- Dipartimento di Studi Umanistici
Università di Torino
via S. Ottavio, 20
10124 Torino (Italy)
- Italian Studies, Medieval Studies, Spirituality, Spirituality & Mysticism, Film Studies, Classics, and 34 moreComparative Literature, Latin Literature, Philosophy, Theology, Medieval History, Italian Humanism, Rhetorics, Classical Tradition, Quattrocento, Medieval Literature, History of Christianity, Pilgrimage, Identity, Travel Literature, Medieval Romance, Medieval Manuscripts, Pilgrimages, Transnational Medieval Literatures and Cultures, Piety, Medieval Italian Literature, Petrarch, Hagiography, Dante Studies, Filologia Italiana Letteratura Italiana del Rinascimento, Dante and the ancient commentaries tradition, Puccini, Metastasio, Petrarca, Mysticism, Consolation, Neo-latin literature, Patristics and Late Antiquity, History Of Emotions, and Contemporary Poetryedit
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Valerio Magrelli, Patrizia Valduga, Franco Buffoni, Fabio Pusterla, Patrizia Cavalli, Umberto Fiori, Claudio Damiani, Enrico Testa: le raccolte d'esordio, o i secondi libri, delle voci che si affacciarono sulla scena poetica italiana... more
Valerio Magrelli, Patrizia Valduga, Franco Buffoni, Fabio Pusterla, Patrizia Cavalli, Umberto Fiori, Claudio Damiani, Enrico Testa: le raccolte d'esordio, o i secondi libri, delle voci che si affacciarono sulla scena poetica italiana negli anni Ottanta vengono lette, quasi radiografate, per farne emergere i temi portanti e le strutture latenti: i modi con cui le giovani generazioni venivano componendo la loro idea di 'libro di poesia'.
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The essay is a reading of the poem “Le parentesi”, wich opens with Fabio Pusterla’s first book: “Concessione all’inverno” (1985). The first part of the analysis, whose aims extends to the collection as a whole, focuses on the meaning of... more
The essay is a reading of the poem “Le parentesi”, wich opens with Fabio Pusterla’s first book: “Concessione all’inverno” (1985). The first part of the analysis, whose aims extends to the collection as a whole, focuses on the meaning of the verb form “rimarranno”, i.e., “they will remain”. It occurs twice in the text and suggests both what is left over, in the sense of the debris, and what will persist. The second part examines another meaning of “rimarranno” comprising parts of speech like parentheses and interjections and considers their functions in the first period of Pusterla’s literary work.
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in «L'Unique change de scène. Ecritures spirituelles et discours amoureux (XIIe-XVIIe siècle)», dir. par Véronique Ferrer, Barbara Marczuk, Jean-René Valette, Paris, Classiques Garnier, 2016, pp. 207-228 L'article s'interroge sur le... more
in «L'Unique change de scène. Ecritures spirituelles et discours amoureux (XIIe-XVIIe siècle)», dir. par Véronique Ferrer, Barbara Marczuk, Jean-René Valette, Paris, Classiques Garnier, 2016, pp. 207-228
L'article s'interroge sur le rapport entre amour charnel et amour spirituel chez Pétrarque. Il précise la nature de l'amour dans les Rimes et revisite ensuite des interprétations trop hâtives: l'amour charnel ne procède pas forcément de l'influence de la poésie classique, de même que l'amour spirituel n'est pas intrinsèquement lié aux sources chrétiennes. Il étudie enfin les images relatives au pouvoir du corps de la femme, et le rapport complexe avec le 'spiritus' qui l'habite.
L'article s'interroge sur le rapport entre amour charnel et amour spirituel chez Pétrarque. Il précise la nature de l'amour dans les Rimes et revisite ensuite des interprétations trop hâtives: l'amour charnel ne procède pas forcément de l'influence de la poésie classique, de même que l'amour spirituel n'est pas intrinsèquement lié aux sources chrétiennes. Il étudie enfin les images relatives au pouvoir du corps de la femme, et le rapport complexe avec le 'spiritus' qui l'habite.
