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Cuadernos de Filología Italiana Nº 14
 

Nombre de la Revista: Cuadernos de Filología Italiana
Número de Sumario: 14
Fecha de Publicación: 2007
Páginas:
Sumario:

Cuadernos de filología Italiana

Servicio de Publicaciones de la Universidad Complutense de Madrid

- Volumen 14 (2007)  -

Más información / TEXTO COMPLETO  

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3.  Sumario   47 KB  /  7.  Contents   47 KB 

 
I NUNC-ES: strumenti nuovi per la linguistica dei corpora in spagnolo - NUNC-ES: New Tools for Corpus Linguistics     
BARBERA, Manuel
13 
Palabras Clave: Linguistica dei corpora; Newsgroup; Spagnolo; Corpora; Tagset
Corpus linguistics; Newsgroup; Spanish; Corpora; Tagset
 
Resumen:
Dopo aver in breve presentato NUNC, suite muiltilingue di corpora basati su testi di UseNet e liberamente interrogabili online (http://www.bmanuel.org/projects/ng-HOME.html), se ne evidenziano le caratteristiche innovative; l’articolo si sofferma quindi sui corpora in lingua spagnola (NUNC-ES), descrivendo sommariamente le gerarchie di UseNet in spagnolo ed i corpora attualmente posti online, da cui è presentato qualche esempio di query. Si delineano infine gli sviluppi futuri, anticipando soprattutto la pubblicazione di un nuovo tagset.
 
 After a short presentation of NUNC, a freely available multilingual suite of corpora based on newsgroups texts (querable online at
http://www.bmanuel.org/projects/ng-HOME.html), this paper intends to investigate the Spanish subset of data collected in NUNC-ES. A brief description of the Spanish hierarchies is given, and some examples of corpus queries are suggested. The third part of the work presents an outline of future developments, especially the release of a new tagset for Spanish.
 
 
Cortesía lingüística en el aprendizaje/enseñanza del italiano L2 - Linguistic Politeness in Italian L2 Learning/Teaching     
GUIL, Pura
33 
Palabras Clave: Italiano L2; Convenciones corteses; Estrategias corteses
Italian L2; Politeness conventions; Politeness strategies.
 
Resumen:
Con objeto de fomentar la sensibilización de los aprendices de italiano L2 respecto a la problemática relacionada con la cortesía lingüística, se ofrece un repertorio ordenado de posibles mecanismos lingüísticos asociados a estrategias corteses.
 
 With the aim of sensitizing Italian L2 learners with regards to the problems concerning linguistic politeness, this paper offers an ordered index of possible linguistic mecanisms linked to politeness strategies.
 
 
Il cibo nella Divina Commedia - The Food in the Divine Comedy     
SERIANNI, Luca
61 
Palabras Clave: Dante; Divina Commedia; Cibo; Fame
Dante; Divine Comedy; Food; Hunger
 
Resumen:
Il saggio realizza un percorso attraverso il capolavoro dantesco intorno al tema del cibo, messo in rapporto al concetto medievale del peccato di gola e alle corrispondenti pene inflitte ai golosi nell’Inferno e nel Purgatorio. Nella Commedia vengono inoltre analizzati i termini fame e cibo, che si polarizzano su due valori semantici diversi: quello proprio, legato al mondo terreno, ricorrente nelle prime due cantiche, e quello traslato, come ansia di sapere intellettuale e morale, riscontrabile nel Paradiso.
 
 In this essay a path is tracked through Dante’s masterpiece in search of allusions to food, in relation to the Medieval concept of gluttony and the punishment gluttons deserved in Hell and Purgatory. The terms hunger and food in the Divine Comedy are analysed with precise references to the expressions in the text; these words convey two different, opposite semantic values: one linked to the earthly world, which appears in the first two parts, and another figurative, expressing the thirst for an intellectual and moral knowledge, which is found in Paradise.
 
 
Conceptos médicos en Purgatorio XXV, vv. 37-78. Las virtudes y el desarrollo vital del feto. - Medical Concepts in Purgatorio XXV, vv. 37-78 Virtues and Foetus’Vital Development     
IGLESIAS RONDINA, María Clara
69 
Palabras Clave: Ciencia médica; Dante; Feto; Purgatorio; Virtudes
Dante; Foetus; Medical science; Purgatorio; Virtues
 
 Resumen:
Se analiza un pasaje de la Divina Commedia (Purgatorio XXV, vv. 37-78), que ofrece diversos problemas de interpretación, especialmente relacionados con aspectos doctrinales y médicos propios del pensamiento medieval. Los problemas doctrinales se refieren a la recepción de las tres animae (almas vegetativa, sensitiva e intelectiva) en el seno materno, y a las consecuencias derivadas de este hecho. Los problemas médicos, se relacionan con la formación, desarrollo y evolución del feto, y con la adquisición de ciertas características que determinan su naturaleza. En el análisis se comparan los elementos más destacados del pasaje con textos fundamentales del conocimiento médico medieval, de la ciencia más general, de la doctrina cristiana y de otras obras del mismo autor.
 
