scholarly journals Considerações sobre a axiologia donna x femmina para orientar uma tradução brasileira de Boccaccio

2021 ◽  
Vol 12 (1) ◽  
pp. 24
Author(s):  
Adriana Tulio Baggio
Keyword(s):  
Italian Literature ◽  
Giovanni Boccaccio ◽  
Sulla Base ◽  
14Th Century ◽  
De Se ◽  
The Feminine ◽  
Letteratura Italiana ◽  
The Senses ◽  
De Mulieribus Claris ◽  
Medieval Italian Literature

RESUMO: Delle donne famose, de Donato Albanzani, é um dos vulgarizamentos da coletânea de biografias femininas escrita por Giovanni Boccaccio na década de 1360. Um projeto de tradução desse vulgarizamento levanta a questão sobre a pertinência de se traduzir por "fêmea" o femmina adotado na obra (que se alterna com o uso de donna), já que os sentidos negativos do termo, no italiano do século XIV, eram distintos e menos depreciativos que do que aqueles do correspondente em português. Para examinar tal pertinência, observou-se as ocorrências de donna e femmina no texto do livro com base em três situações: diferenciação por classe de palavras, semantismo dos termos e de seus predicados, e contexto das ocorrências. A análise revela a constituição de axiologias que homologam a oposição natureza x cultura, com femmina em posição disfórica associada à "natureza". Como as acepções depreciativas de "fêmea" se fundam na projeção de aspectos "animalizados" na mulher, pretensamente oriundos de um estágio pré-cultural e humano, o termo pode ser considerado pertinente para traduzir o femmina e evocar os sentidos que ajuda a produzir no texto italiano.Palavras-chave: Literatura italiana medieval. De mulieribus claris. Axiologia do feminino. Mulher x fêmea. Tradução. ABSTRACT: Delle donne famose, di Donato Albanzani, è una delle volgarizzazioni della raccolta di biografie femminili scritta da Giovanni Boccaccio negli anni Sessanta del Trecento. Un progetto di traduzione al portoghese brasiliano di questa volgarizzazione mette in rilievo la questione della pertinenza di si tradurre come fêmea la parola "femmina" (adoperata in alternanza alla parola donna), poiché i significati negativi del termine, nell’italiano del XIV secolo, erano distinti e meno denigratori di quelli del corrispondente portoghese. Per esaminare tale pertinenza, si ha osservato le occorrenze delle parole "donna" e "femmina" nel testo del libro sulla base di tre situazioni: la differenziazione per classe di parole, la semantica dei termini e dei loro predicati e il contesto delle occorrenze. L’analisi rivela la costituzione di assiologie che sanciscono l’opposizione natura x cultura, con il termine "femmina" in una posizione disforica associata alla "natura". Poiché i significati dispregiativi di fêmea si basano sulla proiezione di aspetti "animalizzati" nelle donne, presumibilmente da una fase pre-culturale e umana, il termine può essere considerato pertinente per tradurre la parola "femmina" e per evocare i sensi che questa aiuta a produrre nel testo italiano.Parole chiave: Letteratura italiana del medioevo. De mulieribus claris. Assiologia del femminile. Donna x femmina. Traduzione. ABSTRACT: Donato Albanzani’s Delle donne famose is one of the Italian translations of the collection of female biographies written by Giovanni Boccaccio in the 1360s. A Brazilian translation project of this work rises the question if it would be pertinent to use the Portuguese word fêmea for the Italian femmina (which appears alternately with donna to referes to women), since the negative meanings of the term, in 14th century Italian, were distinct and less disparaging than those of its Portuguese correspondent. To examine such pertinence, we observe in the text of the book the occurrences of donna and femmina based on three situations: differentiation by class of words, semanticism of terms and their predicates, and context of occurrences. The analysis reveals the constitution of axiologies that ratify the nature x culture opposition, with femmina in a dysphoric position associated with "nature". As the derogatory meanings of fêmea are based on the projection of "animalized" aspects in women, supposedly from a pre-cultural and human stage, the term can be considered relevant to translate the word femmina and to evoke the senses that it helps to produce in the Italian text.Keywords: Medieval Italian literature. De mulieribus claris. Axiology of the feminine. Woman x female. Translation.

scholarly journals The Literary «Ekphrasis» of Castel Nuovo: A Contribution to Value the Cultural Identity of the Ideal City Government, Promoted by Aristocratic Courts and Civil Administrations in the XIV Century

