1. Saggi
      • Rosanna Gorris Camos

        Giovan Battista Giraldi Cinthio, entre Ferrare et Turin vero rifugio e sicurissimo porto » 239 - pp. 239-290

        In the light of some unpublished documents, this essay chronicles the years spent by Giraldi at the University of Mondovì. In particular, the little-known figure of Antonio Maria di Savoia stands out. He was his patron and probably the deus ex machina of his call. After the historical reconstruction of the Savoy circle, the essay considers also the Hecathommiti of which it analyses the affinities with the Heptameron.

      • Federico Doglio

        Sulle prime rappresentazioni dell’Orbecche e Giraldi ‘corago’ - pp. 291-308

        This study offers research information of the first performances of Orbecche, which has been collected from the evidence given in those letters of the same Giraldi, which were addressed to the Duque and to the Discorso intorno al comporre delle commedie e delle tragedie. Once the tragedy’s fortune and its scenic life in Italy and Ferrara has been synthesized, this essay then goes on to deal with Giraldi’s innovative performance as a stage director and manager.

      • Margareth Hagen

        La ‘retorica esemplare’ della tragedia di Giraldi - pp. 335-364

        The article aims at analyzing the rhetoric and structure of Giraldi’s tragedies, which are deploying the model offered by the ethical and argumentative exemplum, often present in contemporary rhetorical treaties. Giraldi’s dramatic and pedagogic rhetoric is thoroughly crafted on exempla and moral sentences, which contribute to give the tragedies a marked meta-theatrical character.

      • Valentina Gallo

        Giraldi e le accademie ferraresi degli Elevati e dei Filareti - pp. 309-334

        Valentina Gallo reconstructs the collective identity of two lively cultural realities of Ferrara in the early sixteenth century: the Academy degli Elevati and that of Filareti, which Giraldi Cinzio was influential member. Using documentation largely unknown, she tryes to explain some of aesthetics and literary Giraldi’s choices in the light of political and cultural Academies programs.

      • Giacomo Pedini

        «Imprimono maravigliosamente co la voce et co movimenti gli affetti nel core». ‘Imagini’ e ‘versi’ in Giraldi tra teatro e didattica - pp. 365-386

        Looking, at the same time, to the treaties of Giraldi and to the special case of the tragedy Didone, the essay will illustrate some examples of the theatrical strategies adopted by Cinzio playwright in his educational theatre aimed to build the perfect courtier. We will start from the reflexions around the «apparato», to get to discuss the function of the verse and of the metric in choirs, always considering some textual examples drawn from Didone next to the quote of Giraldi’s theoretical works.

      • Susanna Villari

        Giraldi e la teoria del personaggio ‘mezzano’ tra teatro e novellistica - pp. 401-426

        Giraldi’s ways of applying the aristotelian theory of the ‘persona mezzana’ (neither good nor guilty), not only in all his dramatic production, but also in his narrative, are analysed. It is demonstrated how Giraldi, rather than distancing himself from such theory, strongly supported in all his critical writings, redefines instead in a more flexible and modern way the principles of ‘medianity’, interpreting them, mainly in the happy-ending tragedies, according to the coeval ideological and ethical requirements, with the aim of achieving the cathartic and edifying functions of literature.

      • Renzo Bragantini

        I conti con la storia: Giraldi e i narratori di metà secolo - pp. 427-442

        The essay deals with the controversial relationship between history and fiction in Italian writers of novellas of the first half of XVIth century. While Tuscan authors of short fiction choose to keep close to the comic tradition, Northern Italy ones such as Bandello and Giraldi face the challenge of writing tragic stories, and by doing so achieve European renown. Their option for historic subjects also implies an explicit moral to their tales.

      • Corinne Lucas Fiorato

        Giraldi Cinzio e il suicidio negli Ecatommiti - pp. 443-460

        In Giraldi Cinzio’s Ecatommiti, the theme of suicide, which recurs more frequently than in other novellieri of Cinquecento, greatly emphasizes the inner self, the sense of shame and guilt. By favouring a self-destructive behaviour these feelings transform the traditional character of the tragedy since they promote heroes with a melancholic nature. The narrative, conceptual and the paratextual elements of the collection, which draw inspiration from recent educational and medical developments, betray a certain acceptance of the act of killing oneself, and thus approach the subject in a way that is out of keeping with the traditional damning attitude of the Church.

      • Antonella Scarfò

        Per una narrazione «romanzevole». Regressione e progressione formale nella novella giraldiana - pp. 461-482

        Through a close reading of Sabadino degli Arienti’s and Masuccio Salernitano’s influence on the Ecatommiti, the essay focuses on Giraldi’s rewriting of the quistioni and of the «novelle-romanzo» (which can be driven back to the Filocolo and to the Decameron, respectively). Looking at the relationship with both these works by Boccaccio, it eventually analyzes the ambition to the “romance” of Giraldi’s tales and the ideologization of its forms.