 A passage from Divina Commedia (Purgatorio XXV, vv. 37-78) is analyzed that presents different reading problems, especially those related to doctrinal and medical aspects of medieval thought. Doctrinal problems are connected with the reception of the three animae (vegetative, sensitive and intellective souls) in the womb, and with the consequences derived from this fact. Medical problems are related to foetus’ formation, development and evolution, and to the adquisition of certain characteristics that determine its nature. This paper analyzes these problems, by comparing some relevant elements to fundamental texts of medieval medical knowledge, general science, Christian doctrine and other works by the same author.
 
 
Il Serventese del Dio d’Amore e il suo contesto letterario e editoriale - The Serventese del
Dio d’Amore A Study of Sources, Context and Setting    
LECCO, Margherita
87 
Palabras Clave: Serventese; Fonti narrative; Cruel Beauties; Tecniche narrative; Zibaldone da Canal
Serventese; Sources; Cruel Beauties; Narrative techniques; Zibaldone da Canal
 
 Resumen:
L’articolo ricostruisce la storia di un testo italiano del XIII secolo, il Serventese del Dio d’Amore, nelle vicissitudini editoriali, nell’analisi delle fonti, nella nuova strutturazione. Derivato da una celebre pagina di André le Chapelain, il testo, composto forse a Bologna, si trova oggi affidato a due importanti testimoni, lo Zibaldone da Canal (Venezia, 1311) e le Rime dei Memoriali Bolognesi (1309).
 
 Subjects discussed includes material manuscripts and intertextual patterns of a short thirtheenth-century work fragmentary preserved in the Zibaldone da Canal (Venice, 1311) and in the Rime dei Memoriali Bolognesi (Bologna, 1309). A folk-motif (the ‘Purgatory of Cruel Beauties’) is seen as model that both set a pattern for individual successors in verse and provided the groundwerk for the interlace and amplification (the Novel of Nastagio degli Onesti, Decameron, VIII, 5).
 
 
Nebrija y Maquiavelo ante un epigrama de Ausonio: paratexto y texto - Nebrija and Machiavelli Facing an Epigram by Ausonio: Paratext and Text     
BARBOLANI, Cristina
101 
Palabras Clave: Nebrija; Maquiavelo; Humanismo; Paratexto; Literatura emblemática
Nebrija; Machiavelli; Humanism; Paratext; Emblematic Literature
 
Resumen:
Este artículo analiza la presencia de un epigrama del poeta Ausonio (s.IV d. C) en Nebrija y en Maquiavelo. El texto de Ausonio, derivado a su vez de uno griego de Posidipo (s. III a. C.), debió resultar familiar a todo el humanismo europeo, pues difundió la representación tradicional de la figura de la Ocasión calva y con un mechón en la frente, acompañada a veces de su complementaria Poenitentia hasta dejarla muy arraigada en el imaginario colectivo renacentista; así aparece, en efecto, en el Emblema CXXI de Alciato y en autores como Boiardo y Ariosto. El filólogo español Nebrija reproduce este epigrama tardolatino en la dedicatoria al arzobispo Fonseca de sus Libri minores (función paratextual); en cambio Maquiavelo lo traduce y transforma de modo significativo en su breve capítulo Dell’Occasione. El mismo texto aparece, así pues, en Nebrija al servicio de un principio didáctico propio de su humanismo erudito, mientras la versión de Maquiavelo da lugar a una nueva interpretación que transmite su concepto dinámico y pesimista de la realidad.
 
