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• Egalitarian utopias and enlightened reformism in Domenico Tempio's La Carestia

  17-30

  Ambra Carta

  Views:

  61

  La Carestia of the Sicilian poet Domenico Tempio is an allegorical satirical poem that fits into the tradition of southern enlightened reformism, feeding the utopia of peace and social egalitarianism. The article analyzes some frame of the work to grasp the thrust for the renewal of eighteenth-century poetry, through a stylistic use of the poetic language that oscillates between coloriture markedly expressionist and equally visible traces of formal classicism.

• Forms of poetry

  Paolo Driussi

  Views:

  141

  Text analysis is a wide, and rich, field for research. The formal linguistic analysis of texts is not widespread, certainly not in Italy, but can profitably help in reading and interpreting. This can easily be seen with poetry. In this article I introduce some foundations of this approach and show how they apply to two poems in order to present some of its benefits.

• Translations belles infidèles. Comments to those of Domenico Tempio's oily compositions

  161-182

  Chiel Monzone

  Views:

  407

  Belles infidèles is a French expression highlighting a well-known problem in translating from one language to another. This is true especially in the field of literature and particularly in poetry, where the exterior aspects of the words (for example, the harmony of rhymes, the images, the emotional vibrations, the semantic fields, the polysemy, and so on) become substantial and hardly translatable. The essay focuses on some bad translations of some selected verses from the obscene poems by a 18th-century Sicilian dialect poet, Domenico Tempio: they clearly show the translators’ intervention, who took many liberties and betrayed the formulation, the sense and the effect of the original texts. The essay proposes some more faithful translations of them.

   

   

• "Sad is such art and sad what spends / all its time in such works": critical edition and commentary on the Alfabeto de' giuocatori by Giulio Cesare Croce

  110-124

  Gloria Camesasca

  Views:

  153

  Giulio Cesare Croce (1550-1609) was a polygraph who composed several poetical works that describe the daily life of the Bolognese people. This paper examines Alfabeto de’ giuocatori, a poem dedicated to the theme of the game and of the vices and virtues of the players. The author analyzes the poem and discusses the transmission of the text and philological variants. The article is concluded by the critical edition and the commentary (regarding philological, linguistic, lessical and literary aspects).

• Scrivere e descrivere: La pervasività dell’ekphrasis nella poesia di Edoardo Sanguineti

  Alessio Verdone

  Views:

  248

  This paper aims to explore the all-pervasiveness of the technique of ekphrasis within Edoardo Sanguineti’s poetry, from Laborintus (1956) to Varie ed eventuali (2010). The study is conducted looking at six exemplary texts (Laborintus 3 and 7, Reisebilder 14, Cataletto 1, Corollario 43, Mantova 15) belonging to different periods of Sanguineti’s literary career and comparing them with the visual objects that they describe. In this way, the study tries to show the usage of ekphrasis not only as a simple rhetorical device but also as a primary poetical tool. Finally, the article drafts some future ways for further investigation, such as the cataloguing of all the ekphrasises hidden in Edoardo Sanguineti’s poetry, the application of the theoretical results achieved by the international visual studies, and the possibility of connecting Sanguineti’s ekphrasis with the ones used by other Italian contemporary poets.

• Italiano: Italiano

  MILENA BORTONE

  Views:

  136

  In the essay Note sulla tradizione spirituale e religiosa Quondam denounced the prejudice which for a long time excluded from the field of “literature” the experiences of religious poetry of the pre-baroque era. The issue is greater in the field of figurative arts, where sacred poetry and those who dealt with it still find it hard to establish themselves as sources for the knowledge of works and artistic languages. This is the case of the Venetian Maurizio Moro, a canon and scholar who lived between the 16th and 17th centuries, known above all as the author of the commentary verses on Dürer’s Little Passion (Venice, 1612). The essay discusses the author’s composition on the «Imagine del Salvatore, dal Pordenon pittor famoso dipinta». The text, published in 1609 within the Amorosi stimoli dell’anima penitente and still unknown to those who have treated the Friulan painter, bears witness to a work not otherwise known, re-evaluating Moro as a precious source for art history and criticism.