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Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani 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.)

Urbino. November 1464. Antonio Petrucci, a preeminent Senese politician and condottiero, is still imprisoned, following his defeat at the hands of papal troops on 30 October 1461. During his captivity, Petrucci composed a zibaldone (a commonplace book), in which he mainly copied lyrics by Latin classics and Italian poets and humanists. Petrucci's autograph also contains a complaint against Fortune dated 10 November 1464, which is one of the last texts of the manuscript. Petrucci was certainly not the first medieval author to reflect on human fate and the role of Fortune. On the contrary, the image of the wheel of Fortune is probably among the most iconic of the Middle Ages. Nevertheless, Petrucci's complaint is not simply a general reflection on the role of Fortune. The lamentation is chiefly the way Petrucci decided to portray his own personal fall, accusing the "very cruel Fortune" of depriving him of his "illustrious and gracious homeland", Siena. It would be superficial to reduce the Senese's complaint to a simple description of his misadventures, and the same is true for every document written by someone who suffered a failure. Petrucci's case raises questions about the sources available to historians to study the history of downward mobility. [ABSTRACT FROM AUTHOR]

An updated version of an article published in 2006, this essay defends a new interpretation of Friar Ilaro's letter based on a thorough analysis of the manuscript in which it is preserved. Its goal is to propose a new reading of this document within the wider frame of the corpus of Dantean texts collected by Boccaccio and included in his Zibaldone. [ABSTRACT FROM AUTHOR]

This essay examines Giacomo Leopardi’s reflections on the future in the Zibaldone, his encyclopedic miscellany of notes and thoughts. Leopardi (1798-1837) is one of Europe’s greatest poets and thinkers, yet his reception outside of Italy has been relatively limited. The article aims to situate Leopardi’s ideas in the context of modern European thought and to frame his vision of futurity by examining a series of interconnected issues: the question of the modern individual’s experience of time and relationship with the future; the nature of society’s responsibility toward the generations to come; and the question of literature’s engagement with future readers. It shows how Leopardi’s philosophy of the future provided both a critique of European modernity and a response to its challenges. It also draws out the parallel issue of an author’s contemporaneity, that is her capacity to belong to her period and, at the same time, to transcend it. Thus, while resituating Leopardi’s temporal reflection within the epochal changes that took place between the eighteenth and nineteenth centuries, the article also attempts to decouple the texts and their message from their historical period, in order to investigate Leopardi’s relevance beyond the limits of his present.

Copyright of Montesquieu.it is the property of Montesquieu.it 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 theme of imprisonment is deeply rooted in the Romantic tradition and has a peculiar declination in Leopardi. Starting from a note of the Zibaldone on the confinement of Philoctetes on the island of Lemnos (Zib. 4282), this contribution aims to show how Leopardi, inclined to represent himself as a prisoner and/or anchorite, and while investigating on the anthropological status of modernity, makes use of some topical polarities (such as immobility/action, darkness/light, interior/exterior) that are significantly recurrent in contemporary Italian and European literature from Manzoni to Byron, from Stendhal to Hugo. Nourished as much by a fruitful re-elaboration of Platonic-Christian coordinates (think of prison-life in the Dialogo di Plotino e Porfirio), as by the vigilant observation of current times - see, for example, the annotation on penitentiaries in the United States in Zib. 4045 -, the motif of imprisonment revolves prevalently around two distinct but related nuclei. On the one hand, the 'fall' of the human race and the annihilating effects of civilisation; on the other, the possible comfort that, paradoxically, isolation and restriction can offer to a corrupted and altered modern human being. [ABSTRACT FROM AUTHOR]

Fortemente radicato nell’immaginario romantico, il tema carcerario conosce in Leopardi una declinazione tutta peculiare. Muovendo, in particolare, da un appunto dello Zibaldone sul confinamento di Filottete nell’isola di Lemno (Zib. 4282), il contributo si propone di mostrare come Leopardi, incline ad autorappresentarsi nei panni del prigioniero e/o dell’anacoreta, si avvalga di alcune topiche polarità dello spazio chiuso, significativamente ricorrenti nella coeva letteratura italiana ed europea (da Manzoni a Byron, da Stendhal a Hugo) – quali immobilità/azione, buio/luce, interno/esterno –, ai fini della sua indagine sullo statuto antropologico della modernità. Alimentato tanto da una feconda rielaborazione delle coordinate platonico-cristiane (si pensi alla vita-carcere nel Dialogo di Plotino e Porfirio), quanto dalla vigile osservazione dei tempi correnti – come dimostra, per esempio, l’annotazione sui penitenziari negli Stati Uniti in Zib. 4045 –, il motivo della carcerazione ruota infatti prevalentemente attorno a due nuclei, distinti ma correlati: da una parte, la ‘caduta’ del genere umano e gli effetti annichilenti dell’incivilimento; dall’altra, il possibile conforto che, paradossalmente, proprio l’isolamento e la restrizione possono offrire all’uomo moderno corrotto e alterato.