 This article analyses the presence of an epigram by the poet Ausonio (IV AD) in Nebrija and in Machiavelli. The text by Ausonio, which in turn derived from a Greek text by Posidipo (III BC), must have been familiar to the European Humanism, since it spread the traditional representation of the figure of Chance bald and with a lock on her forehead, sometimes accompanied by her complementary Poenitentia until it was deeply rooted in the collective imagery in the Renaissance; in fact, it appears like that in the Emblem CXXI by Alciato and in authors such as Boiardo and Ariosto. The Spanish philologist Nebrija reproduced this late Latin epigram in the dedication to the archbishop Fonseca in his Libri minores (paratextual function); however Machiavelli translated it and transformed it significantly in his brief chapter Dell’Occasione. Therefore, this text appeared in Nebrija for the profit of a didactic principle characteristic of his erudite humanism, while Machiavelli’s translation led to a new interpretation which spread his dynamic and pessimistic concept of reality
 
 
La canción Alla sua donna: el platonismo paradójico de Giacomo Leopardi - The Song Alla sua donna: The Paradoxical Platonism of Giacomo Leopardi     
CORIASSO MARTÍN-POSADILLO, Cristina
117 
Palabras Clave: Leopardi; Kant; Platonismo paradójico; Idea estética; Sublime
Leopardi; Kant; Paradoxical platonism; Aesthetic idea; Sublime
 
Resumen:
Al hilo de distintas aportaciones críticas, la canción leopardiana Alla sua donna, en la que la presencia de la tradición platónica, stilnovista y petrarquesca es esencial, puede ser considerada como mero ejercicio de extrañamiento e ironía frente a esa tradición y al mismo tiempo como exaltación de la sublimación desde el desencanto, o puede interpretarse –y esta es nuestra tesis sobre la vía abierta por Rigoni, Galimberti y Cacciari– como una expresión privilegiada del platonismo paradójico, presente en todo el pensamiento leopardiano. Siguiendo la teorización de Kant en la Crítica del juicio, aunque sin olvidar la abismal distancia que, bajo otros aspectos separa al pensamiento leopardiano del kantiano, la Idea de lo Eterno Femenino es el objeto de esta canción, en la que encaja perfectamente la definición de idea estética como única exhibición posible de las ideas de la razón.
 
 According to the different critical contributions, the Leopardian song Alla sua donna, where the presence of the platonist, stilnovistic and petrarchean tradition is essential, can be considered an exercise of defamiliarization and irony of the Italian lyrical tradition, and at the same time like an exaltation of the sublimation from the disillusion; or can be interpreted, and this is our thesis following Rigoni, Galimberti y Cacciari, like a privileged expression of the paradoxical platonism that is in all the Leopardian thought. The Idea of the Eternal Feminine is the theme of this song, according with the theory of Kant in the Critique of the judgement, despite the abysmal distance that, under other aspects, separates Leopardian from Kantian thought, but it fits perfectly with the definition of aesthetic idea as the only possible exhibition of the ideas of the reason.
 
 
Il Manzoni di Sapegno - Sapegno’s Manzoni     
PARISI, Luciano
133 
Palabras Clave: Manzoni; Sapegno; Società; Giustizia; Cristianesimo
Manzoni; Sapegno; Society; Justice; Christianity
 
Resumen:
Natalino Sapegno ha messo in evidenza la solidarietà di Manzoni per gli oppressi, la sua ammirazione per la loro cultura, il suo desiderio di giustizia sociale. Ha anche difeso Manzoni dalle accuse che studiosi liberali e marxisti gli hanno rivolto, negando che ci fosse in lui un «aristocraticismo giansenistico », e mostrando la ricchezza di vita interiore dei suoi personaggi umili. Sapegno, infine, ha capito che il rifiuto manzoniano della violenza non era un sotterfugio ideologico di tipo conservatore, ma parte del sentimento religioso che ispirava l’impegno dello scrittore per una società migliore.
 
 Natalino Sapegno highlighted Manzoni’s solidarity with the downtrodden, his admiration for their culture, and his commitment to social justice. He defended Manzoni from the accusations of liberal and Marxist scholars, denying his so-called aristocraticism (and what others perceived as a condescending attitude), and showing how rich and intense the interior life of Manzoni’s humble main characters is. Finally, Sapegno understood that Manzoni’s rejection of violence was not an ideological ploy: it was a key component of the same spirituality from which the writer’s social commitment sprung.
 
