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Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the rubrics introducing the characters in the incunables of the middle French Danse Macabré. These rubrics are not a part of the original text, but of a paratext added later during the transmission of the originally hybrid work of art, which was based on the fusion of text and image. This study shows that the distribution of the variants in the rubrics is strictly related to the particularities of the dissemination of the Danse Macabré. The rubrics in the printed tradition are compared to those in the extant manuscripts transmitting the same text; text-image relations are also taken into account. In particular, the study of the rubrics allows to see that the influence of the iconographic elements on the text changes significantly with the passage of the Danse Macabré from manuscript to print. [ABSTRACT FROM AUTHOR]

Copyright of Chôra: Revue d'Études Anciennes et Médiévales is the property of Polirom Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue des Lettres Modernes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Exemplaria Classica is the property of Exemplaria Classica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the historical development of stylistics as a distinct discipline from rhetoric, tracing its stabilization through Charles Bally's 1905 work "Précis de stylistique." It explores the efforts to differentiate stylistics from German studies on ancient languages and emerging psycholinguistics while highlighting early attempts. The article discusses the reluctance in 19th-century France to explore text analysis beyond normative grammar and rhetoric.

Word-formation and compounding in Italian present many interesting challenges (classification of compounds, its interpretation and types of semantic relationship that may hold between the compound's elements). This article attempts to examine a different one -- the orthography of one productive compounding pattern in present-day Italian, that is Verb + Noun compounds. Various accounts of Verb + Noun ortography are reviewed, with special focus on the status of hyphenated words. In light of this data, the author focuces also on the problem of inclusion of compounds as multi-word units by dictionaries. The aim of this research is to contrast theoretical prescriptions with some data samples of Italian (Noun) Verb + Noun compounds drawn from La Gazzetta dello Sport (2016-2020). With this analysis the author wants to examine more in detail whether the use reflects what Italian grammarians claim about the Verb + Noun compounds ortography rules, because in various researches conducted in this field that aspect has often been neglected. [ABSTRACT FROM AUTHOR]

The essay analyses the space dedicated to phraseology and paremiology - to their theoretical explanation as well as to exercises - into a corpus of Italian grammar textbooks for secondary school, published from 1980 to 2024. First of all, the research shows a greater experimentation on this topic in handbooks published until the early nineties, but also uncertainty on definitions and methods; secondly it demonstrates that phraseology and paremiology do not receive enough attention on twenty-first century books, although studies show the teaching benefit of these idiomatic aspect of language, for the acquisition and/or the consolidation of both lexical and textual competence. [ABSTRACT FROM AUTHOR]

The manuscript BNU L VI 15 belongs to the French fund of the Biblioteca Nazionale Universitaria of Turin and it contains the translation of the Troianes of Euripides realized by Jacques Amyot in the first half of the sixteenth century. The code was greatly damaged by the fire that the library suffered in 1904, but fortunately the text is almost entirely readable. Another copy of the text is kept at the Library of the Musée Condé of Chantilly (Chantilly, ms. 613). The modern edition of Amyot's translation was made in 1996 using only the text of Chantilly, but it cannot be considered really satisfactory due to the absence of a critical apparatus and to the transcription criteria adopted by the editor, therefore the discovery of a new witness can be particularly useful for the realization of a critical edition of the work. The present study compares the two manuscripts and highlights the most significant variants that allow us to formulate some hypotheses on the relationship between the two codes. [ABSTRACT FROM AUTHOR]

This contribution offers an analysis of the first comedy that chose to represent Molière as an eponymous protagonist, thus inaugurating the long and successful series of pièces à auteurs dedicated to the French artist. This is Il Moliere by Carlo Goldoni, which, a couple of years later, inspired Il Moliere, jealous husband by his antagonist Pietro Chiari. Staged for the first time on 28 August 1751, and published in 1753, it draws on La Vie by Grimarest, cleverly combining autobiographical projections and a persuasive homage to the illustrious predecessor. [ABSTRACT FROM AUTHOR]

