Francesco Petrarch: A Poet of “Multiple Belongings”

The article focuses on the engraving “The Triumph of Our Lady” from the Book of Hours by Geoffroy Tory, 1531, kept in the collection of the Russian National Library in St. Petersburg. That woodcut precedes the Hours of the Virgin Mary section, and complements the main row of images, most of which are related to the Mariological theme. An attempt is made to study possible sources for the rare iconography. Both Hypnerotomachia Poliphili (The dream of Poliphilus) by Aldus Manutius, Venice, 1499 and The Triumphs (I Trionfi) of Francesco Petrarch are considered. The author also takes into account the printed products of Tory himself, such as: “Champ fleury” (Flowery fields), 1529, Triumphal Entry of Eleanor of Austria, 1531. The iconography of the engraving displays the elaborately developed in Italian painting and drawing scheme of Roman triumphs of emperors and pagan gods. It also includes the visual impressions of theatrical and religious ceremonies, solemn entrances that Tory could witness. But those patterns were transformed and given a new Christian subject matter related to the glorification of the Virgin Mary. That corresponded to both the type of a prayer book (BVM) and the section the engraving preceded.

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From pain to pleasure: The troping of elegy in the renaissance Italian madrigal

Muzikologija ◽

10.2298/muz1722151m ◽

2017 ◽

pp. 151-175

Author(s):

Milena Medic

Keyword(s):

16Th Century ◽

Torquato Tasso ◽

Hybrid Form ◽

Cultural Phenomenon ◽

Renaissance Period ◽

Stylistic Elements ◽

Francesco Petrarch ◽

Late Renaissance ◽

Inherent Ambiguity ◽

Complex Expression

In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. The possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Thanatos and Eros. The creative act of the troping of elegy proved to be an effective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. The elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonettas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. The aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch?s, Torquato Tasso?s, and Battista Gurini?s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.

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Cicero’s corpus and Petrarch’s ankle. The theory of imitation and its practices

Humanitas ◽

10.14195/2183-1718_76_4 ◽

2020 ◽

pp. 83-94

Author(s):

Rita Maria Marnoto

Keyword(s):

Reception Theory ◽

View Point ◽

Francesco Petrarch ◽

Animal Images ◽

The Relationship

This article focuses on the centrality provided to auctores and texts as corpora, in the framework of Francesco Petrarch and the theory of imitation by the humanists. Initially, animal images from Petrarch and the humanists are analysed, as well as the paths of their diffusion. These were used to express the role of the model, the involvement of the writer, variatio, the election of stilus, and the questions sustained by Ciceronianism. Then, tree main methodological ways to study the relationship between texts as corpora are presented: semiosphere, intertextuality, and reception theory. A critic view point regards static methodologies. Conclusively, the dialogue between Petrarch and Cicero, as text and corpus, is recalled in order to incorporate the auctores contamination.

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Canzoniere Francesco Petrarch in a new translation by Vladimir Maransman

Вопросы культурологии ◽

10.33920/nik-01-2008-03 ◽

2020 ◽

pp. 28-34

Author(s):

I.I. Dokuchaev

Keyword(s):

Original Method ◽

Divine Comedy ◽

Russian Language ◽

Russian Culture ◽

Italian Poetry ◽

History Of ◽

Lyric Poet ◽

Francesco Petrarch ◽

The Book Of Songs ◽

The Russian Language

The review presents a new book by Corresponding Member of the Russian Academy of Education Vladimir Georgievich Maransman — a translation from Italian of the Book of Songs (Canzoniere) by Francesco Petrarch. This translation is a real event in the history of modern Russian culture, since it turned out to be one of the first full translations into Russian of the main book of the great Italian poet of the Renaissance, the first lyric poet in the history of European poetry — Petrarch, made by one translator. The translation was carried out taking into account the long tradition of Russian translations of Petrarch poetry and has a significant amount of author's text (poet's property). The translation uses the original method of V. G. Marantsman, already used in his previous work — the full translation of Dante’s “Divine Comedy”, and which has been recognized by many readers and critics; a method of conveying the stylistic features of Italian poetry of the era of its occurrence by similar means of the Russian language.

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Some Sonnets from 'Laura in Death', after the Italian of Francesco Petrarch

The Modern Language Review ◽

10.2307/3722333 ◽

1972 ◽

Vol 67 (2) ◽

pp. 408

Author(s):

George Watson ◽

J. M. Synge ◽

Robin Skelton

Keyword(s):

Francesco Petrarch

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