 
La lectura del paisaje: semiótica del color y la forma en «Giappone» de Collezione di Sabbia de Italo Calvino - The Reading of the Landscape: Semiotics of Colour and Shape in «Giappone» from Collezione di Sabbia by Italo Calvino     
BARRADO BELMAR, Mari Carmen
149 
Palabras Clave: Paisaje; Comunicación; Color; Forma; Semiótica
Landscape; Communication; Colour; Shape; Semiotics
 
Resumen:
El paisaje es susceptible de ser leído e interpretado. Entendemos por paisaje el conjunto formado por la arquitectura, la vegetación y los seres humanos que forman parte de él. Todos son emisores de mensaje descifrable, todos constituyen cultura y, como señala Eco: “tutta la cultura deve essere studiata come un fenomeno di comunicazione”. Calvino, como veremos en uno de los textos, dice: “penso: ecco che il paesaggio mi ha dettato il tema per una poesia”. En el estudio nos ocupamos de recoger y entresacar los datos acerca del valor semiótico de la forma y el color manifestados en el paisaje.
 
 The landscape is liable of being read and interpreted. As landscape we understand the set formed by the architecture, the vegetation, the industrial facilities and the human beings who are part of it. All of them are senders of decipherable messages, all of them become culture and, as Eco points out, Tutta la cultura deve essere studiata come un fenomeno di comunicazione. Calvino, as we will see in one of the texts, says: Penso: ecco che il paesaggio mi ha dettato il tema per una poesia. In this study we devote ourselves to collecting and extracting data about the semiotic value of the shape and the colour that are manifested in the landscape.
 
 
Intertestualità (o quasi) lampedusiane - Intertextualities (or nearly) of The Gattopardo     
Angelo Fabrizi
163 
Palabras Clave: Tomasi di Lampedusa; Gattopardo; Intertestualità
Tomasi di Lampedusa; Gattopardo; Intertextualities
 
Resumen:
Viene rivolta attenzione soprattutto alla Parte ottava del romanzo Il Gattopardo di Giuseppe Tomasi di Lampedusa. In particolare il saggio si sofferma sulla capacità di Tomasi di esprimere densi e molteplici significati attraverso poche parole: addirittura, nell’esempio considerato, con una sola parola (cara). Si ricorda che Tomasi ammirava gli scrittori “magri” come Stendhal e misurati e controllati come Jane Austen. Di loro apprezzava la straordinaria capacità allusiva. Pur essendo Tomasi, nel suo romanzo, autore di larga vena e tendente alla ricchezza descrittiva, non manca di offrire momenti di sapiente concisione, che richiamano alla mente i suoi prediletti modelli europei ottocenteschi. Nel corso del saggio vengono altresì proposte significative utilizzazioni di Manzoni lirico (talune in senso parodico) e probabili echi montaliani. Si accenna infine alla questione della collocazione ideologica di Tomasi romanziere, pur avendo egli evitato di farsi banditore di precise idealità politiche.
 
 The essay focuses mainly on part VIII of Giuseppe Tomasi di Lampedusa’s novel Il Gattopardo, and on the writer’s ability to express complex meanings through a limited number of words or simply trough a single word (i. e. “cara”). Tomasi admired the so-called “scrittori magri”, authors whose prose was terse and disciplined, such as Stendhal and Jane Austen, and who are remembered for their unique allusive writing style. Although Tomasi falls in the category of descriptive writers, in his novel he show impressive syntetic skills that reflect nineteenth-century narrative models. After referring to Manzoni “lirico” (in a parodic sense) and to possible Montalian echoes, Tomasi’s ideological position is explored along with his reluctance to be a proponent for political ideals.
 
 
Alla scoperta dell’Italia e degli italiani: Zavattini e altri autori (1944-1963) - Discovering Italy and the Italians: Zavattini & co. (1944-1963)     
FALASCHI, Giovanni
173 
Palabras Clave: Intellettuali italiani; Dopoguerra; Scoperta dell’Italia
Italians intellectuals; Mid-Fifties; Discovering Italy
 
Resumen:
Dopo la caduta del fascismo gli intellettuali italiani scoprirono all’improvviso il proprio paese e i connazionali che essi non conoscevano veramente ma solo come li aveva presentati la propaganda fascista. Il cinema, la fotografia, il reportage, il racconto e la narrativa: tutte queste tecniche servirono a capire il paese che aveva perduto la guerra. Alla metà degli anni cinquanta inizia il boom economico e l’Italia cambia ancora. Questa indagine comprende gli anni 1944-1963. Gli autori studiati sono: C. Levi, Pasolini, Calvino, Piovene, Bocca, Bianciardi, Mastronardi. Ma prima e più diffusamente di tutti Zavattini.
 
