Pub Date : 2021-09-01DOI: 10.1215/00358118-9091133
Catherine Nesci
This essay builds on Priscilla Parkhurst Ferguson’s pioneering inquiry on reading and writing Paris as the site of a democratizing and modernizing process and, more specifically, on her approach to Jules Vallès’s “performance of politics” in Le Tableau de Paris and L’Insurgé. I examine the ways in which Vallès’s reading of the Paris of the early 1880s and excavation of the multilayered city’s past and cultural representations help foster the return of repressed voices and collective memories. Using the trope of the city as palimpsest, I argue that the critical power of nostalgia for revolutionary Paris aims to generate a new street aesthetics and an egalitarian public sphere.
{"title":"“The City of Combat”","authors":"Catherine Nesci","doi":"10.1215/00358118-9091133","DOIUrl":"https://doi.org/10.1215/00358118-9091133","url":null,"abstract":"\u0000 This essay builds on Priscilla Parkhurst Ferguson’s pioneering inquiry on reading and writing Paris as the site of a democratizing and modernizing process and, more specifically, on her approach to Jules Vallès’s “performance of politics” in Le Tableau de Paris and L’Insurgé. I examine the ways in which Vallès’s reading of the Paris of the early 1880s and excavation of the multilayered city’s past and cultural representations help foster the return of repressed voices and collective memories. Using the trope of the city as palimpsest, I argue that the critical power of nostalgia for revolutionary Paris aims to generate a new street aesthetics and an egalitarian public sphere.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76020997","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}
Pub Date : 2021-09-01DOI: 10.1215/00358118-9091173
P. Ferguson
{"title":"Roses and Everyday Beauty in France","authors":"P. Ferguson","doi":"10.1215/00358118-9091173","DOIUrl":"https://doi.org/10.1215/00358118-9091173","url":null,"abstract":"","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87290891","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901811
M. Ciccuto
This article attempts to show how Dante Alighieri, in defining the image of humankind as inspired by values of innocence and harmony in an earthly paradise, draws a condition of defective beatitude just before a burst of even superior joy. So in the aim of outlining a beatitudo huius vitae still valid for a Christian Eden, the poet appeals to the text of Ovid’s Fasti through which in many occurrences he is building a harmonic image of human living that, in the shadow of forebears’ sin, only a future intervention of Grace will dispose for Dante’s words. Through exact allusive quotations, Dante opposes to the absolute time of Eden the idea of an imperfect time, tied to the pattern of an all-human knowledge, which Dante himself connected to the teaching and character of Brunetto Latini.
{"title":"Fra Ovidio e Brunetto, nel fiume del tempo","authors":"M. Ciccuto","doi":"10.1215/00358118-8901811","DOIUrl":"https://doi.org/10.1215/00358118-8901811","url":null,"abstract":"\u0000 This article attempts to show how Dante Alighieri, in defining the image of humankind as inspired by values of innocence and harmony in an earthly paradise, draws a condition of defective beatitude just before a burst of even superior joy. So in the aim of outlining a beatitudo huius vitae still valid for a Christian Eden, the poet appeals to the text of Ovid’s Fasti through which in many occurrences he is building a harmonic image of human living that, in the shadow of forebears’ sin, only a future intervention of Grace will dispose for Dante’s words. Through exact allusive quotations, Dante opposes to the absolute time of Eden the idea of an imperfect time, tied to the pattern of an all-human knowledge, which Dante himself connected to the teaching and character of Brunetto Latini.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81399858","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901835
Isabella Magni
The textual and cultural interpretations related to the material construction of the first manuscript copies of Dante’s Commedia play a crucial role in shaping its transmission and inevitably also the text that we read today. The processes of preparation and the material structures of these codices, in fact, often reflect more the culture in which they were created than the culture of the original work itself. Starting from a reflection about issues of cultural mediations and material contexts of the early diffusion of Dante’s Commedia, this article introduces a new case study: fourteenth-century manuscript Beinecke Library MS 428, a deluxe copy commissioned by the Bini family.