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This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong... more
This paper analyses the initial sequence of Purgatory Canto V, which includes Vergil’s reproach to Dante. The author’s purpose is to explain how the change of character-Dante’s mood and pace of walking depends closely on the strong consistency of that reproach with the topic of Canto V, concerning those who repented before death came upon them. In tracking down sources in thirteenth-century commentaries on Pietro Lombardo’s Sententiae, the author cites them within the context of the formalisation of the sacrament of penance by the Fourth Lateran Council. Her intent is to point to how theologians’ arguments about in extremis repentance were based on the opposition between mercy and God’s justice, which is also the subject of the cantos of Ante-Purgatory. Furthermore, the author suggests that the act of prolonging repentance to the last moment of life was seen as possible, but also perilous. From this point of view, Dante’s insistence on the story of Jacopo del Cassero and Buonconte da Montefeltro’s bloody deaths acquires new meaning. Additionally, the interpretation of the «lagrimetta» (‘a little teardrop’) that ensures Buonconte’s salvation becomes more problematic.
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This essay re-reads canzone 270 in its context (the beginning of the second section of 'Rerum vulgarium fragmenta'); after the "planctus" of canzone 268, the mind of the speaker turns to "consolatio". In comparison with the treatises of... more
This essay re-reads canzone 270 in its context (the beginning of the second section of 'Rerum vulgarium fragmenta'); after the "planctus" of canzone 268, the mind of the speaker turns to "consolatio". In comparison with the treatises of the subject, such as St Ambrose's 'De excessu fratris sui Satyri', and with Petrarch's contemporary meditations on death (the eclogue 'Galathea', the 'Familiares' composed in the years of the plague), this canzone is therefore dedicated to the theme of consolation, drawn from the intuition that time cannot go back, and that no power, not even the power of the god of Love, can give back Laura alive. In particular, in Fam. VIII 1, dedicated to Stefano Colonna the Elder (8 sept. 1348), one can trace elements re-appearing in the last stanza and in the envoy of the canzone, in the exhortation to «lasciar andare ciò che non può tornare».
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The essay retraces some moments of Petrarch’s reflection on Fortune as it can be found in the collection of his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of the events that... more
The essay retraces some moments of Petrarch’s reflection on Fortune as it can be found in the collection of
his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of
the events that struck the poet, and with him Italy and Europe, in the years 1348-49 (namely, the end
of the dream of a restoration of Rome by Cola di Rienzo and the plague). In the first books of the
Familiares, Petrarch proposes himself as a moral philosopher nourished with examples from the classics
and therefore capable of contrasting Fortune’s strikes. The experientia of death in those tragic years
however undermines his strength and affects the possibility of preventing suffering to the point of leading
Petrarch to rethink deeply his faith in spes (hope) as a projection of the human thought and will into
the future.
his family letters (the Familiares). In them, we observe a substantial change of perspective at the time of
the events that struck the poet, and with him Italy and Europe, in the years 1348-49 (namely, the end
of the dream of a restoration of Rome by Cola di Rienzo and the plague). In the first books of the
Familiares, Petrarch proposes himself as a moral philosopher nourished with examples from the classics
and therefore capable of contrasting Fortune’s strikes. The experientia of death in those tragic years
however undermines his strength and affects the possibility of preventing suffering to the point of leading
Petrarch to rethink deeply his faith in spes (hope) as a projection of the human thought and will into
the future.
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The essay introduces a section ot the theme of Senectus and examines the importance of this topic both in the inner system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato... more
The essay introduces a section ot the theme of Senectus and examines the importance of this topic both in the inner
system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato
speglio", represents – also for its position – the turning-point for the transformation of the theme of Senectus, that
turns itself in a meaning not exclusively devoted to a memorial shape. Through the autoreflexive imagery of mirror,
the male protagonist of Fragmenta, now senex, is forced to reawaken from the sleep of consciousness.
system of the canzoniere and in the entirely of Petrarch’s work. The sonnet 361, "Dicemi spesso il mio fidato
speglio", represents – also for its position – the turning-point for the transformation of the theme of Senectus, that
turns itself in a meaning not exclusively devoted to a memorial shape. Through the autoreflexive imagery of mirror,
the male protagonist of Fragmenta, now senex, is forced to reawaken from the sleep of consciousness.