 After the fall of Fascism Italian intellectuals suddenly discovered their own country and their fellowcitizens, whom they only knew from the Fascist propaganda. Cinema, photography, reportage, prose narrative: all these techniques were used to understand the country that had lost the war. In the mid-Fifties a booming economy transformed Italy again. This survey considers the years 1944-1963, and looks in particular at the following authors: C.Levi, Pasolini, Calvino, Piovene, Bocca, Bianciardi, Mastronardi; and first of all, with a deeper insight, Zavattini.
 
 
L’etica del sopravvissuto nell’estetica di Edith Bruck - The ethics of survivor in the aesthetics of Edith Bruck     
GUIDA, Elisa
187 
Palabras Clave: Autonomia; Linguaggio; Shoah
Autonomy; Language; Shoah
 
Resumen:
Questo lavoro propone un ritratto di Edith Bruck: ebrea ungherese sopravvissuta alla barbarie nazista, narratrice e poetessa italiana. L’analisi, che procede in senso diacronico e che si allontana dai tradizionali metodi di indagine, mira a individuare il percorso umano e letterario che ha portato l’autrice alla costruzione di un’estetica nutrita di impegno civile. L’esercizio scrittorio, nato come mezzo individuale di elaborazione del lutto, approda infatti nello spazio sociale della memoria e della testimonianza, facendo di Edith Bruck una scrittrice italiana in grado di dar voce ad uno degli eventi più drammatici del XX secolo.
 
 This work suggests a portrait of Edith Bruck: Hungarian Jewish woman surviving Nazi barbarity, Italian narrator and poet. The analysis, which proceeds in diachronic sense and keeps at a distance the traditional survey methods, aims at characterizing the human and literary course which led the author to the construction of an aesthetics strong of civil commitment. The writing exercise, born as individual means of mourning elaboration, come indeed to the social space of memory and testimony, making of Edith Bruck an Italian writer able to give voice to one of the most dramatic events of 20th century.
 
 
La poética de la analogía y del fragmento en la poesía de Govoni - Analogy’s and Fragments Poetics in Govoni’s Poetry     
SCRIMIERI MARTIN, Rosario
205 
Palabras Clave: Poética; Analogía; Fragmento; Símbolo; Metonimia
Poetic; Analogy; Fragment; Symbol; Metonymy
 
Resumen:
La poética de la analogía y la poética de los objetos, heredada del simbolismo dannunziano y pascoliano, confluyen en la poesía de Govoni quien logra manifestar, a través de ellas, su propia identidad poética y realiza, respecto de ambas, su propia operación de “atravesamiento”. En un primer momento, la poética de los objetos, plasmada como poética del fragmento, se manifiesta en su modo extremo bajo la forma del poema-elenco y del poema-letanía; sigue después una utilización más dinámica y libre de las imágenes, que explícitamente actualizan en el poema el resultado de una totalidad. Finalmente, en la madurez del autor, la poética de la pura analogía se impone con plenitud: el poema se estructura en torno a un núcleo de imágenes y se construye en correspondencia estrecha con el dinamismo inherente a la analogía. En este artículo examinamos especialmente las manifestaciones de la poética del fragmento: la enumeración de objetos y la yuxtaposición de imágenes, y terminamos con una serie de consideraciones sobre la poética de la analogía. A la vez, al poner en evidencia el sucederse de estas poéticas, tratamos de delinear un itinerario de la poesía de Govoni y un retrato de su identidad, el modo en que la sensorialidad, función definidora de su personalidad, se relaciona con otras funciones de la conciencia como el sentimiento, el pensamiento y la intuición.
 
 The analogy’s and objects’s poetics, inheritated from D’Annunzio’s and Pascoli’s symbolism, meet in Govoni’s poetry. This poet manifests his own poetic identity through these both traditions but at the same time he is able “to cross” them in a personal way. At the first stage, the objects’s poetic, as fragment’s poetic, is expressed in the highest degree under the form of the “cataloghe-poem” and the “litany-poem”; then follows a more dynamic and free use of images which in a explicit way presents in the poem the effect of a totality. Finally, in the age of maturity, the pure analogy’s poetic imposes itself: the poem rises from a nucleus of images and its frame corresponds closely to the dynamism of the analogy. We examine in this essay specially the forms of the fragment’s poetic: the list of objects and the juxtaposition of images, and at the end we offer a series of considerations about the analogy’s poetic. Simultaneously we try to draw an itinerary of Govoni’s poetry and a portrait of his identity, how the sensorial function, which defines his personality, relates with other functions of the conscience, like sentiment, thought and intuition.
 
