romance language; it provides insight into the roles men and women played in Occitan courtly society, and marks the beginning of a tradition of romantic secular lyric poetry that continues in later contexts. Scholars in musicology and comparative literature alike have produced","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"64 1","pages":"17 - 57"},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81947480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dante's Ballata: The Personification of Poetry and the Authority of the Vernacular in the Vita Nuova","authors":"Martin G. Eisner","doi":"10.1353/MDI.2018.0010","DOIUrl":"https://doi.org/10.1353/MDI.2018.0010","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"63 1","pages":"299 - 318"},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90470797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his biographical account of famous Greeks and Romans (ca. 100–120), Plutarch reveals a competitive aspect of the Roman triumph: a military procession in which a victorious, laureled general enters the city on a chariot led by his captives. While Romulus celebrated his triumph on foot, Plutarch notes, the Etruscan kings proceeded in a chariot drawn by four white horses. Not to be outdone, Pompey went so far as to attempt to ride into Rome on a chariot pulled by four elephants. He could not fit the elephants through the gates, however, and had to settle for the customary outfit of a horse–drawn chariot. Plutarch’s account of these sequential, progressively more elaborate processions into the city suggests that the Roman triumph operated in ancient Rome as an exercise in allusive rivalry. Victors authorized their triumphs by placing them in the context of previous triumphal processions, meanwhile striving to outperform their predecessors by riding into Rome on even grander mounts. As Mary Beard explains, it was “part of the history of the triumph to be judged against, to upstage or be upstaged by, the triumphs of predecessors and rivals.” This allusive rivalry carried over into poetic descriptions of military triumphs, which would often include a statement of superiority over previous authors or processions, with the poet suggesting in some cases that other writers are prisoners in his personal triumph. This function of the triumph has its roots in antiquity. Describing his muse’s chariot riding forth in victory, for example, Propertius draws on features of the triumph to suggest the superiority of his elegiac subject over poems and poets of war:
{"title":"Triumphing over Dante in Petrarch's Trionfi","authors":"Leah Schwebel","doi":"10.1353/MDI.2018.0003","DOIUrl":"https://doi.org/10.1353/MDI.2018.0003","url":null,"abstract":"In his biographical account of famous Greeks and Romans (ca. 100–120), Plutarch reveals a competitive aspect of the Roman triumph: a military procession in which a victorious, laureled general enters the city on a chariot led by his captives. While Romulus celebrated his triumph on foot, Plutarch notes, the Etruscan kings proceeded in a chariot drawn by four white horses. Not to be outdone, Pompey went so far as to attempt to ride into Rome on a chariot pulled by four elephants. He could not fit the elephants through the gates, however, and had to settle for the customary outfit of a horse–drawn chariot. Plutarch’s account of these sequential, progressively more elaborate processions into the city suggests that the Roman triumph operated in ancient Rome as an exercise in allusive rivalry. Victors authorized their triumphs by placing them in the context of previous triumphal processions, meanwhile striving to outperform their predecessors by riding into Rome on even grander mounts. As Mary Beard explains, it was “part of the history of the triumph to be judged against, to upstage or be upstaged by, the triumphs of predecessors and rivals.” This allusive rivalry carried over into poetic descriptions of military triumphs, which would often include a statement of superiority over previous authors or processions, with the poet suggesting in some cases that other writers are prisoners in his personal triumph. This function of the triumph has its roots in antiquity. Describing his muse’s chariot riding forth in victory, for example, Propertius draws on features of the triumph to suggest the superiority of his elegiac subject over poems and poets of war:","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"29 1","pages":"113 - 89"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75462167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Petrarch is many things to many people, but one thing on which we generally agree is that he is diffuse. This is especially clear compared with the usual account of Dante as an orthodox and rigorous—one might say, rigid—thinker; in contrast, Petrarch fits neatly into his assigned role as anti-Dante: modern as against medieval, lyric as against epic, relativist as