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The essay examines the consolatory letters, contained in Petrarch's "Letters on Familiar matters" (Familiares), from II to XV book, to study their inner coherence and internal relationships. The essay would highlight the evolution of the... more
The essay examines the consolatory letters, contained in Petrarch's "Letters on Familiar matters" (Familiares), from II to XV book, to study their inner coherence and internal relationships. The essay would highlight the evolution of the 'consolatio' within the "liber" of the Familiares. The collection of the consolatory letters is studied in order to circumscribe them - listing the reasons to include and the ones to leave out, reviewing the the identity of the recipients and the peculiar placing of every single letter in its respective book, paying attention to different "tituli" of letters, to various opening topics, and to the 'rethoric of correction', wich Petrarch assumed from the classics authors of consolatory literature, from Seneca to St. Ambrose.
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This article discusses how Petrarch's self-portrayal as a spokesman for peace, armed with quill and inkpot, is brought forward in the canzone "Italia mia benché 'l parlar sia indarno" and in his epistles of the 1350s. The poet's activity... more
This article discusses how Petrarch's self-portrayal as a spokesman for peace, armed with quill and inkpot, is brought forward in the canzone "Italia mia benché 'l parlar sia indarno" and in his epistles of the 1350s. The poet's activity as peace mediator appears in this famous canzone dedicated to Italy well before the epistles were written. Dated to 1344, the poem's thematic kernel seems to have been subsequently unfolded and broken down into the epistles that Petrarch later sent to the political leaders of his day. Petrarch's cry for peace in the Rerum vulgarium fragmenta is threefold: he invokes spiritual, societal, and teleological peace. The different faces of this threefold pining for harmonic conciliation find an outlet in the invocations of, respectively, Chiare fresche e dolci acque, "Italia mia," and the Canzone alla Vergine. "Italia mia," his most distinctly political text as well as heartfelt plea to the lords of Italy, marks Petrarch's last attempt to recompose the political fractures of Italy within the peninsula itself; from the 1350s onward, Petrarch addresses his political appeals solely to foreign rulers, a sign of the waning independence of Italian states.
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Mysticism at the Dawn of the Twentieth Century: Expiation and Vision in Consiglia Rao of Miggiano (1840-1902). This paper presents for the first time Consiglia Rao, a female mystic who lived in Miggiano between 1840 and 1902. Drawing on... more
Mysticism at the Dawn of the Twentieth Century: Expiation and Vision in Consiglia Rao of Miggiano (1840-1902).
This paper presents for the first time Consiglia Rao, a female mystic who lived in Miggiano between 1840 and 1902. Drawing on the book Una vittima nascosta. Diario doloroso di Consiglia Rao, written by the woman’s brother Giovanni Battista and published at Lecce in 1904, the paper focuses upon the supernatural phenomena chronologically recorded by the book’s author and that Consiglia had been continually experiencing for more than thirty years, i.e., from the beginning of the 1870s until her death.
As soon as Consiglia planned to set up a local charity called the Pia Unione delle Figlie di Maria (the Pious Union of the Daughters of the Virgin Mary), the fierce opposition of the Devil and his infernal forces took on concrete form in a succession of violent beatings, floggings, demonic abductions, temptations to despair, the deprivation of Holy Communion, together with anorexia and vomiting of blood. These events, which indicate Satan’s reaction to Consiglia’s offering of herself to God as a «victim of expiation» for human guilt, are counterbalanced by celestial visions and divine communications besides Consiglia’s intercessory role for the souls in purgatory that often visited her.
Although Consiglia Rao was not a writer, she served as the object of someone else’s discourse that is far removed from the long-winded style of writing that Maria Valtorta would use few years later. However, Consiglia seems to embody an example of holiness – not uncommon in the last decades of the 19th century – mostly associated with long-lasting, agonising pain. The torments which befell Consiglia and the assaults of the devils she endured were recorded daily by Giovanni Battista, who witnessed them and looked into them with the help of the tools made available to scientists in the late nineteenth century.