与但丁《喜剧》第一份手稿的材料结构相关的文本和文化解释在塑造其传播过程中起着至关重要的作用，不可避免地也影响了我们今天读到的文本。事实上，这些抄本的准备过程和材料结构往往更多地反映了它们被创造出来的文化，而不是原始作品本身的文化。本文从对但丁喜剧早期传播的文化调解和物质背景问题的反思开始，介绍了一个新的案例研究:14世纪的手稿Beinecke Library MS 428，这是比尼家族委托的一份豪华副本。
{"title":"Cultural Mediations and Material Contexts of Dante’s Commedia: The Case of Beinecke MS 428","authors":"Isabella Magni","doi":"10.1215/00358118-8901835","DOIUrl":"https://doi.org/10.1215/00358118-8901835","url":null,"abstract":"\u0000 The textual and cultural interpretations related to the material construction of the first manuscript copies of Dante’s Commedia play a crucial role in shaping its transmission and inevitably also the text that we read today. The processes of preparation and the material structures of these codices, in fact, often reflect more the culture in which they were created than the culture of the original work itself. Starting from a reflection about issues of cultural mediations and material contexts of the early diffusion of Dante’s Commedia, this article introduces a new case study: fourteenth-century manuscript Beinecke Library MS 428, a deluxe copy commissioned by the Bini family.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89363404","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901843
C. Meghini, M. Tavoni, M. Zaccarello
With digital repositories and databases available since the 1990s, Dante scholarship has always been at the forefront of the digital humanities and the digitization of medieval texts and manuscripts. However, the amount of information available about such aspects is imposing, and its location subject to the extreme dispersion of traditional scholarly publications: commentaries first but also academic journals, miscellanies, and so forth. Rather than being based on traditional word searches, a true advancement of knowledge needs to overcome the rigidity of text-based queries (and in-line markup embedded in text). Such paramount evolution is now made possible by the Semantic Web, an extension of the current web by description standards that help machines to understand and connect the information already available on the web. To achieve this, the latter is mapped using formal description and classification patterns, called ontologies. Ontologies are a key factor in managing meaningful search/data extraction, publishing relevant results on the web, search existing web resources, and offering answers to more sophisticated queries. Due to its vastness and complexity, Dante scholarship has calls for an ontology-based mapping, and specific tools have been designed to express the most difficult and articulate aspects of Dante’s literary production, such as its use of biblical, classical, and medieval sources. This paper aims to introduce the aims and scope of a new digital library of Dante commentaries, built according to the aforementioned standards and aiming to refine and extend the ontologies developed for Dante’s minor works to the more complex world of the Commedia.
{"title":"Mapping the Knowledge of Dante Commentaries in the Digital Context: A Web Ontology Approach","authors":"C. Meghini, M. Tavoni, M. Zaccarello","doi":"10.1215/00358118-8901843","DOIUrl":"https://doi.org/10.1215/00358118-8901843","url":null,"abstract":"\u0000 With digital repositories and databases available since the 1990s, Dante scholarship has always been at the forefront of the digital humanities and the digitization of medieval texts and manuscripts. However, the amount of information available about such aspects is imposing, and its location subject to the extreme dispersion of traditional scholarly publications: commentaries first but also academic journals, miscellanies, and so forth. Rather than being based on traditional word searches, a true advancement of knowledge needs to overcome the rigidity of text-based queries (and in-line markup embedded in text). Such paramount evolution is now made possible by the Semantic Web, an extension of the current web by description standards that help machines to understand and connect the information already available on the web. To achieve this, the latter is mapped using formal description and classification patterns, called ontologies. Ontologies are a key factor in managing meaningful search/data extraction, publishing relevant results on the web, search existing web resources, and offering answers to more sophisticated queries. Due to its vastness and complexity, Dante scholarship has calls for an ontology-based mapping, and specific tools have been designed to express the most difficult and articulate aspects of Dante’s literary production, such as its use of biblical, classical, and medieval sources. This paper aims to introduce the aims and scope of a new digital library of Dante commentaries, built according to the aforementioned standards and aiming to refine and extend the ontologies developed for Dante’s minor works to the more complex world of the Commedia.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87457663","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901851
H. Storey
With the advent of studies in the area of mise-en-page and the increased interest in the relationships among text, image, and material structures in medieval manuscripts, the inherent problems of interpretation and “intentionality” have often been concentrated in critics’ assignment of meaning and cultural “readings” to medieval illuminators. Yet numerous sources, especially the instructions to illuminators that remain still visible in unfinished manuscripts, confirm that methods of work in the illustrating of medieval texts were guided by very different criteria than interpretation. Instead, the material and mechanical realities of reproducing medieval texts, among them Dante’s Commedia, were often subject more to production efficiency, cost effectiveness, taste, and scribal and cultural norms. Examining the instructions to the illuminator of an unfinished copy of a uniquely edited Veneto copy of the Commedia, initially produced in the 1340s (Codex Italicus 1 of the University Library and Archives of Eötvös Loránd University in Budapest), this essay investigates the systems and constructions imposed on the Commedia by a new scribal culture in the reproduction and “visual glossing” of the poem.