against absolutist. Yet many of Petrarch’s apparent self-contradictions can be shown to be purposeful gestures that illuminate the poet’s philosophical instability less than his rhetorical sophistication. In what follows, I will apply this principle to the case of Petrarch’s political canzoni, suggesting that these three poems compose a kind of narrative within the larger economy of the Rime, a narrative in which the chief point at issue is the ability of the poet-narrator to exercise his putative public function of moral suasion unto virtue. The manner in which he conducts this rhetorical narrative brings him into remarkably close alignment with Dante, and his conclusion, while still partial in the context of the Rime, gestures in a very Dantean direction, implying the exchange of human rhetoric for divine. Let us begin by rehearsing the case for Petrarch’s incoherence. To call the Rerum vulgarium fragmenta “fragmentary” is to remark upon the defining feature of the text. It begins by suggesting a narrative in the confessional mode, then systematically refuses to submit to the narrative’s demands. Whether in the misleading and obscure chronological relationships between individual poems, the instability of the lyric io that reduces potentially sanctifying progress to errancy, or the mere fact that one must stop reading and begin anew some 365 times in order to make it through, Petrarch’s Rime seem to reject the very possibility of organizing his experience into a cohesive
{"title":"Fragmentational Poetics: Staging the Crisis of Oratory in Petrarch's Political Canzoni","authors":"J. S. Pastor","doi":"10.1353/MDI.2018.0002","DOIUrl":"https://doi.org/10.1353/MDI.2018.0002","url":null,"abstract":"Petrarch is many things to many people, but one thing on which we generally agree is that he is diffuse. This is especially clear compared with the usual account of Dante as an orthodox and rigorous—one might say, rigid—thinker; in contrast, Petrarch fits neatly into his assigned role as anti-Dante: modern as against medieval, lyric as against epic, relativist as against absolutist. Yet many of Petrarch’s apparent self-contradictions can be shown to be purposeful gestures that illuminate the poet’s philosophical instability less than his rhetorical sophistication. In what follows, I will apply this principle to the case of Petrarch’s political canzoni, suggesting that these three poems compose a kind of narrative within the larger economy of the Rime, a narrative in which the chief point at issue is the ability of the poet-narrator to exercise his putative public function of moral suasion unto virtue. The manner in which he conducts this rhetorical narrative brings him into remarkably close alignment with Dante, and his conclusion, while still partial in the context of the Rime, gestures in a very Dantean direction, implying the exchange of human rhetoric for divine. Let us begin by rehearsing the case for Petrarch’s incoherence. To call the Rerum vulgarium fragmenta “fragmentary” is to remark upon the defining feature of the text. It begins by suggesting a narrative in the confessional mode, then systematically refuses to submit to the narrative’s demands. Whether in the misleading and obscure chronological relationships between individual poems, the instability of the lyric io that reduces potentially sanctifying progress to errancy, or the mere fact that one must stop reading and begin anew some 365 times in order to make it through, Petrarch’s Rime seem to reject the very possibility of organizing his experience into a cohesive","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"8 1 1","pages":"59 - 87"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85485321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cobbling Together the Lyric Text: Parody, Imitation, and Obscenity in the Old Occitan Cobla Anthologies","authors":"C. Wells","doi":"10.1353/MDI.2018.0005","DOIUrl":"https://doi.org/10.1353/MDI.2018.0005","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"29 1","pages":"143 - 183"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76387348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I would like to introduce the topic of this essay with a somewhat counterintuitive question: Is language like music? What may appear counterintuitive is the order in which the terms of the comparison are introduced. So formulated, the question suggests the possibility of a musical theory of language based on the idea that music provides a modeling framework to analyze and describe salient properties of language. For decades, especially after the linguistic turn in the humanities, scholars have often asked the opposite question: Is music like language? In an attempt to unlock the enigma of musical signification, we have turned to semiotics and linguistics, looking for structural similarities between language and music while probing the sound interface between structure and meaning. It