The Figure of the Poet in Renaissance Epic

Durling, Robert M.

doi:10.4159/harvard.9780674330634

Cited by 109 publications

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“…26 See Durling;Shemek;Finucci;Benson;Ascoli, 1998. interlocutors and circumstances, we should recognize that Ariosto's adaptation of romance interlace has explicitly broadened beyond narrative and theme to encompass both literary "intertextuality" and cultural "discursivity." 27 In other words, Ariosto both allusively interweaves macro-and micro-textual elements of the romance-epic tradition 28 and, far more explicitly, incorporates social and historical references and discourses within the internal structures of his poem.…”

Section: Renaissance Quarterlymentioning

confidence: 99%

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Ariosto and the “Fier Pastor”: Form and History in Orlando Furioso

Ascoli

2001

Renaiss. Q.

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This essay explores the formal means (a variant of the medieval romance technique ofentrelacement) by which Ludovico Ariosto'sOrlando Furiosorepresents and comments on contemporary events, particularly the threats posed by French and Spanish invasions and by the interventionist politics of Popes Julius II and Leo X. Ariosto's treatment of the latter figure exemplifies both the specificity of the interplay between form and history in theFurioso Innamoratoand its innovative character with respect to precursors, notably Boiardo'sOrlando Innamorato. A final section considers the changing significance of such topical material between the first edition of 1516 (when Leo was alive) and the final edition of 1532 (long after Leo's death, and under very different historical circumstances).

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Section: Renaissance Quarterlymentioning

confidence: 99%

“…30 Ascoli, 1987, 37-39 et passim. 31 On the presence of historical materials, see Durling;Pampaloni;Bigi;Moretti, 1984;Marsh;Baillet;Looney, 1990Looney, -1991La Monica, 1992;Hoffman, 1992 andMurrin;Biow; Henderson. In many ways, Carlo Dionisotti, 1961 and, is the patron saint of contemporary interest in historicizing Ariosto and his poem.…”

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Ariosto and the “Fier Pastor”: Form and History in Orlando Furioso

Ascoli

2001

Renaiss. Q.

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“…El lenguaje acompaña esta oquedad, en camino a las formas del juego que se plasmarán en lo jocoserio (Étienvre 2004) y en el aire de prosaísmo (Ruiz Pérez 2015). Con ello se introducen también alteraciones en la figura del poeta (Durling 1965) y una deriva en los modelos de legitimación, que afectan en este caso tanto al noble como al poeta, sometidos a los procesos de reajuste derivados de los cambios en su situación. A ello cabe adscribir el que el grueso de la dedicatoria al duque de Feria esté ocupado por la alabanza de las glorias de sus antepasados, por la grandeza de la casa, más que por lo concerniente a los hechos del heredero.…”

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The gentleman poet Salcedo Coronel: lineage, editing, writing

Ruíz¹

2016

studiaaurea

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ResumenSalcedo Coronel concilió su labor de poeta y comentarista de Góngora con sus posiciones en la corte y la aristocracia, representadas por sus cargos de caballerizo del cardenal infante y caballero del hábito de Santiago. Ambos títulos aparecen en las portadas de sus volúmenes poéticos, y no son el único elemento de legitimación de su práctica. En los Cristales de Helicona (1650) la estrategia se muestra en una doble dimensión, correspondiente a su condición dual. Mientras la iconografía del grabado muestra los elementos de relación entre el noble y el poeta, el prólogo de Pellicer insiste en la condición aristocrática del autor, y este convierte el volumen en un espacio de representación de las relaciones de sociabilidad con otros integrantes del campo literario del momento. Entre la escritura y la edición, el caballero poeta despliega su autorrepresentación. Palabras claveSalcedo Coronel; Pellicer; paratextos; edición; campo literario; genealogía AbstractThe gentleman poet Salcedo Coronel: lineage, editing, writing Salcedo Coronel conciliates its work as poet and as Góngora's commentator with their positions on the court and the aristocracy, represented by their charges as infant cardinal's 1. Las páginas que siguen son resultado parcial del proyecto «Sujeto e institución literaria en la edad moderna», FFI2014-54367-C2-1-R, del Plan Estatal de I+D+i.

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“…8 The Ars implicitly acknowledges that women can read books 1-2, though the target readership for those books is male: quo magis, o,faciles imitantibus este, puellae (1.617 'so, all the more, girls, be easy for fakers'); ecce, rogant tenerae sibi dem praecepta puellae: I uos eritis chartae proxima cura meae (2.745 'look, the tender girls are asking me to give them lessons: I you shall be the concern of See esp. The concept of the Ovidian speaker in the Ars and Remedia as an assumed poetic persona, the praeceptor Amoris, originates with Durling (1958), slightly revised in Durling (1965). The concept of the Ovidian speaker in the Ars and Remedia as an assumed poetic persona, the praeceptor Amoris, originates with Durling (1958), slightly revised in Durling (1965).…”

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confidence: 99%