This paper presents for the first time Consiglia Rao, a female mystic who lived in Miggiano between 1840 and 1902. Drawing on the book Una vittima nascosta. Diario doloroso di Consiglia Rao, written by the woman’s brother Giovanni Battista and published at Lecce in 1904, the paper focuses upon the supernatural phenomena chronologically recorded by the book’s author and that Consiglia had been continually experiencing for more than thirty years, i.e., from the beginning of the 1870s until her death.
As soon as Consiglia planned to set up a local charity called the Pia Unione delle Figlie di Maria (the Pious Union of the Daughters of the Virgin Mary), the fierce opposition of the Devil and his infernal forces took on concrete form in a succession of violent beatings, floggings, demonic abductions, temptations to despair, the deprivation of Holy Communion, together with anorexia and vomiting of blood. These events, which indicate Satan’s reaction to Consiglia’s offering of herself to God as a «victim of expiation» for human guilt, are counterbalanced by celestial visions and divine communications besides Consiglia’s intercessory role for the souls in purgatory that often visited her.
Although Consiglia Rao was not a writer, she served as the object of someone else’s discourse that is far removed from the long-winded style of writing that Maria Valtorta would use few years later. However, Consiglia seems to embody an example of holiness – not uncommon in the last decades of the 19th century – mostly associated with long-lasting, agonising pain. The torments which befell Consiglia and the assaults of the devils she endured were recorded daily by Giovanni Battista, who witnessed them and looked into them with the help of the tools made available to scientists in the late nineteenth century.
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La figura del Direttore spirituale nella teoria (direttorî) e nella pratica (epistolari) del Seicento francese e italiano: pluralità di nomi e di generi, identità del direttore spirituale, reprimende contro i cattivi direttori, la... more
La figura del Direttore spirituale nella teoria (direttorî) e nella pratica (epistolari) del Seicento francese e italiano: pluralità di nomi e di generi, identità del direttore spirituale, reprimende contro i cattivi direttori, la "discretio spirituuum" e la direzione in uno stato interiore, lo "stile" della direzione spirituale.
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L'epistolario di Pier Matteo Petrucci
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The journal «Petrarchesca» was founded with the desire and ambition to offer an opportunity for expansion and innovation in Petrarch studies, at a time that is rich in interesting research possibilities. The editions produced for the... more
The journal «Petrarchesca» was founded with the desire and ambition to offer an opportunity for expansion and innovation in Petrarch studies, at a time that is rich in interesting research possibilities. The editions produced for the occasion of the Petrarch's centenary permit a more detailed approach to the figure of the poet and humanist and break new ground in the interpretation of his works. The aim of «Petrarchesca» is thus to sustain and increase this interest, subjecting Petrarch's work to an analysis based on solid historical, textual, and philological foundations that further clarifies content, themes and chronology – without neglecting to emphasize its artistic and ideal value. A renowned international scientific committee guarantees the reliability of this aim and the originality of the results that will be presented. Open to innovative contributions and original perspectives, «Petrarchesca» is not intended for the eyes of specialists alone; its spirit of renewal hopes to attract the attention of all readers, and especially anyone with an interest in this great and immortal classic of world literature.
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Programma del convegno di Torino (26 e 27 ottobre 2017)
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Il convegno ha come baricentro la stagione posteriore alla fine degli anni Sessanta – dunque alla fine dell’esperienza della neoavanguardia – e assume come orizzonte temporale quello della generazione che inizia a comparire sulla scena... more
Il convegno ha come baricentro la stagione posteriore alla fine degli anni Sessanta – dunque alla fine dell’esperienza della neoavanguardia – e assume come orizzonte temporale quello della generazione che inizia a comparire sulla scena poetica a partire dal decennio successivo: Bellezza, Cavalli, Viviani, Conte, De Angelis, Lamarque, Magrelli, Valduga, Pusterla, De Signoribus, Fiori, Testa, ecc.
