Guido Cavalcanti and his First Readers

2020 ◽  
pp. 443-469
Keyword(s):  
Guido Cavalcanti

Guido Cavalcanti: The Other Middle Ages. Maria Luisa Ardizzone

Speculum ◽  
2004 ◽  
Vol 79 (3) ◽  
pp. 731-733 ◽  
Author(s):  
Olivia Holmes
Keyword(s):  
Middle Ages ◽  
The Other ◽  
Guido Cavalcanti

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.

Ezra Pound editore (mancato) di Arnaut Daniel e Guido Cavalcanti

2018 ◽  
Vol 70 ◽  
pp. 315-350
Author(s):  
Roberta Capelli ◽  
Carlo Pulsoni
Keyword(s):  
Ezra Pound ◽  
Guido Cavalcanti

scholarly journals Possibilities of Lyric

2020 ◽  
Author(s):  
Manuele Gragnolati ◽  
Francesca Southerden
Keyword(s):  
The Self ◽  
Vernacular Poetry ◽  
Guido Cavalcanti

Opening to passion as an unsettling, transformative force; extending desire to the text, expanding the self, and dissolving its boundaries; imagining pleasures outside the norm and intensifying them; overcoming loss and reaching beyond death; being loyal to oneself and defying productivity, resolution, and cohesion while embracing paradox, non-linearity, incompletion. These are some of the possibilities of lyric that this book explores by reading Petrarch’s vernacular poetry in dialogue with that of other poets, including Guido Cavalcanti, Dante, and Shakespeare. In the Epilogue, the poet Antonella Anedda Angioy engages with Ossip Mandel’štam and Paul Celan’s dialogue with Petrarch and extends it into the present.

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