is natural for us to accept the idea that music must function like language, that sound structures should be reducible to a musical syntax reflecting deep-seated correspondences between language and music. My intention here is not to praise or refute the claims of this linguistic model, a model that to some extent had an important precedent in the classical tradition that linked music to rhetoric. More simply, I would like to draw attention to what is by now a less familiar way of thinking about language, one that assumes that on some level language in general, and poetry in particular, relies on musical procedures to communicate information. This is an important dimension of Renaissance theories of language, starting of course with Pietro Bembo. It was a view of language that was less concerned with establishing syntactical parallels between music and language and more interested in exploring and exploiting the role that sound effects play in the construction of meaning. It was the aural dimension of language, its ability to reinforce meaning and engender emotional pleasure through the sense of hearing, that provided the impetus
{"title":"Music of Words and Words in Music: The Sound of Gravità in the Italian Madrigal","authors":"G. Gerbino","doi":"10.1353/MDI.2018.0008","DOIUrl":"https://doi.org/10.1353/MDI.2018.0008","url":null,"abstract":"I would like to introduce the topic of this essay with a somewhat counterintuitive question: Is language like music? What may appear counterintuitive is the order in which the terms of the comparison are introduced. So formulated, the question suggests the possibility of a musical theory of language based on the idea that music provides a modeling framework to analyze and describe salient properties of language. For decades, especially after the linguistic turn in the humanities, scholars have often asked the opposite question: Is music like language? In an attempt to unlock the enigma of musical signification, we have turned to semiotics and linguistics, looking for structural similarities between language and music while probing the sound interface between structure and meaning. It is natural for us to accept the idea that music must function like language, that sound structures should be reducible to a musical syntax reflecting deep-seated correspondences between language and music. My intention here is not to praise or refute the claims of this linguistic model, a model that to some extent had an important precedent in the classical tradition that linked music to rhetoric. More simply, I would like to draw attention to what is by now a less familiar way of thinking about language, one that assumes that on some level language in general, and poetry in particular, relies on musical procedures to communicate information. This is an important dimension of Renaissance theories of language, starting of course with Pietro Bembo. It was a view of language that was less concerned with establishing syntactical parallels between music and language and more interested in exploring and exploiting the role that sound effects play in the construction of meaning. It was the aural dimension of language, its ability to reinforce meaning and engender emotional pleasure through the sense of hearing, that provided the impetus","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"180 1","pages":"251 - 273"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77102529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
High Renaissance Venice: a lavish, cosmopolitan city at the peak of its economic, cultural, and artistic opulence, stretching in an intricate architectural “maze” of palaces, alleys, and canals where—as remarked by Feldman (XVII, 3)—the most heterogeneous social classes coexisted in a prosperous, harmonious contiguity. From this splendid urban space in the fall of 1554, Cassandra Stampa, in her dedicatory epistle to Giovanni Della Casa that opens the posthumous book of her sister Gaspara Stampas’s Rime, wrote the following:
{"title":"\"Free to Sing My Liberty\": Weaving and the Construction of the Literary Self in Gaspara Stampa and Louise Labé","authors":"Olimpia Pelosi","doi":"10.1353/MDI.2018.0004","DOIUrl":"https://doi.org/10.1353/MDI.2018.0004","url":null,"abstract":"High Renaissance Venice: a lavish, cosmopolitan city at the peak of its economic, cultural, and artistic opulence, stretching in an intricate architectural “maze” of palaces, alleys, and canals where—as remarked by Feldman (XVII, 3)—the most heterogeneous social classes coexisted in a prosperous, harmonious contiguity. From this splendid urban space in the fall of 1554, Cassandra Stampa, in her dedicatory epistle to Giovanni Della Casa that opens the posthumous book of her sister Gaspara Stampas’s Rime, wrote the following:","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"10 1","pages":"115 - 141"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84207559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