L’obiettivo è ricostruire il tessuto del dibattito (la rete, poco esplorata, delle riviste e dell’editoria minore); definire il ruolo delle antologie; individuare gli autori e le opere chiave di quella stagione, nonché il rapporto con i modelli precedenti (nel Novecento italiano, ma anche in uno spettro di esperienze europeo e nordamericano); indagare le pratiche linguistiche messe in campo dai poeti; e anche in questo orizzonte particolarmente frastagliato, cominciare a definire quali siano i codici e le tecniche predominanti, almeno in gruppi significativi di autori, posto che ogni nozione di canone e di tradizione (anche novecentesca) appare definitivamente in crisi. Si vuole insomma riaprire la discussione sul fatto che dopo gli anni Sessanta – anche nella pratica delle antologie – sembra impossibile individuare paradigmi che possano valere in un ambito certo un po’ meno vasto di una generazione, ma non così ristretto da limitarsi alla monografia sul singolo autore.
L’obiettivo è ricostruire il tessuto del dibattito (la rete, poco esplorata, delle riviste e dell’editoria minore); definire il ruolo delle antologie; individuare gli autori e le opere chiave di quella stagione, nonché il rapporto con i modelli precedenti (nel Novecento italiano, ma anche in uno spettro di esperienze europeo e nordamericano); indagare le pratiche linguistiche messe in campo dai poeti; e anche in questo orizzonte particolarmente frastagliato, cominciare a definire quali siano i codici e le tecniche predominanti, almeno in gruppi significativi di autori, posto che ogni nozione di canone e di tradizione (anche novecentesca) appare definitivamente in crisi. Si vuole insomma riaprire la discussione sul fatto che dopo gli anni Sessanta – anche nella pratica delle antologie – sembra impossibile individuare paradigmi che possano valere in un ambito certo un po’ meno vasto di una generazione, ma non così ristretto da limitarsi alla monografia sul singolo autore.
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Nell'ambito del progetto di ricerca «La poesia italiana degli anni Ottanta», si parlerà della prima e dell'ultima raccolta poetica di Enrico Testa: «Le faticose attese» (San Marco dei Giustiniani, 1988) e «Ablativo» (Einaudi, 2013), dalle... more
Nell'ambito del progetto di ricerca «La poesia italiana degli anni Ottanta», si parlerà della prima e dell'ultima raccolta poetica di Enrico Testa: «Le faticose attese» (San Marco dei Giustiniani, 1988) e «Ablativo» (Einaudi, 2013), dalle quali l'Autore trarrà letture e autocommenti.
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Si «notre besoin de consolation est impossible à rassasier», pour reprendre le titre du suédois Stig Dagerman, l’histoire de la consolation reste à faire. L’étudier revient à se saisir des paroles comme des gestes, dans un examen qui... more
Si «notre besoin de consolation est impossible à rassasier», pour reprendre le titre du suédois Stig Dagerman, l’histoire de la consolation reste à faire. L’étudier revient à se saisir des paroles comme des gestes, dans un examen qui mobilise des sources littéraires, philosophiques, historiques et met en jeu l’histoire des émotions et des mentalités.
Sept journées d’études (les Journées d’études sur la consolation) ont permis de baliser les principaux corpus et les problématiques posées par un sujet qui couple enquête littéraire et enquête sur les pratiques. Elles ont montré la pertinence de remonter aux sources des textes consolatoires qui ont fondé une tradition sur laquelle s’appuie la première modernité pour construire des discours normés et des pratiques balisées par toute une série de textes de genre variés.
Ce colloque international réunit des Italiens et des Français pour mettre en commun et étudier les points de jonction et de friction de cette tradition consolatoire entre la fin du Moyen Âge et la Renaissance.
Sept journées d’études (les Journées d’études sur la consolation) ont permis de baliser les principaux corpus et les problématiques posées par un sujet qui couple enquête littéraire et enquête sur les pratiques. Elles ont montré la pertinence de remonter aux sources des textes consolatoires qui ont fondé une tradition sur laquelle s’appuie la première modernité pour construire des discours normés et des pratiques balisées par toute une série de textes de genre variés.