2014 ◽  
Vol 11 ◽  
pp. 483-488
Author(s):  
Sara Cipolla
Keyword(s):  
Cultural Identity ◽  
Research Work ◽  
Italian Literature ◽  
City Government ◽  
The Other ◽  
The Political ◽  
Ripe Fruit ◽  
Surface Projection ◽  
Medieval Italian Literature ◽  
The Ideal

The research work concerns the development in the Italian literature of the French theme of Neuf Preux, and Particularly Took into account a crown of sonnets of nine famous men linked to an alleged cycle of paintings attributed to Giotto's in the palace of Castel Nuovo in Naples. The survey highlighted how in medieval Italian literature, beyond the more or less explicit recovery of the French literary tradition, occupies a prominent place the function that these poems take in the view of the literature of the time. The survey actually shows the two faces of the series of famous heroes, which on one hand is the mouthpiece of the political ideals and civil inspired by the courteous and Roman antiquities, on the other hand appears to be ripe fruit of a didactic poem in which the adherence to the motto of "ut pictura poesis" become as a kind of surface projection of images.

scholarly journals Testimoni dei macelli. Esseri umani e animali nella poesia di Ivano Ferrari //Witnesses of the Slaughters. Humans and Animals in Ivano Ferrari’s Poetry // Testigos de las matanzas. Humanos y animales en la poesía de Ivano Ferrari

2016 ◽  
Vol 7 (1) ◽  
pp. 94-111
Author(s):  
Matteo Gilebbi
Keyword(s):  
Italian Literature ◽  
Letteratura Italiana ◽  
Animal Representations ◽  
The Relationship ◽  
Animal Question

      Quando le rappresentazioni e le simbologie animali ridimensionano e mettono in discussione lo statuto umano, ci si trova di fronte al passaggio dal teriomorfismo alla questione animale. Ciò significa che, da semplici tropi, le figure animali divengono operatori epistemologici che forzano un ripensamento dell’antropocentrismo e mettono in luce i limiti dello specismo. Le raccolte di poesie Macello (2004) e La Morte Moglie (2013) di Ivano Ferrari sono, all’interno della letteratura italiana, tra i più recenti ed intensi esempi di questo passaggio dal teriomorfismo alla questione animale. Queste poesie costituiscono un diario in presa diretta del periodo che Ivano Ferrari ha trascorso come operaio al mattatoio di Belfiore, presso Mantova. La sua scrittura testimonia le tensioni presenti nel rapporto umano-animale quando questi, fuori e dentro il mattatoio, diventano rispettivamente carnefice e vittima, svelando anche i profondi legami tra crudeltà verso l’animale (interspecifica) e crudeltà verso l’umano (intraspecifica). I componimenti di Ferrari mostrano inoltre come, proprio nell’inumanità dello spazio del mattatoio, sia possibile un contatto con l’animale che riduce la distanza tra specie causata dall’antropocentrismo. Abstract       When animal representations and symbols reconfigure and challenge human status, we are then confronted with a transition from theriomorphism to the so-called Animal Question. This means that, from simple tropes, animal figures become epistemological operators that force a reconsideration of anthropocentrism and highlight the limits of speciesism. Ivano Ferrari’s poetry collections Macello (2004) and La morte moglie (2013) are, within Italian literature, among the most recent and intense examples of this shift from theriomorphism to the Animal Question. The poems constitute a type of diary of the period Ferrari spent working in the abattoir in Belfiore, near Mantua. His writing bears witness to the tensions present in the relationship between humans and animals when, inside and outside of the slaughterhouse, they become respectively executioner and victim, revealing even the profound links between cruelty to the animal (interspecific) and cruelty to the human (intraspecific). Ferrari’s compositions also show how, precisely in the inhumane space of the slaughterhouse, contact with the animal is possible, contact that reduces that distance between species caused by anthropocentrism.Resumen      Cuando las representaciones y símbolos de animales reconfiguran y cuestionan el estatus de lo humano, nos enfrentamos a la transición del teriomorfismo a la llamada Cuestión Animal. Esto significa que las figuras animales pasan de ser simples tropos a operadores epistemológicos que fuerzan una reconsideración del antropocentrismo y resaltan los límites del especismo. Los poemarios Macello (2004) y La morte moglie (2013) de Ivano Ferrari se encuentran, dentro de la literatura italiana, entre los ejemplos más recientes e intensos de este cambio del teriormofismo hacia la Cuestión Animal. Los poemas constituyen un tipo de diario del periodo que Ferrari pasó trabajando en el matadero en Belfiore, cerca de Mantua. Su escritura da testimonio de las tensiones contemporáneas en la relación entre humanos y animales cuando, dentro y fuera del matadero, estos se vuelven verdugo y víctima respectivamente, revelando inclusive los profundos vínculos entre crueldad hacia los animales (inter-específico) y crueldad al humano (intra-específico). Las composiciones de Ferrari también muestran cómo, precisamente en el espacio inhumano del matadero, el contacto con lo animal es posible, un contacto que reduce la distancia entre las especies causado por el antropocentrismo.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
David Bowe
Keyword(s):  
Italian Literature ◽  
Critical Problems ◽  
Dialogic Process ◽  
Guittone D'arezzo ◽  
Aims And Scope ◽  
Definition Of ◽  
Medieval Italian Literature ◽  
Literary Practices ◽  
Guido Cavalcanti