Una notazione spazio temporale, un poema di sette endecasillabi piani, una favola del poeta latino Aviano e l'apologia contemporanea. Questa è l'apertura dello "Zibaldone" leopardiano, uno dei più importanti poemi in prosa nella storia della filosofia italiana del XIX secolo. Un inizio inaspettato e inusuale, che sembra presentare la lettura con un approccio altalenante, come nelle "Lettere persiane" di Montesquieu, un autore di cui Leopardi era particolarmente appassionato. questo è già un incipit che immediatamente rivela alcuni degli attributi chiave della personalità artistica di Leopardi: l'importanza degli eventi biografici; il continuo dialogo tra il suo lavoro composto differentemente a seconda dello stato della sua crescita intellettuale; la profonda connessione tra poesia e pensiero; l'ininterrotta comparazione tra vecchio e moderno; la ricerca di un sistema, capace di innalzare la verità sopra le falsità e gli errori e creare un senso di globalità tra cose e uomini.

Il paper ha lo scopo si mostrare il bifrontismo nella recezione ovidiana di Leopardi. Il poeta latino è visto come "fons", una sorta di modello, ma allo stesso tempo Leopardi è anche molto critico verso lo stile ovidiano. Ma dopotutto Leopardi analizza le Metamorfosi di Ovidio da un punto di vista puramente personale, ignorando l'ironia con cui Ovidio vuole invece dipingere il mondo.

Il saggio indaga l'origine e il significato di una curiosa schedina in endecasillabi presente tra le carte leopardiane conservate alla Biblioteca Nazionale di Napoli, che gli editori moderni usano chiamare Esercizi di memoria e di cui si fornisce qui un'originale interpretazione. Leopardi era infatti solito redigere schedine in versi preparatorie, in particolare allo Zibaldone, e si può credere che esse venissero redatte quando l'autore non aveva agio o modo di dedicarsi alla stesura del diario con la stessa assiduità che gli era concessa a Recanati. Simili operazioni potrebbero in particolare collocarsi in quei periodi in cui Leopardi soggiornava fuori casa ed era soggetto a spostamenti: gli appunti servivano probabilmente a fissare gli estremi di pensieri da sviluppare, e la forma in versi forniva all'autore un’occupazione durante i viaggi in carrozza. Viene dunque proposta l'ipotesi che Leopardi abbia potuto scrivere almeno una parte del recto del primo foglietto durante il suo soggiorno a Roma del 1822-23, quando la stesura dello Zibaldone era praticamente interrotta, per fissare delle idee da sviluppare al suo ritorno. Il saggio mira infine a ricostruire le trame che collegano libri, fatti e persone nel "labirinto di associazioni" costruito da Leopardi al momento della scrittura.

This article explores Pascal’s influence in Leopardi, grounded in his reading of Pensées, which is testified by his Lists of Reading and by his philosophical notebook, the Zibaldone. The article reconstructs the phenomenology of the reading made by Leopardi, but also identifies the themes of Leopardi’s philosophy on which Pascal could have had an influence. Finally, through philological and philosophical analysis, the article highlights the stylistic influence of Pascal on Leopardi.

Giacomo Leopardi (Recanati, 1798 - Naples, 1837) lived in one of the most prolific times of the creation of Italian opera, related overall to the bel canto movement, which fascinated a big part of the peninsular population, in and out of the scope of theatrical halls. The aim of this task will be to inquire the complex relationship that the Recanates poet built up throughout his life in the melodrama gender. [ABSTRACT FROM AUTHOR]

The article is devoted to the Zibaldone by Giacomo Leopardi (1798–1837). The author wrote this work for many years, and it represents his reflections about the nature of things. The article concentrates on the nature of memory and reminiscence. The role of memory and reminiscence is very significant as through reminiscences the author communicates with himself. The linearity of time isn't important here, and the nature of memory by Leopardi resembles “involuntary memories” in the novels by M. Proust.

apropos weist gern darauf hin: In ZIBALDONE Zeitschrift für italienische Kultur der Gegenwart erscheint im Juli 2019 ein ebenfalls interessantes und thematisch verwandtes Dossier (Sport und Gesellschaft). Das PDF bietet mit dem Inhaltsverzeichnis sowie dem Vorwort der Herausgeber (Thomas Bremer und Daniel Winkler) ein Vorgeschmack auf diese Nummer. ZIBALDONE ist ein Forum für kritische Debatten mit Streifzügen ins Kulinarische, Historische und Künstlerische. Eine Zeitschrift, die Heft für Heft überraschende Perspektiven wagt. Geschrieben von Schriftstellern, Journalisten, Wissenschaftlern, fotografiert, gezeichnet und illustriert für alle, die nie genug haben können von ITALIEN. Hier geht es zur Internetseite der Zeitschrift.