{"title":"Painting (and Writing) over Dante","authors":"H. Storey","doi":"10.1215/00358118-8901851","DOIUrl":"https://doi.org/10.1215/00358118-8901851","url":null,"abstract":"\u0000 With the advent of studies in the area of mise-en-page and the increased interest in the relationships among text, image, and material structures in medieval manuscripts, the inherent problems of interpretation and “intentionality” have often been concentrated in critics’ assignment of meaning and cultural “readings” to medieval illuminators. Yet numerous sources, especially the instructions to illuminators that remain still visible in unfinished manuscripts, confirm that methods of work in the illustrating of medieval texts were guided by very different criteria than interpretation. Instead, the material and mechanical realities of reproducing medieval texts, among them Dante’s Commedia, were often subject more to production efficiency, cost effectiveness, taste, and scribal and cultural norms. Examining the instructions to the illuminator of an unfinished copy of a uniquely edited Veneto copy of the Commedia, initially produced in the 1340s (Codex Italicus 1 of the University Library and Archives of Eötvös Loránd University in Budapest), this essay investigates the systems and constructions imposed on the Commedia by a new scribal culture in the reproduction and “visual glossing” of the poem.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"41 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82855718","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901787
J. Todorović
This article focuses on the nineteenth-century print circulation of Dante’s Vita Nova (1292–94) and especially on the response in print media to the tension between new critical approaches to text editing, on the one hand, and editors’ dependence on the text’s complex history on the other. At the center of this discussion is one of the thorniest aspects of the Vita Nova’s text: the divisions (technical prose of a scholastic nature in which Dante explains the formal structure of his poems). Over the centuries, Dante’s authority over his own text was brought into question on account of the inclusion in the literary text of what readers and editors considered to be commentary. Even though in the second half of the nineteenth century the editors began recognizing the divisions’ rightful place within the libello’s text, they continued—operating within the centuries-long tradition that did not consider them “text” but rather “gloss”—to engage in efforts to differentiate them from the rest of the text in order to point out their different textual nature.
{"title":"Textual Authority in the Vita Nova’s Nineteenth-Century Editions","authors":"J. Todorović","doi":"10.1215/00358118-8901787","DOIUrl":"https://doi.org/10.1215/00358118-8901787","url":null,"abstract":"\u0000 This article focuses on the nineteenth-century print circulation of Dante’s Vita Nova (1292–94) and especially on the response in print media to the tension between new critical approaches to text editing, on the one hand, and editors’ dependence on the text’s complex history on the other. At the center of this discussion is one of the thorniest aspects of the Vita Nova’s text: the divisions (technical prose of a scholastic nature in which Dante explains the formal structure of his poems). Over the centuries, Dante’s authority over his own text was brought into question on account of the inclusion in the literary text of what readers and editors considered to be commentary. Even though in the second half of the nineteenth century the editors began recognizing the divisions’ rightful place within the libello’s text, they continued—operating within the centuries-long tradition that did not consider them “text” but rather “gloss”—to engage in efforts to differentiate them from the rest of the text in order to point out their different textual nature.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84232780","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901803
B. Arduini
Focusing on book 4 of Dante’s Convivio (The Banquet), this article analyzes the complexity of the unfinished poetic and philosophical treatise that the poet wrote at the beginning of his exile. The relevance of the Convivio within Dante’s overall production can be attributed to the presence of numerous themes dear to the poet, which sometimes emerge only in nuce and sometimes already in a mature form in the treatise. Nonetheless, Dante took many of these subjects and linguistic experimentations and elaborated on them in his later works. In particular, book 4 functions as a precedent for some of the choices, themes, and styles subsequently developed in the Commedia. However, when the inspiration for the Convivio as a vehicle for both poetic and prose production is supplanted by the larger and even more ambitious project of his Commedia, Dante abandoned the treatise and left its linguistic mission unfinished.
