A. Macciò, Allegorizzare, esorcizzare, infondere. […], in R. Fresu, G. Murgia, P. Serra (a c. di), Trasmettere il sapere, orientare il comportamento: tipologia linguistica, generi testuali, modelli culturali della prosa educativa, Firenze, Cesati, 2020, 155-64., 2020
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Papers by Andrea Macciò
This contribution offers the reader the edition and analysis of Stanislao Caboni's rewriting of an ode composed by Diodata Saluzzo Roero on the events of the 1821 constitutionalist insurrections, which she dedicated to the Sardinian regiment of Cacciatori Guardie, particularly distinguished at the time for the loyalty shown towards the House of Savoy. The comparison of the original version of the ode-La Fedeltà al Re (Loyalty to the King)with the verses of the poet from Cagliari allows us to appreciate in what terms Stanislao Caboni intended to clarify and respond to the text of the poetess from Turin, as he himself wrote in the letter he addressed to the Marquise accompanying his new version of the ode (Cagliari, Biblioteca Universitaria, ms. 10.2.6.33, ff. 67r-68r). Finally, the essay gives notice of Caboni's extensive poetic production that is still unpublished and whose current location is unfortunately unknown.
The contribution focuses on the vast Fortleben of the Voie d’Enfer et de Paradis by Pierre de l’Hôpital (1315-1336) and sheds light on the dynamics of transmission and re-adaptation in which the text was involved during the fourteenth century. On the basis of new elements derived from a contrastive analysis, the study aims firstly at confirming the hypothesis, supported by S. Menegaldo, of the filiation of Jean de Le Mote’s allegorical voyage (1340) from Pierre de l’Hôpital’s homonymous poem. Secondly, the paper traces as exhaustively as possible the processes of spectacularization and staging implemented in the text by its anonymous rewritings, namely the Songe de la voie d’enfer et de la voie de paradis (of which an approximate dating is also proposed) and the Speculum mondialle morality play.
L’étude se penche sur le traitement de la figure de la Vierge de Miséricorde dans une Voie de l’Enfer et du Paradis inédite ainsi que dans la moralité qui en découle. Appartenant au genre des voyages allégoriques, la Voie combine la théologie pénitentielle et l’iconographie du Schtutzmantel, en remplaçant Marie par le personnage de « Contricion » et en transformant le « grand manteau » en un « voile de larmes », dont la fonction est de catalyser la métamorphose du pécheur racheté.
aims to locate the still unedited work attributed to Pierre de l’Hôpital within the oitanic literature, specifically highlighting the differences that distinguish it from other literary representatives of the journey through the Afterlife and suggesting a possible intertextual link between the text typology of the Voie d’Enfer et de Paradis and that of the Songe d’Enfer by Raoul de Houdenc. Besides, after confirming the date of composition and the vast Fortleben that concerned the Voie, as well as the dynamics of reception that have influenced its fruition and subsequent theatrical re-writings, we will offer first precise account of all the four manuscript
witnesses conserving the text. Moreover, we will also try to shed more light on the possible social identity and the origin of the author, whose figure has been richly miniated in some illuminations decorating a witness of the first re-adaptation of the text.
century Roman de Flamenca, one of the most important exponent of the
Occitan “narrative exception”, and the literary genre of the troubadour lyric
poetry. The tradition of the grand chant courtois re-used in the novel, in fact, undergoes
a mutation of its constituent assumptions. This is due both for the
unprecedented protagonism assumed by the domna, contrasting the absence of
woman’s otherness in which the courtly love poetry founded its space, and because
the chronological dimension, which is essential to the diegesis, also involves
its lyric sources bending them to the demands of the narrative.