1. Saggi
      • MARIO AVERSANO

        Su Pietro da Eboli e Dante. Parte seconda* - pp. 627-653

        By drawing attention to further affinities with Dante’s Beatrice, the author completes the picture of Costanza d’Altavilla sketched by Pietro da Eboli and underlines new similarities between the two poets, especially as far as their “Italian ideology” is concerned. Pietro da Eboli’s work is also analysed in order to restore three lectiones of the Divina Commedia.

      • CIRO PERNA

        I capitoli di Romano Alberti tra satira e burlesco - pp. 654-688

        The unpublished collection of lyrics by Romano Alberti contains fifteen poems in terza rima in which satirical elements clearly derived from Ariosto coexist with cues drawn from Berni’s literary lusus. The satirical and burlesque genres appear to be mingled in them, as other works written towards the close of the sixteenth century also demonstrate.

      • DANIELA DE LISO

        “Così potess’io, mia dolce amica, mostrarti, scrivendoti, tutta tutta la mia anima”. Foscolo tra le Lettere d’amore e l’Ortis. - pp. 689-708

        The massive corpus of letters written by Ugo Foscolo has always been of great interest for literary critics. The same cannot be said, however, of the love letters the poet addressed to different women in different places and times. This essays aims at underlining their importance from a documentary and literary viewpoint.

      • AGATA IRENE DE VILLI

        «La cosa nuova»: una lettura di Eva ultima - pp. 709-724

        The essay is based on a metatextual reading of one Bontempelli’s most puzzling and circuitous works. Published in 1923, Eva ultima marks a borderline between the two narrative models typical of Bontempelli. This is proved by the heuristic tension triggered by the coexistence of an anti-mimetic and deconstructive marvellous, in itself ironic and intellectual, and a mimetic and ‘realistically magic’ one, which paves the way for the fantastic tale in its wellknown twentieth-century form.

    2. Meridionalia
      • PAOLO PROCACCIOLI

        Per Tansillo giocoso. In margine all’edizione dei capitoli - pp. 725-736

        The edition of Capitoli gioiosi gives the author the chance of sketching the history of the text, contemporarily underling its stylistic features and comparing it with other works by Tansillo. Most of all, the essays aims at emphasising the importance and significance of terza rima in a double-faced genre which the Capitoli take into account both from a satirical (Ariosto) and a burlesque (Berni) perspective. The author also discusses the compatibility of burlesque poetry with the public role played by Tansillo at the court of Don Pedro de Toledo.

      • DANILO ROMEI

        Per “Satire” e “Caprici”: Tansillo, Berni (ed altri) - pp. 737-749

        Luigi Tansillo’s Capitoli take Ariosto and Berni as their models. Some influences from Aretino are also to be taken into account, as we can infer from the program implicit in the sentence «dir ben del bene e mal del male». However, the poet’s major choice is not to be seen in his use of paradox or denunciation, but in the humble though dignified way he hold talks with those in power: a sort of Horatian deminutio sui.

    3. Contributi
      • MARWA ABDEL MONEIM ABDEL RAOUF TANTAWY

        Il fascino del mondo orientale in L’Oasi di Leda Rafanelli - pp. 750-776

        Marta Tantawy analyses Leda Rafanelli’s L’oasis by focusing her attention on the figures of outstanding men and women Rafanelli made acquaintance with during her eastern wanderings and her ‘subversive’ period. This allows Marta to point out and compare life in Europe and the East.

      • GIULIA CACCIATORE

        Nel laboratorio di Bufalino - pp. 777-799

        The essay aims at reconstructing the genealogy of Bufalino’s works by tracing in his second novel, Argo il cieco (published in 1984), the nucleus from which Qui pro quo, Tommaso e il fotografo cieco and the unpubl i shed Gua z z a bugl i o or iginat ed. The phys i c ian-pat i ent relationship on which Argo is based allows the author to maintain that La coscienza di Zeno is the “ideal model” of Bufalino’s novel.

    4. Recensioni
      • «Collettanee» in morte di Serafino Aquilano, edizione a cura di Alessio Bologna, Lucca 2009 (leonardo Terrusi) - pp. 800-805

      • NICOLÒ FRANCO

        Epistolario (1540-1548) Ms. Vat. Lat. 5642, a cura di Domenica Falardo, NY 2007 (Milena Montanile) - pp. 806-809

      • CLAUDIA CARELLA

        “Umana cosa picciol tempo dura”. Leopardi, Saffo e il mondo greco, Roma 2010 (Valeria Giannantonio) - pp. 809-811

      • La parola e il luogo, a cura di Antonio Di Grado, Palermo 2010 (Ambra Meda) - pp. 811-813

      • STEFANO CARRAI

        Il caso clinico di Zeno e altri studi di filologia e critica sveviana, Pisa 2010 (Stefania Capuozzo) - pp. 813-816

      • L’oeuvre ou la vie. Mots d’Antonia Pozzi. L’opera e la vita. Parole di Antonia Pozzi, a cura di Laura Oliva e Ettore Labbate, Bern, Berlin, Bruxelles. Frankfurt am Main-New York, Oxford, Wien 2010 (Valeria Giannantonio) - pp. 816-817

      • ROSAMARIA LORETELLI

        L’invenzione del romanzo. Dall’oralità alla lettura silenziosa, Roma-Bari 2010 (Stefano Manferlotti) - pp. 817-820

      • LUDOVICO FULCI

        Ethos e mythos. Poesia e impegno civile nel Novecento italiano, Roma 2010 (Domenico Alvino) - pp. 821-824

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