MS Riccardiano 1088 is a paper codex of seventy folios, dated between the end of the fourteenth century and beginning of the fifteenth, and conserved in Florence in the Biblioteca Riccardiana. It is a miscellaneous manuscript that preserves a redaction of Francesco Petrarca’s canzoniere (in the Malatesta form). The copyist starts transcribing Petrarch’s poems in two columns, the odd lines on the left and the even lines on the right, with the significant exception of the sestinas, which are copied in a single column on folios 17r, 20r-v, and 25v. After folio 26v, a sudden change of pen, ink, and layout occurs. Halfway through his transcription of the canzoniere, the copyist leaves a dramatic testimony of his scribal resolutions. From now on, as he tells the readers on folio 27r, he will discontinue the practice of following different layouts for different metrical genres, distancing himself from Petrarch’s conventions as we know them from his partially autograph manuscript of the Rerum vulgarium fragmenta (henceforth RVF): MS Vat. Lat. 3195. Instead, the copyist will uniformly transcribe poems of any type in the same format, one verse per line, proceeding vertically: “Non mi piace di piu seguire discriuere nel modo cheo tenuto da quinci adietro cioe di passare daluno colonello alaltro, ançi intendo di seguire giu p(er) lo cholonello tanto che si co(m)pia la chançone o sonetto chesia [I don’t wish to continue writing the same way I have done so far, that is, switching from one column to the other. Instead, I plan on writing down one column until either the canzone or sonnet is complete].” An urge for standardization and simplicity here replaces a more philological approach to the mise-en-page of the exemplar and Petrarch’s authorial (and authoritative) editorial decisions. In this essay, I explore Petrarch’s material treatment of the poetic genre of the sestina (with the exclusion of the sestina doppia, RVF 332) in the autograph of the RVF: the aforementioned MS Vat. Lat. 3195. I outline how
《MS Riccardiano 1088》是一份70对开本的纸质手抄本，日期在14世纪末到15世纪初，保存在佛罗伦萨的Riccardiana Biblioteca。这是一份杂项手稿，保留了弗朗西斯科·佩特拉卡(Francesco Petrarca)的《canzoniere》(Malatesta形式)的修订版。抄写员开始分两栏抄写彼特拉克的诗，左边是奇数行，右边是偶数行，只有一个明显的例外，那就是在对开本17r, 20r-v和25v的一栏抄写。在folio 26v之后，笔、墨水和排版发生了突然的变化。抄写员在抄写canzoniere的过程中，留下了他的抄写决心的戏剧性见证。从现在起，正如他在对开本27r告诉读者的那样，他将不再为不同的格律流派遵循不同的布局，将自己与彼得拉克的惯例拉开距离，因为我们知道他们来自他部分亲笔签名的手稿《平凡之物》(以下简称RVF): MS Vat。Lat。3195。相反，抄写员将统一地以相同的格式抄写任何类型的诗歌，每行一节，垂直地进行:“Non mi place di piu seguire discriere nel modo cheo tenuto da quinci aditro cioe di passare daluno colonello alaltro, ani intendo di seguire giu p(er) lo cholonello tanto chesi co(m)pia la chanone o sonetto chesia(我不希望继续以我迄今为止所做的方式写作，即从一栏切换到另一栏。相反，我打算写一个专栏，直到赞美诗或十四行诗完成为止。”在这里，对标准化和简单性的强烈要求取代了对范例和彼特拉克的作者(和权威)编辑决定的页内格式的更语言学的方法。在这篇文章中，我探讨了Petrarch在RVF的签名中对sestina诗歌类型的材料处理(排除了sestina doppia, RVF 332):前面提到的MS Vat。Lat。3195。我将概述如何
{"title":"Visual Discourse in Petrarch's Sestinas","authors":"Francesco Marco Aresu","doi":"10.1353/MDI.2018.0006","DOIUrl":"https://doi.org/10.1353/MDI.2018.0006","url":null,"abstract":"MS Riccardiano 1088 is a paper codex of seventy folios, dated between the end of the fourteenth century and beginning of the fifteenth, and conserved in Florence in the Biblioteca Riccardiana. It is a miscellaneous manuscript that preserves a redaction of Francesco Petrarca’s canzoniere (in the Malatesta form). The copyist starts transcribing Petrarch’s poems in two columns, the odd lines on the left and the even lines on the right, with the significant exception of the sestinas, which are copied in a single column on folios 17r, 20r-v, and 25v. After folio 26v, a sudden change of pen, ink, and layout occurs. Halfway through his transcription of the canzoniere, the copyist leaves a dramatic testimony of his scribal resolutions. From now on, as he tells the readers on folio 27r, he will discontinue the practice of following different layouts for different metrical genres, distancing himself from Petrarch’s conventions as we know them from his partially autograph manuscript of the Rerum vulgarium fragmenta (henceforth RVF): MS Vat. Lat. 3195. Instead, the copyist will uniformly transcribe poems of any type in the same format, one verse per line, proceeding vertically: “Non mi piace di piu seguire discriuere nel modo cheo tenuto da quinci adietro cioe di passare daluno colonello alaltro, ançi intendo di seguire giu p(er) lo cholonello tanto che si co(m)pia la chançone o sonetto chesia [I don’t wish to continue writing the same way I have done so far, that is, switching from one column to the other. Instead, I plan on writing down one column until either the canzone or sonnet is complete].” An urge for standardization and simplicity here replaces a more philological approach to the mise-en-page of the exemplar and Petrarch’s authorial (and authoritative) editorial decisions. In this essay, I explore Petrarch’s material