{"title":"Memorie letterarie nel Convivio di Dante","authors":"B. Arduini","doi":"10.1215/00358118-8901803","DOIUrl":"https://doi.org/10.1215/00358118-8901803","url":null,"abstract":"\u0000 Focusing on book 4 of Dante’s Convivio (The Banquet), this article analyzes the complexity of the unfinished poetic and philosophical treatise that the poet wrote at the beginning of his exile. The relevance of the Convivio within Dante’s overall production can be attributed to the presence of numerous themes dear to the poet, which sometimes emerge only in nuce and sometimes already in a mature form in the treatise. Nonetheless, Dante took many of these subjects and linguistic experimentations and elaborated on them in his later works. In particular, book 4 functions as a precedent for some of the choices, themes, and styles subsequently developed in the Commedia. However, when the inspiration for the Convivio as a vehicle for both poetic and prose production is supplanted by the larger and even more ambitious project of his Commedia, Dante abandoned the treatise and left its linguistic mission unfinished.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91175656","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901819
Francesco Marco Aresu
This article hypothesizes an intertextual relationship between the literary transfiguration of Occitan troubadour Bertran de Born in Inferno 28 and a fragment of Latin poetry preserved by late antique scholars (and disputedly attributed to Roman poet Ennius). The evidence presented in support of this hypothesis include lexical, prosodical, and rhetorical elements. The hypothesis is also examined with reference to the material and textual transmission of the fragment.
{"title":"Intertestualità dantesche: Un’allusione a Ennio?","authors":"Francesco Marco Aresu","doi":"10.1215/00358118-8901819","DOIUrl":"https://doi.org/10.1215/00358118-8901819","url":null,"abstract":"\u0000 This article hypothesizes an intertextual relationship between the literary transfiguration of Occitan troubadour Bertran de Born in Inferno 28 and a fragment of Latin poetry preserved by late antique scholars (and disputedly attributed to Roman poet Ennius). The evidence presented in support of this hypothesis include lexical, prosodical, and rhetorical elements. The hypothesis is also examined with reference to the material and textual transmission of the fragment.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91123831","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}
Pub Date : 2021-05-01DOI: 10.1215/00358118-8901779
D. Puppo
This article considers the importance of material philological features of the early manuscripts of Dante’s Vita nova for the work’s critical reception. Over the centuries, editors (most notably Giovanni Boccaccio) have recast textual meaning in the work mainly by marginalizing the poet’s glosses and by reformatting the poems. Attention to the material features of the earliest extant manuscript of the Vita nova (MS Martelli 12) with respect to later copies, however, prompts us to consider the creative interplay between Dante’s prosimetrum and the material features of the manuscript. To interpret a text critically is to acknowledge and to examine also how a manuscript or print edition orients textual interpretation. The editorial history of the Vita nova teaches us about the cultural processes and discourses of literary culture and about Italian literary history.
{"title":"Text and Document in Dante’s Vita nova","authors":"D. Puppo","doi":"10.1215/00358118-8901779","DOIUrl":"https://doi.org/10.1215/00358118-8901779","url":null,"abstract":"\u0000 This article considers the importance of material philological features of the early manuscripts of Dante’s Vita nova for the work’s critical reception. Over the centuries, editors (most notably Giovanni Boccaccio) have recast textual meaning in the work mainly by marginalizing the poet’s glosses and by reformatting the poems. Attention to the material features of the earliest extant manuscript of the Vita nova (MS Martelli 12) with respect to later copies, however, prompts us to consider the creative interplay between Dante’s prosimetrum and the material features of the manuscript. To interpret a text critically is to acknowledge and to examine also how a manuscript or print edition orients textual interpretation. The editorial history of the Vita nova teaches us about the cultural processes and discourses of literary culture and about Italian literary history.","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"29 4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78800877","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：