The Introduction lays out the aims and scope of the book and outlines its methodology. It triangulates the ‘dialogue’ of the title with medieval literary practices and theories of dialogue, in particular the tenzone, and with literary and linguistic theories of dialogism (Mikhail M. Bakhtin) and performative speech (John L. Austin). This Introduction provides an extensive definition of the tenzone and a summary of the critical problems surrounding this mode of writing, with particular reference to Brunetto Latini’s Rettorica. It introduces the importance of these dialogic process for our understanding of Dante and medieval Italian literature, including the works of Guittone d’Arezzo, Guido Guinizzelli, and Guido Cavalcanti.

De Sanctis, Francesco (1817–83)

2018 ◽  
Author(s):  
Barbara Henry
Keyword(s):  
Italian Literature ◽  
Point Of View ◽  
The Political ◽  
Left Wing ◽  
Major Work ◽  
Institutional Renewal ◽  
History Of ◽  
Letteratura Italiana ◽  
The Right ◽  
The University

Francesco De Sanctis was a literary critic and historian of Italian literature. He is best remembered for his major work, Storia della letteratura italiana (History of Italian Literature), and as a Hegel scholar, reformer and professor at the University of Naples, politician and militant patriot. Commentators are unanimous that De Sanctis’s biographical and intellectual life comprised two inseparable strands, the literary and the political. For this reason all his writings, even the more narrowly literary critical ones, must be read from the point of view of his commitment to promoting the moral and institutional renewal of Italian society. His Storia della letteratura italiana is the ‘civil history’ of Italy. De Sanctis, actively militant on both the Right and Left, defined his position as ‘moderate left-wing, in politics as in art’.

Giovanni Boccaccio

2014 ◽  
Author(s):  
Jason Houston
Keyword(s):  
20Th Century ◽  
Middle Ages ◽  
Italian Literature ◽  
Giovanni Boccaccio ◽  
Late 20Th Century ◽  
Literary Genres ◽  
Critical Editions ◽  
Mediterranean Studies ◽  
Late Middle Ages ◽  
Number Of Publications

Giovanni Boccaccio (b. 1313–d. 1375), along with the two other great Florentine writers, Dante Alighieri and Francesco Petrarch, is one of the Three Crowns of Italian literature. His vast body of poetic and prose works represents a great variety of classical and medieval literary genres. Boccaccio was acutely aware of his position as mediator between different cultures—classical and medieval; Italian, French, and Latin; and Christian and pagan—and thus he stands as an important figure in the development of a European humanist literary culture that defines the Renaissance and beyond. Although his Latin encyclopedic works were his most important and influential works for centuries, modern audiences, both scholarly and otherwise, have made the Decameron Boccaccio’s most read text. Italian, German, and French scholars made the first critical editions of Boccaccio in the late 19th century. Italian scholars, primarily Vittore Branca but also others, renewed efforts to create authoritative critical editions in the late 20th century. Italian criticism of Boccaccio remains mostly philological, with important exceptions. North American scholars of Boccaccio have focused on the Decameron. The late 20th century saw great interest in Boccaccio’s early vernacular works, primarily in North America. American critics have read Boccaccio in light of new critical categories, particularly feminism and Mediterranean studies, although more-recent critical attention has shifted back to Boccaccio’s Latin texts in order to illuminate his intellectual contributions to the late Middle Ages and Renaissance. The 700th centenary of his birth in 2013 saw a number of publications in which a range of scholars considered Boccaccio’s influence across genre and period. Besides his writings, Boccaccio was an important figure in the creation of an Italian literary tradition, promoting the poetic importance both of Dante and Petrarch.

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