The Observations is a true poetics of comedy, here reconstructed in its most salient components, for example that of the sources from which Molière drew. Riccoboni reveals his deep knowledge of theatrical texts and also his past experience as a man of the stage. [ABSTRACT FROM AUTHOR]

Copyright of Revue Education et Socialisation is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the transformation of poet Pier Paolo Pasolini from a revolutionary figure into a marketable icon, emphasizing the paradoxical nature of his posthumous portrayal. It reflects on the commodification of Pasolini's works and the reduction of his critique to a mere aesthetic object, thus diluting the potency of his social commentary. It underscores the danger of his legacy being overshadowed by superficial adulation rather than genuine engagement with his ideas.

The article delves into the poetic legacy of Calabrian dialects, particularly focusing on the works of Ciardullo and the cultural significance they hold. It intertwines personal memories with critical reflections and cultural considerations, acknowledging the richness of dialectal poetry and its resonance with Calabrian heritage. It highlights the depth of Ciardullo's literary contributions and the societal reflections embedded within his works.

The article explores the humanistic rediscovery of the pastoral eclogue in France during the first Humanism, focusing on the poetic works of Jean Gerson and Nicolas de Clamanges. It states that these poets, influential figures in the intellectual life of France during the Great Schism, incorporated classical forms and structures into their poetry, particularly reviving the classical genre of pastoral eclogue.

Always fruitful in the poetics of Bonnefoy, the dialogue with art and Italian poetry opens also, in his latest production, to the comparison with the representative figures of the Dolce stil novo, Cavalcanti and Dante. Through intertextuality, the poet hosts other voices in the space of his voice, and entrusts them with the task of guiding him in the unveiling of a truth of meaning hidden before. Personal memory and literary memory are inseparable in the heuristic path that word is destined to take, one last time, in Ensemble encore and L’Écharpe rouge. Crossing the linguistic and epochal distance that separates his work from the origins of Italian literature, Bonnefoy gives proof of how reading, listening, and dialogue with other’s voices may be translated into the creation and renewal of one’s own. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within the framework of an aesthetic hermeneutic we offer an interpretation of the altarpiece of Isenheim di Grünewald a work with layers of interpretation regarding religious life and experience, within precise historic, literary, and artistic parameters. The work is viewed as part of a unified project, with its own original semantic in which biblical references converge with various key texts critical to the religious context into which Isenheim was born. Based on a clear knowledge of dogma and on an intense religious sentiment, the work was made momentous by the radicality of its regard for suffering and hope and by its intention to incite spiritual edification aimed at conversion and contemplation. It proposes an interior way to interpret suffering and faith, one which is existential and tragic and that fascinates and touches us even today. [ABSTRACT FROM AUTHOR]

The rediscovery of ancient biography as a literary genre and the diffusion of the model of the Parallel Lives of Plutarch in France take place, at the beginning of the sixteenth century, mainly thanks to the great project of Francis I, aimed at the translation of the entire Plutarch's Parallel Lives, which will end with the translation of Jacques Amyot in 1559. This study focuses on the comparative analysis of some anonymous and undated manuscripts, preserved in the Bibliothèque Nationale de France and containing French translations of some Plutarch's lives preceding Amyot's work. This analysis made it possible to formulate the hypothesis, supported by scientific data, according to which only the Vie de Demetrius can be attributed with certainty to Jacques Amyot, while the other translations would belong to different authors. The Vie de Demetrius could therefore represent a first version and the first nucleus from which the overall project, leading to the imposing work published by Jacques Amyot, could be developed. [ABSTRACT FROM AUTHOR]