treatment of the poetic genre of the sestina (with the exclusion of the sestina doppia, RVF 332) in the autograph of the RVF: the aforementioned MS Vat. Lat. 3195. I outline how","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"112 1","pages":"185 - 215"},"PeriodicalIF":0.0,"publicationDate":"2018-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90658396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The role of Boccaccio as scribe and editor, and in particular as editor of Dante’s works, has been extensively studied in the last decades. Through his editorial practices, Boccaccio was able to define a turning point in the tradition of Dante’s oeuvre: with his books and his commentary, in a certain sense, Boccaccio gave birth to modern Dantean philology. He influenced both the textual and the material aspects of the tradition derived from the works he copied. Much attention has been given to Boccaccio’s Dantean anthologies (Toledo, Archivo y Biblioteca Capitulares, Zelada 104.6; Florence, Biblioteca Riccardiana, 1035; Vatican City, Biblioteca Apostolica Vaticana, Chigiano L V 176 and Chigiano L VI 213), in which he copied fifteen canzoni, the Commedia, and the Vita nuova (which is not in the Riccardiano), along with his Vita di Dante (not in the Riccardiano) and the Argomenti in Terza Rima introducing the Commedia. In this essay, I focus on the Vita nuova, for which Boccaccio’s intervention is remarkable because it strongly shaped the reception of Dante’s work, due to the compelling implicit and explicit arguments that Boccaccio conveyed through the copies contained in the Toledo and the Chigi anthologies. I will first explore the dialectics among author, editor, scribes, and readers, and how these are reflected in explicit reactions to Boccaccio’s edition, as some notes added by copyists reveal. Then, in the second part of the essay, I will investigate the structure of a fifteenth-century manuscript whose selection of texts is a perfect example of a divergent reception of Boccaccio’s ideas on Dante. The most famous feature of Boccaccio’s edition of the Vita nuova is the placing of the divisioni in the margins. Boccaccio himself discusses this layout in the note Maraviglierannosi that appears on the first page of both of his transcriptions:
薄伽丘作为抄写员和编辑的角色，尤其是但丁作品的编辑，在过去的几十年里得到了广泛的研究。通过他的编辑实践，薄伽丘能够定义但丁作品传统的一个转折点:在某种意义上，薄伽丘通过他的书和他的评论，催生了现代但丁文献学。他对他所复制的作品的文本和材料方面的传统都产生了影响。薄伽丘的但丁选集(托莱多，档案馆和图书馆，塞拉达104.6;佛罗伦萨，里卡迪纳图书馆，1035;梵蒂冈城，梵蒂冈宗座图书馆，Chigiano L V 176和Chigiano L VI 213)，其中他复制了15个canzoni, Commedia和Vita nuova(不在李嘉图诺中)，以及他的Vita di Dante(不在李嘉图诺中)和Argomenti在Terza Rima中介绍了Commedia。在这篇文章中，我把重点放在《新生》上，薄伽丘的介入是值得注意的，因为它强烈地塑造了对但丁作品的接受，由于薄伽丘通过托莱多和奇吉选集的副本传达了引人注目的隐含和明确的论点。我将首先探讨作者、编辑、抄写员和读者之间的辩证法，以及这些辩证法如何反映在对薄伽丘版本的明确反应中，就像抄写员添加的一些注释所揭示的那样。然后，在本文的第二部分，我将研究一份15世纪手稿的结构，该手稿的文本选择是薄伽丘对但丁观点的分歧接受的一个完美例子。薄伽丘版本的《新生》最著名的特点是在页边空白处的分隔。薄伽丘自己在他的两本抄本的第一页上的注释Maraviglierannosi中讨论了这种布局
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Olivia Holmes, Paul Schleuse, A. Levitsky, J. S. Pastor, Leah Schwebel, Olimpia Pelosi, C. Wells, Francesco Marco Aresu, Lorenzo Sacchini, E. Bellini, G. Gerbino, Laura Banella, Martin G. Eisner, Isabella Magni, K. D. Grapes
The essays in this volume arose initially from presentations given at an interdisciplinary conference on Italian songbooks, sponsored by the Center for Medieval and Renaissance Studies (CEMERS) at Binghamton University on May 1–2, 2015. They advance several contemporary scholarly trends, including an increased academic focus on cross-disciplinarity and the current critical imperative to view premodern books not just as transparent representations of an original text, but as complex material and social artifacts in their own right. In recent decades, scholars of medieval literature and music have increasingly rejected as object of study the artificially coherent, corrected text of the modern critical edition in favor of the instability and singularity of individual manuscripts, while scholarship on the printed book has also begun to take the distinctive features of particular editions and exemplars into its interpretive embrace, and the field of book history has emerged as a recognizably hermeneutic discipline. Critical interest has turned to how, starting with the compilation of the great troubadour chansonniers in the midthirteenth century, vernacular lyric anthologies were constructed and author-inflected. Research on medieval and early-modern lyric compilations has paid particular attention to the relations between the macroand the microtext, or larger works and their component parts, as evidenced by the format and order in which individual songs and poems come down to us, as well as to the way in which manuscripts and prints convey the authority of poets and musicians by constructing the maker as both responsible for and represented in—in a sense, embodied by—the physical objects. This “material
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