 
Beatrice en Demian de Hermann Hesse - Beatrice in Demian by Hermann Hesse      VILELLA, Eduard
231 
Palabras Clave: Hermann Hesse; Dante; Beatrice personaje femenino; Crítica literaria junguiana
Hermann Hesse; Dante; Beatrice as feminine character; Jungian literary criticism
 
Resumen:
Uno de los capítulos de Demian de Hermann Hesse presenta a una figura femenina llamada en secreto Beatrice por el protagonista del relato. Tomando como punto de partida la función de esta aparición en la economía narrativa de la novela, el artículo se propone analizarla priorizando las posibilidades implícitas en la referencia dantesca a fin de integrarlas con otros elementos inmediatos tales como los ecos junguianos, muy a menudo privilegiados por la crítica, o la explícita mención a la estética prerrafaelita presente en el texto
 
 One of the chapters of Demian by Hermann Hesse presents a feminine figure that the main character secretly calls Beatrice. Departing from this episode’s narrative implications in the system of the novel, this article aims to emphasize the potential meaning of the reference to Dante’s work in order to add it to other more immediate elements such as the implicit echoes of Jungian psychology, often used in critical literature, or the text’s explicit reference to pre-Raphaelite aesthetics.
 
 
Un nuevo dato biográfico sobre Cosme de Aldana - A New Piece of Biographical Data About Cosme de Aldana     
MEDINA BERMÚDEZ, Alejandro
245 
Palabras Clave: Cosme de Aldana; Universidad de Pisa; Siglo XVI; Asneyda; Aristocracia hispano-italiana
Cosme de Aldana; University of Pisa; 16th Century; Asneyda; Spanish-Italian aristocracy
 
Resumen:
El presente trabajo saca a la luz un nuevo dato biográfico sobre Cosme de Aldana. Como podrá constatarse, el poeta cursó estudios de derecho en la Universidad de Pisa, algo que él mismo nos refiere en su Asneyda, pero que ahora queda probado de forma fehaciente. Asimismo, se aprovecha la oportunidad para sugerir que a) la Asneyda es un poema que merece ser rescatado del olvido, y b) que en esta y otras obras suyas Cosme proporciona pistas (algunas de ellas examinadas en este artículo) que pueden resultar valiosísimas a la hora de intentar reconstruir su vida, lo que contribuiría a un mayor conocimiento del siglo XVI en general, y de la aristocracia hispano-italiana de la época en particular.
 
 The present investigation brings to light a new piece of biographical data about Cosme de Aldana. It is shown that the poet studied law in the University of Pisa, something he himself states in his Asneyda, but which now can be proven beyond any doubt. At the same time it is here suggested that a) the Asneyda deserves being recovered from oblivion, and b) that in this as in other works Cosme provides clues (some of which are examined in the present article) that could be of great value when attempting to reconstruct his biography, a task that would contribute to a better knowledge of the 16th century in general, and of the Spanish-Italian aristocracy of that period in particular.
 
 
Edizioni italiane dei libros de caballerías nella Biblioteca Nacional de Madrid. Ciclo di Amadís de Gaula. - Romances of Chivalry Printed in Italy in the Biblioteca Nacional de Madrid. The Amadís de Gaula series.    
BODY MORERA, Enrique | FOTI, Vittoria
259 
Palabras Clave: Biblioteca Nacional de Madrid; Cinquecentine; Romanzi di cavalleria; Amadís de Gaula
Biblioteca Nacional de Madrid; Sixteenth century books; Romances of chivalry; Amadís de Gaula; Translations
 
Resumen:
Nella Biblioteca Nacional de Madrid Enrique Body Morera sta realizzando la vasta impresa di catalogazione del fondo antico italiano. Tra le numerose opere classificate come anonime emerge il compatto gruppo di edizioni cinquecentine e secentine riconducibili al ciclo di Amadís de Gaula. Tali traduzioni e rifacimenti costituiscono un capitolo interessante e meritevole di studio nell’ambito della narrativa di consumo rinascimentale e delle relazioni culturali tra Italia e Spagna.
 
 In the Biblioteca Nacional de Madrid Enrique Body Morera is carrying out the demanding task of cataloguing the Italian ancient collection. Among the various books that are classified as anonymous the compact group of fifteenth and sixteenth century books belonging to the Amadís de Gaula series stands out. These translations and rewritings form an interesting chapter that deserves to be studied in the context of the fifteenth century fiction and cultural relations between Italy and Spain.
 
 
Poesie di Giorgio Orelli      
277 
 
Lectura crítica de libros     
283  
 



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