Ce colloque international réunit des Italiens et des Français pour mettre en commun et étudier les points de jonction et de friction de cette tradition consolatoire entre la fin du Moyen Âge et la Renaissance.
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Da Cicerone a Seneca, da Ambrogio ad Agostino la consolazione e l’autoconsolazione costi-tuiscono, per l’antichità così come per il cristianesimo, un momento fondamentale dell’elaborazione del lutto, e del patteggiamento con la vita di... more
Da Cicerone a Seneca, da Ambrogio ad Agostino la consolazione e l’autoconsolazione costi-tuiscono, per l’antichità così come per il cristianesimo, un momento fondamentale dell’elaborazione del lutto, e del patteggiamento con la vita di fronte al problema di sopravvivere alla morte di chi ci è caro. Dal Duecento in poi, con lo snodo imprescindibile di Petrarca, la letteratura italiana innesta nella poesia lirica, e nella struttura dei canzonieri, momenti di lutto e di consolazione, declinandoli nei modi più vari. In assenza di un genere codificato, la pratica della consolazione si volge così al tombeau, alle rime vedovili, all’encomio funebre: gli intellettuali italiani continuano a coltivarla nella forma dell’epistola e dell’orazione, tentando di offrirne modelli esemplari. Questo seminario di giovani studiosi vuole indagare le forme plurali, e tuttavia sufficientemente codificate, di un discorso consolatorio che si sviluppa dopo Petrarca, e attraversa il Cinquecento italiano.
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A cura di Annalisa Izzo e Franco Tomasi. Questo secondo volume della Lettura dell’«Orlando furioso», nel quale sono compresi i canti XXIII-XLVI – cui si aggiungono due interventi di carattere generale (sui «Cinque canti» e sulla... more
A cura di Annalisa Izzo e Franco Tomasi.
Questo secondo volume della Lettura dell’«Orlando furioso», nel quale sono compresi i canti XXIII-XLVI – cui si aggiungono due interventi di carattere generale (sui «Cinque canti» e sulla tradizione testuale del poema) –, porta a termine l’impresa di una lectura integrale del poema, un progetto avviato da tempo dalle Università di Losanna e di Padova. Se nel «Furioso» unità discorsiva e unità narrativa spesso non coincidono, in virtù dell’adozione della tecnica narrativa dell’«entrelacement»,
il singolo canto costituisce di per sé un momento discreto e circoscritto
del racconto con il quale ogni lettore deve misurarsi. E proprio a partire
da questa esperienza diversi critici, ciascuno con un proprio specifico sguardo, si sono confrontati con i canti della seconda sezione del poema. Il volume è inoltre corredato da indici dei nomi, dei personaggi letterari e dei luoghi del «Furioso», relativi ai due volumi che compongono l’opera, dei veri e propri ‘strumenti di navigazione’ pensati per aiutare il lettore e lo studioso.
Questo secondo volume della Lettura dell’«Orlando furioso», nel quale sono compresi i canti XXIII-XLVI – cui si aggiungono due interventi di carattere generale (sui «Cinque canti» e sulla tradizione testuale del poema) –, porta a termine l’impresa di una lectura integrale del poema, un progetto avviato da tempo dalle Università di Losanna e di Padova. Se nel «Furioso» unità discorsiva e unità narrativa spesso non coincidono, in virtù dell’adozione della tecnica narrativa dell’«entrelacement»,
il singolo canto costituisce di per sé un momento discreto e circoscritto
del racconto con il quale ogni lettore deve misurarsi. E proprio a partire
da questa esperienza diversi critici, ciascuno con un proprio specifico sguardo, si sono confrontati con i canti della seconda sezione del poema. Il volume è inoltre corredato da indici dei nomi, dei personaggi letterari e dei luoghi del «Furioso», relativi ai due volumi che compongono l’opera, dei veri e propri ‘strumenti di navigazione’ pensati per aiutare il lettore e lo studioso.