Giacomo da Lentini

Author(s):  
Akash Kumar

Giacomo da Lentini was the central figure in the formation of the Sicilian school of poetry in the early 13th century at the court of Frederick II. He is plausibly considered to be the inventor of the sonnet and his poetic corpus of sixteen canzoni, twenty-two sonnets, and a discordo amounts to by far the most numerous of any poet associated with Frederick’s court. We might thus say that he is the first major lyric poet of the Italian vernacular tradition. Giacomo demonstrates the influence of the earlier Occitan poetry of courtly love in his borrowings of themes, technical vocabulary, and metrical forms; he also innovates considerably in experimenting with the new sonnet form and crafts a refined poetry that actively distills the intellectual culture of Frederick’s court by way of similes that open up his love poems to science, philosophy, and politics. Giacomo’s influence on the subsequent developments of Italian poetry can be widely felt and perhaps most easily perceived in Dante Alighieri’s mention of him as an illustrious poet in his treatise on vernacular eloquence, De vulgari eloquentia, as well as his occupying the prime position of founding father in the poetic genealogy of Purgatorio 24.


Author(s):  
I.I. Dokuchaev

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.



2003 ◽  
Vol 8 (4) ◽  
pp. 371-386
Author(s):  
Jacqueline Hamesse

AbstractIt is possible to study the reception of Aristotle's natural philosophy by means of the various tools that were used by intellectuals during the thirteenth century. This type of literature is often forgotten. Four samples are taken here to illustrate the interest of such works, and the information that we can extract from them. The examples are the sermons by Anton of Padua (ca. 1230); an encyclopedia composed by Arnold of Saxony during the second quarter of the thirteenth century, which includes extracts from recent translations mixed together with Neoplatonic passages; an Aristotelian florilegium, which illustrates thirteenth-century censorship of Aristotelian texts; and a translation of the Meteorologica into the vernacular, which documents the popularity of this treatise at the end of the thirteenth century and the creation of a technical vocabulary in old French texts. The third example is an anthology that originated in a Franciscan milieu and was compiled in its definitive form at the end of the 13th century. This latter presents a series of purged texts about natural science. Finally, it discuss the French translation of Aristotle's Meteorology by Mahieu le Vilain, master at the Arts Faculty of the University of Paris at the end of the 13th century. This is the first translation of an Aristotelian treatise into vernacular, allowing us to understand the popularization of this treatise and its importance for the technical vocabulary of this discipline.



Philosophy ◽  
2014 ◽  
Author(s):  
Dan Zahavi

Edmund Husserl (b. 1859–d. 1938) is a central figure in 20th-century philosophy. A student of Brentano (b. 1838–d. 1917) and a contemporary of Frege (b. 1848–d. 1925), he is the founding father of phenomenology and thereby a figure with a decisive impact not only on thinkers like Heidegger (b. 1889–d. 1976), Merleau-Ponty (b. 1908–d. 1961), and Sartre (b. 1905–d. 1980) but also on subsequent theory formations in German and French philosophy. More recently, a number of Husserl’s ideas have also been taken up and discussed by analytic philosophers. Husserl is primarily known for his analyses of intentionality, perception, temporality, embodiment and intersubjectivity, for his rehabilitation of the lifeworld and his commitment to a form of transcendental idealism and for his criticism of reductionism, objectivism, and scientism. Most of Husserl’s writings have been published posthumously and they continue to disclose aspects of his thinking that it would have been difficult to anticipate through the study of the works originally published by Husserl himself. Many of these volumes have not yet been translated into English, and the same holds true for much of the relevant research literature.



2014 ◽  
Vol 10 (2) ◽  
pp. 6-29
Author(s):  
Robert Prus

Whereas the fields of poetic expression and pragmatist philosophy may seem some distance apart, a closer examination of the poetics literature from the early Greeks onward provides testimony to the more general viability of the pragmatist analysis of community life, particularly as this has come to be associated with pragmatism’s sociological derivative, symbolic interaction. Following a brief overview of the Greek, Roman, and Christian roots of contemporary fictional representations, attention is given to the ways that pragmatist concerns with human activity were addressed within the context of poetic expression in 12th-13th century France. Whereas the pre-Renaissance texts considered here exhibit pronounced attentiveness to Christian theology, they also build heavily on Latin sources (especially Virgil and Ovid [see Prus 2013a]). Among the early French poets who address the matters of human knowing and acting in more direct and consequential terms are: Alan de Lille (c. 1120-1203) who wrote The Plaint of Nature and Anticlaudianus; Andreas Capellanus (text, c. 1185) the author of The Art of Courtly Love; and Guillaume de Lorris (c. 1212-1237) and Jean de Meun (c. 1235-1305) who, in sequence, co-authored The Romance of the Rose. Given our interest in the ways in which those in the poetic community helped sustain an analytic focus on human lived experience, particular consideration is given to these early French authors’ attentiveness to (1) the relationships, identities, activities, and tactical engagements that people develop around romantic relationships; (2) the sense-making activities of those about whom they write, as well as their own interpretive practices as authors and analysts; (3) the ways in which the people within the communities that they portray knowingly grapple with religious and secular morality (and deviance); and (4) more generic features of human standpoints and relationships. Clearly, the poets referenced here are not the first to pursue matters of these sorts. However, their materials are important not only for their popular intrigues, creativity, and effectiveness in “moving poetics out of the dark ages” but also for encouraging a broader interest in considerations of the human condition than that defined by philosophy and rhetoric.



2003 ◽  
Author(s):  
Brian J. Ruggeberg ◽  
Janis M. Ward
Keyword(s):  




2013 ◽  
Vol 3 (2) ◽  
pp. 153-181
Author(s):  
Salwa Khoddam

Lewis’s “effort of the historical imagination” in The Allegory of Love: A Study in Medieval Tradition—commensurate with his innate romanticism—bolstered by like-minded writers as his sources, resulted in his reconstructing of Courtly Love and its characters as a fantasy. While this approach limited his understanding of Courtly Love, its origins and its relationship to marriage and adultery, it allowed him to create a mythology of a Religion of Love: a “quasi-religion” of “service love” between a chevalier/poet and his sovereign lady, under the auspices of the god Amor. This view would elevate the medieval Anglo-French allegorical poem, which he will discuss in the following chapters of his book, as the foundation of the best of poetry that led to Chaucer and Edmund Spenser, his favorite poet.





1967 ◽  
Vol 20 (2) ◽  
pp. 274-279
Author(s):  
Hans Tischler
Keyword(s):  




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