Mary Sidney Herbert's translation of the third canto of Petrarch's Triumphi has been frequently acknowledged as one of the most accurate translations of that text into English. The Countess of ...Pembroke not only preserves the terza rima rhyme scheme throughout but also meticulously follows the original poem in every terzina, and the two texts-the source and translation-correspond almost line by line. However, a key component of Petrarch's text is repeatedly altered in her version: Pembroke effaces many important mentions of the narrator's poetic vocation, presenting instead a narrator who ostensibly lacks obvious literary associations and pursuits. Following previous studies that argue that Pembroke's writings have been shaped by the endeavour to honour her famed brother's death and his literary legacy, through which she was also able to implicitly lay her own claim for poetic authority, this essay argues that her translation-and crucially, the changes between the source text and its English rendition-is another example of how Pembroke was able to simultaneously eschew the known tropes of poetic mastery that were associated with Petrarch and Philip Sidney, yet still assert her independent poetic voice and position.
In her theory of media, Landon anticipated the work of present-day media theorists, whose explorations of the relationship between media and systems of power center on how our encounters with media ...technologies can be shaped by gendered power dynamics. In recent years, scholars of the nineteenth century have increasingly turned to approaches informed by media studies to revisit the works of women poets.5 Sarah Anne Storti advocates for the sophistication of Landon's poetry specifically in these terms, suggesting that Landon ought to be viewed as "a brilliant media theorist and practitioner" who "leveraged an experimental role in early nineteenth-century print media to explore the affordances of representational art in an era of mass production" (Storti, p. 533).6 I follow Storti in using the language of "theory" to highlight both Landon's sustained engagement with these ideas and the sweeping nature of the philosophy her poetry puts forth. By occupying this dual position, women could claim the text's silence as a means of power: although they were still, in a sense, silently beheld by their readers, the medium itself ensured the woman writer's gaze could structure these encounters. The publishers of these books marked them both as sentimental gifts tied to a specific year and as historical artifacts that would be valuable to future readers.10 In addition, I suggest, Landon's focus on historical media such as these "ancient pictures" positions the poem as not just a historical artifact but also a reflection on shifting media technologies.
The Italian scholar and poet Francesco Petrarch (1304-1374) is best remembered today for vibrant and impassioned love poetry that helped to establish Italian as a literary language. Petrarch inspired ...later Renaissance writers, who produced an extraordinary body of work regarded today as perhaps the high-water mark of poetic productivity in the European West. These "Petrarchan" poets were self-consciously aware of themselves as poets-as craftsmen, revisers, and professionals. As William J. Kennedy shows inPetrarchism at Work, this commitment to professionalism and the mastery of poetic craft is essential to understanding Petrarch's legacy.
Petrarchism at Workcontributes to recent scholarship that explores relationships between poetics and economic history in early-modern European literature. Kennedy traces the development of a Renaissance aesthetics from one based upon Platonic intuition and visionary furor to one grounded in Aristotelian craftsmanship and technique. Their polarities harbor economic consequences, the first privileging the poet's divinely endowed talent, rewarded by the autocratic largess of patrons, the other emphasizing the poet's acquired skill and hard work. Petrarch was the first to exploit the tensions between these polarities, followed by his poetic successors. These include Gaspara Stampa in the emergent salon society of Venice, Michelangelo Buonarroti in the "gift" economy of Medici Florence and papal Rome, Pierre de Ronsard and the poets of his Pléiade brigade in the fluctuant Valois court, and William Shakespeare and his contemporaries in the commercial world of Elizabethan and early Stuart London. As Kennedy shows, the poetic practices of revision and redaction by Petrarch and his successors exemplify the transition from a premodern economy of patronage to an early modern economy dominated by unstable market forces.
The early modern and modern cultural world in the West would be unthinkable without Petrarch and Boccaccio. Despite this fact, there is still no scholarly contribution entirely devoted to analysing ...their intellectual revolution. Internationally renowned scholars are invited to discuss and rethink the historical, intellectual, and literary roles of Petrarch and Boccaccio between the great model of Dante’s encyclopedia and the ideas of a double or multifaceted culture in the era of Italian Renaissance Humanism. In his lyrical poems and Latin treatises, Petrarch created a cultural pattern that was both Christian and Classical, exercising immense influence on the Western World in the centuries to come. Boccaccio translated this pattern into his own vernacular narratives and erudite works, ultimately claiming as his own achievement the reconstructed unity of the Ancient Greek and Latin world in his contemporary age. The volume reconsiders Petrarch’s and Boccaccio’s heritages from different perspectives (philosophy, theology, history, philology, paleography, literature, theory), and investigates how these heritages shaped the cultural transition between the end of the Middle Ages and the early modern era, as well as European identity.
In Petrarch’s hands, lyric verse was transformed from an expression of courtly devotion into a way of conversing with one’s own heart and mind. David Slavitt renders the sonnets in Il Canzoniere, ...along with the shorter madrigals and ballate, in a sparkling and engaging idiom and in rhythm and rhyme that do justice to Petrarch’s achievement.
Secretum sive De secreto conflictu curarum mearum je poleg Avguštinovih Izpovedi, Montaignevih Esejev in Rousseaujevih Izpovedi eno najpomembnejših del o sebstvu v zahodni kulturi. Toda kljub na ...videz jasni strukturi in vsebini še vedno ni jasno, kakšen je njegov pravi namen in kako naj ga umestimo v evolucijo avtorjeve proze. Za učinkovito razpravo o tem se je treba najprej vprašati, kdaj je Secretum nastal. V zadnjih desetletjih je o tem vprašanju med specialisti tekla živahna razprava in še danes se mnenja precej razhajajo – po eni od teorij naj bi bil Secretum napisan v letih 1342–3, po drugi pa med letoma 1347 in 1453 v več etapah.
These arts I used with thee Bayerlipp, Susanne
Critical survey (Oxford, England),
03/2024, Letnik:
36, Številka:
1
Journal Article
Recenzirano
Abstract This article delves into the collaborative dynamics of early modern literary production, emphasising the need for a comprehensive view of collaboration beyond joint authorship as the role of ...translators is still often overlooked, maintaining their perceived secondary status even after the translational turn. Using Petrarch's I Triumphi , first printed in 1470, and arguably one of the most decisive vernacular works in early modern Europe, as a case study, the article showcases the pivotal contribution of translators to a text's international prominence, challenging established gender norms in Petrarchism. The article highlights the role of the female translators as collaborators and proposes a nuanced understanding of gender, social class and religious factors in shaping translation practices, enriching our comprehension of early modern literary dynamics.
Challenging the familiar view of Francesco Petrarca as the 'father of humanism', this book offers a comprehensive re-interpretation of Petrarch's debt to the theology of St. Augustine, and advances a ...provocative new reading of the development of humanism in Italy.
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