A recepção de Ludovico Ariosto e Torquato Tasso na épica feminina portuguesa: as epopeias de Soror Maria de Mesquita Pimentel

O presente artigo tem como objetivo avaliar a dívida que a poesia épica conventual feminina portuguesa contrai em relação a poesia épica produzida em Itália, nomeadamente com os poemas de Ludovico Ariosto e de Torquato Tasso. Nesse sentido, pretende-se demonstrar como os poemas épico-bíblicos de Soror Maria de Mesquita Pimentel, isto é, o Memorial da Infância de Cristo (1639), o Memorial dos Milagres de Cristo (editado em 2014) e o Memorial da Paixão de Cristo (inédito), reflete e dialoga com o Orlando Furioso e a Gerusalemme Liberata. Conclui-se que os poemas de Soror Mesquita Pimentel estabelecem com estes poemas italianos relações intertextuais que corroboram o quão fecunda foi a fortuna de Ariosto e Tasso em Portugal, a ponto de serem conhecidos entre os muros da clausura feminina.

Oreste Biringucci in Amor Feretrio: pustni turnir leta 1585 v Mantovi

Članek obravnava opis turnirja, ki je potekal na dvoru v Mantovi med karnevalom leta 1585. Naročil ga je dedni princ Vincenzo Gonzaga pri dvornem arhitektu Oresteju Biringucciju. Biringuccijevo poročilo, naslovljeno Apparato e barriera del tempio di Amor Feretrio, opisuje gledališko sceno, sodelujoče plemstvo, predstavljene like (večinoma iz klasične mitologije in junaških del avtorjev, kot so Ludovico Ariosto, Bernardo Tasso in Curzio Gonzaga), pa tudi – zelo nenavadno za tisti čas – dvorne pesnike in glasbenike, ki so sodelovali pri dogodku. Glasba ima v opisu vidno vlogo, saj prihod vsakega bojevnika s solističnim spevom (v dveh primerih je bil to madrigal) naznani kateri izmed mitoloških likov. Eden od madrigalov je bil prepoznan kot antifonalna kompozicija dvornega skladatelja Benedetta Pallavicina. Razprava vključuje angleški prevod omenjenega opisa, povzema življenje in delo Oresteja Biringuccija ter razpravlja o vseh drugih zbranih virih o turnirju, ki se nahajajo v arhivu Gonzaga v Mantovi.

Renaissance Epics: Ariosto, Tasso, and Spenser

This chapter takes a look at Orlando Furioso (1516, 1532), Gerusalemme Liberata (1581), and The Faerie Queene (1596), which are the recognized epic masterpieces of their eras. They draw in succession on each other and on a wide range of classical and romance texts, many of them known to the first audiences of these three poems. The chapter investigates the ways in which Ludovico Ariosto, Torquato Tasso, and Edmund Spenser used their predecessors and the different effects they achieved from a shared heritage. It examines the ways in which a series of authors used both their immediate predecessors and their sense of a long tradition of epic writing to create something new. The chapter argues that Ariosto aimed to shock and surprise his audience. Tasso reacted to Ariosto by combining a more serious and unified epic on the lines of the Iliad. Spenser's idea of devoting each book to a hero and a virtue presents a structure which is easier to comprehend than Ariosto's, yet looser and more open to surprises than Tasso's.

The Visualization of the Orlando Furioso

Orlando Furioso by Ludovico Ariosto, published in 1516 (and later in 1521 and 1532), very quickly became a bestseller, the first great classic of modernity. An important part of this success was due to the fact that illustrations began to be produced for the poem almost immediately. We will see how the early illustrated editions of the Orlando Furioso clearly attempted to influence its reception and the memory of the reader, while at the same time addressing the themes and narrative structure of the text. This essay will analyse the enduring popularity of the visual imagery of the poem, beginning with the emblems that frame the text in the editions prepared for publication by the author himself and concluding with an example of video art that reinterprets the illustrations from the Valgrisi edition published in 1556.

Lucrezia Borgia

Lucrezia Borgia (b. 1480–d. 1519) is well known as the much-loved daughter of Pope Alexander VI, affectionate sister of the cleric-turned-soldier Cesare Borgia, unfortunate wife of Giovanni Sforza of Pesaro, distraught widow of Alfonso, duke of Bisceglie, and esteemed consort of Alfonso d’Este, duke of Ferrara. Outside the bonds of close family she is similarly defined by relationships with men, whether that be in terms of the passionate devotion of Pietro Bembo or the no less eloquent admiration of Ludovico Ariosto. It is therefore little wonder that recent authors have sought to present her as a person of substance and interest in her own right. As usual, students should begin with Reference Works. Biographies provide a popular format for conveying information about elite women of the Renaissance period and should be read early in any research process, but they often require padding with contextual material. Contexts therefore appears as the next section of this article. There is an ample number of published Primary Sources, though contemporary Archives and Diaries do not delve beneath outward formalities and the writers of Poetry and Letters necessarily or habitually idealized their subjects. Easily the best option for discovering more about Lucrezia is to set aside her Roman origins and concentrate on Lucrezia in Ferrara, which is precisely what happened in 2002 when the city of Ferrara celebrated an “Anno di Lucrezia Borgia” to mark the 500th anniversary of her arrival there as the bride of the future duke. Some of the lasting consequences of that celebration can be found among the Collections of Papers. Other article-length pieces can be accessed via Journals. The final section of this article charts the process by which the figure of Lucrezia Borgia has evolved From Fact to Fiction during the centuries since her death.