Canto XXXII
Canto XXXII, almost entirely occupied by Bradamante, consists of a first part dating back to 1516 (and partly already modified in 1521) and a second half entirely added in 1532: this is the first part of the so-called second giunta, the one relating to the Rocca di Tristano. The essay analyzes the d...
Main Author: | |
---|---|
Other Authors: | |
Format: | Book Part |
Language: | Italian |
Published: |
Edizioni del Galluzzo per la Fondazione Ezio Franceschini
2018
|
Subjects: | |
Online Access: | http://hdl.handle.net/11585/675357 |
id |
ftunibolognairis:oai:cris.unibo.it:11585/675357 |
---|---|
record_format |
openpolar |
spelling |
ftunibolognairis:oai:cris.unibo.it:11585/675357 2024-04-14T08:13:47+00:00 Canto XXXII Ferretti F. Annalisa Izzo, Franco Tomasi Ferretti F. 2018 STAMPA http://hdl.handle.net/11585/675357 ita ita Edizioni del Galluzzo per la Fondazione Ezio Franceschini country:ITA place:Firenze info:eu-repo/semantics/altIdentifier/isbn/978-88-8450-859-1 ispartofbook:Lettura dell’«Orlando furioso» diretta da Guido Baldassarri e Marco Praloran, volume II firstpage:233 lastpage:262 numberofpages:30 alleditors:Annalisa Izzo, Franco Tomasi http://hdl.handle.net/11585/675357 info:eu-repo/semantics/altIdentifier/scopus/2-s2.0-85074290265 Ariosto Furioso Bradamante Elegia Boccaccio Fiammetta Filostrato Ovidio Querelle des femmes info:eu-repo/semantics/bookPart 2018 ftunibolognairis 2024-03-21T18:02:12Z Canto XXXII, almost entirely occupied by Bradamante, consists of a first part dating back to 1516 (and partly already modified in 1521) and a second half entirely added in 1532: this is the first part of the so-called second giunta, the one relating to the Rocca di Tristano. The essay analyzes the differences between the form of 1532 and that of the corresponding canto XXX (1516 and 1521); and insists on the elegiac function that Bradamante takes on in the earliest section of the canto, highlighting various topoi Ariosto picks up from Latin poetry and the Boccaccio elegiac production (Filostrato and Fiammetta), in order to represent the amorous folly of the warrior, blinded by jealousy for Marfisa. The giunta, on the other hand, is interpreted as an attempt to vary the elegiac representation of Bradamante, giving space to the lazy heroism of the women. Despite being immersed in his gloomy thoughts, Bradamante, in fact, avoids a grave danger that looms over the court of Carlo (the shield and the challenge that Ullania brings from Iceland); and reintroduces courtesy in a space marked by rudeness and jealousy, namely the fortress of Tristan, where the law of Clodione, as expression of masculine jealousy, dominates. Book Part Iceland IRIS Università degli Studi di Bologna (CRIS - Current Research Information System) Rocca ENVELOPE(-68.764,-68.764,-67.783,-67.783) The Fortress ENVELOPE(160.917,160.917,-77.300,-77.300) Tristan ENVELOPE(140.900,140.900,-66.735,-66.735) |
institution |
Open Polar |
collection |
IRIS Università degli Studi di Bologna (CRIS - Current Research Information System) |
op_collection_id |
ftunibolognairis |
language |
Italian |
topic |
Ariosto Furioso Bradamante Elegia Boccaccio Fiammetta Filostrato Ovidio Querelle des femmes |
spellingShingle |
Ariosto Furioso Bradamante Elegia Boccaccio Fiammetta Filostrato Ovidio Querelle des femmes Ferretti F. Canto XXXII |
topic_facet |
Ariosto Furioso Bradamante Elegia Boccaccio Fiammetta Filostrato Ovidio Querelle des femmes |
description |
Canto XXXII, almost entirely occupied by Bradamante, consists of a first part dating back to 1516 (and partly already modified in 1521) and a second half entirely added in 1532: this is the first part of the so-called second giunta, the one relating to the Rocca di Tristano. The essay analyzes the differences between the form of 1532 and that of the corresponding canto XXX (1516 and 1521); and insists on the elegiac function that Bradamante takes on in the earliest section of the canto, highlighting various topoi Ariosto picks up from Latin poetry and the Boccaccio elegiac production (Filostrato and Fiammetta), in order to represent the amorous folly of the warrior, blinded by jealousy for Marfisa. The giunta, on the other hand, is interpreted as an attempt to vary the elegiac representation of Bradamante, giving space to the lazy heroism of the women. Despite being immersed in his gloomy thoughts, Bradamante, in fact, avoids a grave danger that looms over the court of Carlo (the shield and the challenge that Ullania brings from Iceland); and reintroduces courtesy in a space marked by rudeness and jealousy, namely the fortress of Tristan, where the law of Clodione, as expression of masculine jealousy, dominates. |
author2 |
Annalisa Izzo, Franco Tomasi Ferretti F. |
format |
Book Part |
author |
Ferretti F. |
author_facet |
Ferretti F. |
author_sort |
Ferretti F. |
title |
Canto XXXII |
title_short |
Canto XXXII |
title_full |
Canto XXXII |
title_fullStr |
Canto XXXII |
title_full_unstemmed |
Canto XXXII |
title_sort |
canto xxxii |
publisher |
Edizioni del Galluzzo per la Fondazione Ezio Franceschini |
publishDate |
2018 |
url |
http://hdl.handle.net/11585/675357 |
long_lat |
ENVELOPE(-68.764,-68.764,-67.783,-67.783) ENVELOPE(160.917,160.917,-77.300,-77.300) ENVELOPE(140.900,140.900,-66.735,-66.735) |
geographic |
Rocca The Fortress Tristan |
geographic_facet |
Rocca The Fortress Tristan |
genre |
Iceland |
genre_facet |
Iceland |
op_relation |
info:eu-repo/semantics/altIdentifier/isbn/978-88-8450-859-1 ispartofbook:Lettura dell’«Orlando furioso» diretta da Guido Baldassarri e Marco Praloran, volume II firstpage:233 lastpage:262 numberofpages:30 alleditors:Annalisa Izzo, Franco Tomasi http://hdl.handle.net/11585/675357 info:eu-repo/semantics/altIdentifier/scopus/2-s2.0-85074290265 |
_version_ |
1796311854198292480 |