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This collection of essays is the first comprehensive study on Dante
and satire within his entire corpus that has been published. Its
title evokes the moment when Virgil leads Dante through Limbo, the
uppermost portion of Hell. There, they are joined by four classical
poets, and Virgil describes one of them as "Horace the satirist"
("Orazio satiro," 4:89). By applying the expression to Dante
himself, this volume seeks to explore the satirical elements in his
works. Although Dante is not typically described as a satirist,
anyone familiar with his works will recognize the strong satirical
element in his many writings. Ultimately, this study shows that
Dante engages in satire in order to attain the primary literary
tool at his disposal for his prophetic objectives: the castigation
of vice.
As Virgil leads Dante through Limbo, the uppermost portion of Hell,
they are joined by four classical poets, and Virgil describes one
of them as "Horace the satirist" ("Orazio satiro," 4:89). This
collection of essays applies the expression to Dante himself in
order to emphasize the satirical elements of his works. Although
Dante is not typically described as a satirist, anyone familiar
with his works will recognize the strong satirical element in his
many writings. By exploring the satiric elements in Dante's
literature, these essays explore the primary literary tool at his
disposal for his prophetic objectives: the castigation of vice.
This collection of essay is the first comprehensive study on Dante
and satire within his entire corpus that has ever been published.
This translation brings the complete works of three minor but
important Italian poets - Dante's contemporaries at the turn of the
14th century - to English speakers for the very first time. Taken
together, the three authors sketch an idealized portrait of courtly
life juxtaposed to the gritty, politically fractured world of
northern Italy's mercantile urban centers in which they lived. One
poet, Folgore di San Gimignano, idealizes court life during the
period; the second, Cenne da la Chitarra, looks at it more
realistically and parodies Folgore; and the third, Pietro dei
Faitinelli, takes inspiration from Folgore's political writings and
focuses on the politics of the times. The juxtaposition of the
three poets in this work is effective and arguably shows them to be
a poetic school. Tournaments, dinner tables, and public squares
spring to life through vivid, material details, which should catch
the interest of cultural historians and literary scholars alike.
This translation is especially deft at reproducing the rich variety
of culinary and sartorial vocabulary offered by the poets, and the
translations of Pietro dei Faitinelli are especially well-executed.
The Poetry of Burchiello: Deep-fried Nouns, Hunchbacked Pumpkins,
and Other Nonsense is the first complete English translation of the
poetry of Domenico di Giovanni, nicknamed il Burchiello (ca.
1404-1449). A highly influential Florentine poet of the fifteenth
century, and a barber by trade, Burchiello composed poetry that
inspired numerous imitators and influenced writers for centuries
afterwards. Ironically, however, he specialized in a nonsensical
style that destabilized semantic meaning and that continues to
baffle readers. In this bilingual edition of Burchiello's poetry,
Fabian Alfie and Aileen A. Feng attempt to render Burchiello's
non-sensical poetry into readable English while maintaining the
experimental spirit of the original.
Comedy and Culture examines the ways on which the culture and
society of the Middle Ages impacted on the works of the Sienese
poet, Cecco Angiolieri (c.1260-1312). It analyses how Angiolieri's
poetry conformed to medieval notions and practices of comicality.
The study explores the means by which Cecco satirized important
cultural movements of the late thirteenth and early fourteenth
centuries, such as love literature and the ascendant Franciscan
order. In addition, it looks at his relations with other writers of
the day, including his three insulting sonnets addressed to Dante
Alighieri. Comedy and Culture demonstrates that Angiolieri was not
an isolated, bizarre' figure, as some early twentieth-century
scholars have described him, but rather an author in step with his
times. Fabian Alfie received his PhD in Italian from the University
of Wisconsin, Madison, in 1995. He is currently an assistant
professor in the Department of French and Italian at the University
of Arizona in Tucson.
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(1)
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Discovery Miles 450
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