This article presents Charles Vion d'Alibray's Préface to his translation of Prospero Bonarelli's tragedy, Solimano. Vion's long préfaces to his French translations of contemporary Italian theatre - to Tasso's Aminta and Torrismondo, and to Cesare Cremonini's Le pompe funebri, here reproduced and commented are a significant testimony of the theatrical querelles between 1620 and 1640. Prospero Bonarelli's Solimano is the last Italian text translated by Vion (1637) and, unlike the other tragedies, it seemed that it was published without a preface (so it was reprinted in modern times). However, Soliman's preface has finally been found: curiously, it was printed in a few examples of the same edition, with the same Privilège du Roy. It is a rich and interesting text, containing references to letters written by Bonarelli himself, and above all explicitly aware of the particular moment when Solimano was translated: the moment when the "temps des Préfaces" evoked by G. Dotoli was dissolving, while Corneille's "temps" begins, dominating the French scenes with the first, stunning performance of his Cid, as Vion himself admits and declares. [ABSTRACT FROM AUTHOR]

Beauty and the Beast is one of the most famous fairy tales. Inventoried in the Aarne-Thompson catalog under the label 425C (The Girl as the Bear's Wife), it boasts a host of illustrious literary ancestors and an even denser array of descendants. It is therefore surprising that so little attention has been paid to the work that lies at the origin of this rewriting process. La Belle et la Bête is a long tale that Mme de Villeneuve included in the collection La Jeune Américaine et les contes marins (1740). Sixteen years later, the same work will know a reduction under the pen of Mme Leprince de Beaumont (Le Magasin des enfants, 1756). It will be this second version, much more concise in form and content, to know more widespread. The short story of Mme Leprince de Beaumont will be translated into many languages since the eighteenth century, while the one of Mme de Villeneuve will fall into oblivion. The translation of the original tale will arrive in Italy thanks to Donzelli only in 2002. The aim of this study is to rediscover the specificities of this forgotten work through a linguistic-stylistic analysis, and then to measure the movement that the fairy tale makes under the impulse of translation. Attention will therefore be paid to what A. Berman defines as "zones signifiantes", in particular the oxymoronic pair belle/bête and the term esprit, which are central to the development of the narrative. Although starting from precise textual zones, the translation analysis does not intend to limit to the contrastive aspect but aims to bring out the editorial project in relation with the concept of translational tradition. [ABSTRACT FROM AUTHOR]

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cartagine. Studi e Ricerche is the property of Cartagine. Studi e Ricerche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cartagine. Studi e Ricerche is the property of Cartagine. Studi e Ricerche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to present the way in which Christine de Pizan wrote and especially re-elaborated her works, through the study of two of her major texts, both of which had two successive versions, the Book of the Path of Long Study and the Book of the City of Ladies. It combines philology and genetic criticism, studying the presentation manuscripts, presumably corrected by the writer’s hand, as one would study an author’s drafts. We can see that, in manuscripts copied in a very limited period of time, sometimes simultaneously, Christine de Pizan introduced authorial variants that became more and more complex, to the point of creating new versions. The corrections also show the great importance the author placed on the language and style of her works. The study proves that it is worthwhile to apply the methods developed in Italian authorial philology to the authors of the French Middle Ages, for the example of Christine de Pizan, although exceptional, is probably not isolated. [ABSTRACT FROM AUTHOR]

Copyright of Storia Urbana is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cartes et Géomatique is the property of Comite Francais de Cartographie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanistik in Geschichte und Gegenwart is the property of Helmut Buske Verlag Hamburg and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers an extra-textual and contextual interpretation of the intellectual or simply emotional relationship that Gianni Rodari's writings maintain with art. It mentions how the author manages to transpose the classic concept of ut pictura poesis, which, since Antiquity, means "imitation of the real world", into the process of the "construction" of fantasy worlds.

The article offers an outline of 20th century Apulian poets mainly focusing on their capacity to get rid of the dominating models. It mentions that moving away from the influence of the main cultural centres and going beyond any form of marginalization, this tradition achieves its fully-fledged position in both the national and the international literary framework.

The article focuses on Mallarmé's poetry and its genesis in the ‘deep' of the unconscious are analyzed, through a new original model of psychocritics, as a specimen of modern lyric. It mentions that in the kaleidoscopic phantasmagoria of its meanings a metaphor of poetry, and at the same time its essence appears as the elective poetic universe for an in-depth understanding of the fundamental mechanisms of the genesis and birth of a poetic text and of the mystery of beauty tout court.