      • Giulio Ferroni

        Il modello ariostesco come emblema ferrarese - pp. 483-502

        Giraldi connects his concern in the romance to the personal relationship with Ariosto he had as a young man. Particular relief touches, in the Discorso intorno al comporre dei romanzi, to the value of the multiplicity and to polemic against interpretations searching hidden meanings and secrets; very important is the chronological proximity of the controversy with Pigna to the controversy between Caro and Castelvetro. The choice of publishing the Ercole in 1557 is connected to the alliance of Duke Ercole II (that year in place) with France and pope Paul IV.

      • Carla Molinari

        I Canti dell’Hercole secondo l’autografo Classe I 406 della BCAFe: note sulla vicenda redazionale del poema giraldiano - pp. 503-532

        The subject of this essay, Hercole, a poem written in ottava rima by G. B. Giraldi Cinthio, is considered both in its first edition of 1557 (Modena, Gadaldini) and in its autograph (Classe I 406), now in the Biblioteca Comunale Ariostea of Ferrara, which preserves a partial and haphazard grouping of cantos. Since all the cantos present in it display marginal annotations, it has been possible to reconstruct, by merging the information contained therein with the testimony to be found in Giraldi’s correspondence with some of his friends, not to mention important statements in the Discorso dei romanzi, a credible framework of the poem’s compositional history.

      • Stefano Jossa

        Giraldi e Pigna sui romanzi: una polemica in contesto - pp. 5335-552

        The essay reconstructs the polemic between Giraldi and Pigna as a generational and ideological gap: Giraldi and Pigna are seen in their dialogue with their literary interlocutors (Castelvetro, Speroni, Bocchi), against the background of the historical transition from humanistic culture, founded on the primacy of history and trust in nature, to a new philosophical culture, characterized by a disposition towards allegory and a process of professionalization of intellectual works.

      • Irene Romera Pintor

        Giraldi Cinthio en su Carteggio: ‘Cum omnibus omnium horarum homo’ - pp. 553-572

        Through the analysis of Giraldi’s public and private correspondence, this study shows how the depiction applied by Erasmus to Thomas More (“a man for everyone and for all seasons”) is proved appropriate to reveal Giraldi’s true nature. Thus, in his correspondence, Giraldi unveils his moral rectitude, in good times as well as in bad, not only towards his own family, friends and foes, but also towards the Dukes of Ferrara.

      • Jean Balsamo

        Les Dialogues philosophiques traduits de Giambattista Giraldi Cinzio et leur contexte français - pp. 573-594

        This topic argues that the translation of Giraldi’s three Dialoghi della vita civile, published in a bilingual edition in Paris (L’Angelier, 1583), was a turning point in Chappuys’ productive career, in the seeking of new patronage, but in the same time was a delusive experience in the publisher’s catalogue: this new essay of moral literature did not find space between more prominent translated Italian texts in the field of trattatistica civile and Montaigne’s recent Essays.

      • Christian Biet

        Orbecche. Version française. La tragédie d’Orbecc- Oronte de Du Monin, 1585 - pp. 595-612

        Jean Edouard Du Monin, in 1585, writes an adaptation of Giraldi Cinzio’s Orbecche, for the French stage. Then, tragedy, amid the Religious wars, holds a signification which collides with the contemporaneous violences. As a catholic author involved in the parisian «Ligue» of this time, Du Monin finds, in Cinzio’s story, the elements able to perform, on a theatrical scaffold, a terrible and bloody spectacle. And in the same time, he provides an emotional impact and a political message to his audience

      • Roberto Gigliucci

        Perfezionamento del lieto fine fra Giraldi Cinzio e Shakespeare - pp. 613-643

        This essay is involved in the tradition of Epitia by Giraldi Cinzio and Measure for Measure by Shakespeare; the focus is particularly on the scene of the dialogue between the heroine and her imprisoned brother, showing the passage from the perfect tragedy through an happy-ending tragedy to a modern, dark tragicomedy; some canevas of Commedia dell’Arte are also deeply examined and two of them are edited in the Appendix.

      • María del Valle Ojeda Calvo

        Apuntes sobre Giraldi Cinzio y el teatro en España a fines del siglo XVI - pp. 645-673

        The paper proposes a run among the influences that the theater of Giraldi has practiced in Spain and in its reception. It happens in a crucial period for the birth of the so-called Comedia Nueva, when a team of intellectuals of humanist formation interests him in the commercial theater and tries to conquer its public, trying to direct him, from the ethical and aesthetical point of view, with shows built beginning from the new proposals of the Italian authors and actors.

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