This article reflect on the presence of Dante’s allegory in Leopardi’s works. In fact, in the Zibaldone Leopardi considers allegory in a similar way to Dante in the Convivio in defending the autonomy of literature from excesses of allegorical interpretation. Furthermore in the Canti and Operette Morali Leopardi rewrites several allegories taken from Dante’s Commedia and Vita Nova as the personification of Love. The last aim of the article is to suggest that Leopardi, inspired by ancient tradition, is actually a “deformed Dante” as Baudelaire.

In Giacomo Leopardi, who is considered the greatest romantic Italian poet, the characteristics of peninsular Romanticism reach the highest level of theoretical and philosophical reflection and of poetical results. He makes of the concept of Infinity, the real protagonist of romantic universe, the central crux of his thought and of his poetry. Moving from the abstract rigors of a mathematical idea of space and time he compares it to indefinite, imprecise fluctuations of the feelings. And, as a poet, he invokes the indefinite as an indispensable poetic element and unique form of infinity you can reach. In the Zibaldone and in his most beautiful and famous lyric poem, "L'Infinito", that belongs to the little Idylls, both terms, Infinity and Finity, build an indivisible couple. Leopardi, theorist and poet of Infinity, critic of his time modernity and at the same time his sublime bard, shows himself not only as a careful interpreter of his time but even of our time, entering with his thought into the deepest roots and into the uneasiness of our modernity. [ABSTRACT FROM AUTHOR]

The poetry of Giacomo Leopardi is a synthesis of meditation and songs, a living unity of thought and expression. His most celebrated poem, L'Infinito, reaches a supreme value when it is contextualized within the framework of the poetic theory elaborated by the poet himself in the most reflexive of his works, Zibaldone, where Leopardi conceives poetry as a form of philosophy. [ABSTRACT FROM AUTHOR]

Questo articolo si propone di approfondire il tema della solitudine essenzialmente nello Zibaldone di Leopardi, ma anche nei Canti e in altre opere: un argomento che fa parte di quel piccolo nucleo di concetti che consentono all'autore di stabilire una serie di distinguo fra antichità e modernità, uomo saggio e uomo della strada, persona che ha sofferto e quella che non sa che cos'è il dolore, tra solitudine originaria, essenzialmente umana ma anche animale e quindi naturale, e solitudine moderna, quella dell’esclusione, che viene sperimentata proprio dalle masse, e quindi urbana.

Le prime cento pagine dello Zibaldone di Giacomo Leopardi sono organizzate diversamente rispetto al resto del libro: sono numerate ma non datate, e mostrano un disordine che, per contrasto, è invece sorretto da un pensiero rigoroso. Il discorso ragionativo procede prevalentemente attraverso due modalità cognitive: secondo un principio analogico, e per salti metaforicamente connessi.

„Der Erste Weltkrieg: Kultur und Krieg in Italien“, Zibaldone: Zeitschrift für italienische Kultur der Gegenwart 57 (Frühjahr 2014), hrsg. von Thomas Brehmer (Tübingen: Stauffenburg, 2014). 153 S.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Italica is the property of University of Illinois Press 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.)

Zibaldone's notes belong to very different genres, and therefore are written with very different registers. This paper aims to demonstrate that rhetorical strategies vary not only by genre, but also by subject matter. In particular, this research takes into consideration passages concerning philosophy, aesthetics and politics on one side, and passages concerning the "scienza dell'uomo" on the other side. In order to demonstrate the different rhetorical strategies employed in these notes, this paper will list and summarize the main features that characterize and distinguish the two typologies, show how they sometimes interweave, and offer an overall evaluation and a possible explanation of this phenomenon. [ABSTRACT FROM AUTHOR]

On page 4526 Leopardi's Zibaldone comes to an end. This article provides an interpretation of the philosophical ideas and performative instances which extend throughout the notebook, and which are responsible for the interruption of Leopardi's writing. By analysing the tensions between two antithetical philosophical and cultural models, that of Christianity, which re-proposes itself in the figure of the 'stupefied' Adam, and that of ancient Greek civilization, emerging in dialogical forms of Socratic dialogue, I aim to shed light on the importance of Leopardi's self-educational drive as an informing principle of the text. In the daily set of methods and learning practices which structure the everyday development of the notebook, and which are regulated by the principle of clarity, Leopardi's contrasting impulses between self-reflexive control and openness to the unexpected mirror broader cultural conflicts generated by the passage from antiquity to modernity. [ABSTRACT FROM AUTHOR]