1. Saggi

        Rileggere il Cantico delle Creature - pp. 211-233

        In the last century a good number of scholars belonging to the Romantic school studied Saint Francis of Assisi’s Cantico delle Creature from a philological and historical point of view. It seems now crucial to analyze it by taking into due account the aesthetic and linguistic models and the different views of the world the text refers to. This is precisely what the author aims at, quoting and examining the early Franciscan texts echoed by the Cantico.


        Purgatorio XXIX: la processione simbolica - pp. 234-264

        In the heart of the green forest of Eden, alongside the banks of the river Lethe, as the whole scene was set on a wide stage, a solemn and symbolic procession steps forward under Dante’s astonished eyes: in its centre, a two-wheel triumphal chariot drawn by a gryphon, and four winged animals moving forward alongside its four corners. In the meanwhile, three young women dance on the right side of the chariot and four more on its left. Twenty-four old men dressed in white go ahead of the chariot, while seven more follow it. The whole procession is led by seven candelabra leaving a manycoloured trail behind them. When the chariot gets in front of Dante, a rumble of thunder is heard and the procession stops. In a while, Beatrice will appear on the chariot.


        Veneri effimere: metamorforsi di un’immagine da Tansillo a Góngora - pp. 265-276

        Among the Italian models of Góngora’s poetry, Luigi Tansillo’s works may be considered one of his major influences. This article aims to study a piscatory image taken from a famous Tansillian sonnet (“Né lungo essilio il cor, donna, mi mosse”) imitated by Góngora in a fragment of his masterpiece Soledad segunda (verses 652-664).


        La retorica del dolore nei sonetti in morte di Porzia Capece - pp. 277-288

        Starting from the publication of the Sonetti in morte di Porzia Capece (1560) and analyzing the self-censorial editing which only some months later led Rota to the publication of the more canonic collection of lyrics «in life and death» of his wife, this essay takes into due account the rhetoric of sorrow and the poetical effusion of mournful feelings and analyzes examples taken from the literature of the Sixteenth century and from Marino’s works.


        Sigismondo Castromediano e la memorialistica risorgimentale - pp. 289-306

        This essay examines the Memorie of the duke Sigismondo Castromediano, Carceri e galere politiche, published in Lecce in two volumes in 1895-1896. Though almost unknown, it is one of the most significant memoirs written in the Renaissance about the prison theme. The duke’s work is here compared with the unquestioned models of this genre, such as Silvio Pellico’s Le mie prigioni and Luigi Settembrini’s Ricordanze della mia vita.

    2. Meridionalia

        L’interpretazione di Vittorio Imbriani del sesto centenario della nascita di Dante - pp. 307-326

        In the former part the article reconstructs the dantean myth creation since the end of eighteenth century until 1865, because of the sixth centenary of Alighieri’s birth. In the latter we try to investigate Un’ultima parola per finirla sul centenario by Vittorio imbriani, a work about national celabrations. Trough this one it is possible to draw a critical view of the author in relation to Dante’s opera interpretation and to the concepts of Fantasia, Morale and Bello as well.

    3. Contributi

        Le Anticamere della Filosofia: paratesto e componimenti proemiali ne Il Candelaio e De Umbris Idearum di Giordano Bruno - pp. 327-346

        This essay analyses from a comparative perspective the introductory poems included in the Candelaio and in the De Umbris Idearum by Giordano Bruno. According to this study, Bruno’s comedy is the keystone of a poetical epistemology which throws light on the textual dynamics and on the complex figural plot of the De Umbris. In the author’s opinion, the Candelaio should not be read as a philosophical comedy but as a work where philosophy as such is thought of as a literary subject.


        Amore, religione e politica: luoghi reali e spazi immaginari nei drammi barocchi - pp. 347-370

        In the baroque theatre, traditionally seen as the place of illusion par excellence, the spaces represented or described – gardens, palaces, dungeons, galleries and so forth – lead simultaneously to the “concupiscence of seeing” and to the ambiguity of the audience’s perspective. The mutual lie established between a disguised reality and the corresponding places finds its quintessence in the illusion of the stage, where everything is false and true at the same time. While the real world continuously breaks into fragments, the endless coming and going of the characters from a place to another follows their psychological reactions.


        Gli studi del Carducci su Giovanni Fantoni (in Arcadia Labindo) - pp. 371-387

        This essay analyses the studies Giosue Carducci dedicated to Giovani Fantoni (in the Arcadian Academy known as Labindo), one of his earliest poetical source of inspiration. Fantoni’s experiments with prosody, though modest from a poetical point of view, were resumed by Carducci and brought to by far higher artistic results in his Odi barbare. This may look strange, but the fact remains that Carducci was driven to study Labindo and insist on his biography as if he did not intend to underline the poor quality of his verse.

    4. Recensioni

        Commedie. L’Erofilomachia, I morti vivi, Prigione d’amore - pp. 388-390

        Perugia 2011 (Daniela De Liso)


        Io, il male e l’immensità, Rio de Janeiro2011 (Valeria Giannantonio) - pp. 390-391


        La vita e il teatro di Carlo Goldoni, Venezia 2011 (Margherita Pieri) - pp. 391-395


        Le donne di Carlo Goldoni tra Venezia e Napoli, Napoli 2011 (Vincenzo Caputo) - pp. 395-397


        Dio ne scampi dagli Orsenigo, Napoli 2011 (Noemi Corcione) - pp. 397-399


        «Veniamo al fatto, signori miei!». Trame pirandelliane, Bari 2012 (Fabio Moliterni) - pp. 399-402


        Timor sacro, Milano 2011 (Maria Valeria Sanfilippo) - pp. 402-403

      • Alberto Moravia e gli amici, Avellino 2011 (Valeria Giannantonio) - pp. 403-405


        La famiglia De Gregorio, Napoli 2010 (Annamaria Sapienza) - pp. 405-407

      • Frontiere. La cultura letteraria, artistica, teatrale e musicale del métissage, Bari 2011 (Viviana Tarantino) - pp. 408-411

      • La freccia e il cerchio (The arrow and the circle), 2012 Tre. Festa/ Famiglia (2012. Three. Party/ Family, Napoli 2011 (Daniela De Liso) - pp. 411-412

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