Relevant bibliographies by topics / Bernardo Tasso

Academic literature on the topic 'Bernardo Tasso'

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Published: 11 March 2023

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Journal articles on the topic "Bernardo Tasso"

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De la Torre Ávalos, Gáldrick. "Bernardo Tasso: nota biobibliográfica." Studia Aurea 13 (December 4, 2019): 453. http://dx.doi.org/10.5565/rev/studiaaurea.345.

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Pérez-Abadín Barro, Soledad. "Bernardo Tasso en la poesía de Herrera." Bulletin Hispanique 95, no. 2 (1993): 513–23. http://dx.doi.org/10.3406/hispa.1993.4800.

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Cardillo, Angelo. "Museo, De l’amor di Leandro et di Hero Volgarizzamento dal greco di Pietro Angèli Bargeo." Forum Italicum: A Journal of Italian Studies 52, no. 3 (June 18, 2018): 859–92. http://dx.doi.org/10.1177/0014585818781831.

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L’articolo presenta il volgarizzamento cinquecentesco inedito dell’epillio di Museo ad opera di Pietro Angèli Bargeo, tradotto in un Manoscritto della Biblioteca Panizzi di Reggio Emilia risalente alla seconda metà del XVI secolo; presenta, inoltre, un excursus sulla circolazione latina e volgare del testo greco fino alla fine del Cinquecento. La traduzione è parte della feconda attività del Bargèo di divulgatore di testi classici ed ulteriore conferma dell’interesse che autori coevi, Bernardo Tasso, Giovanni Falgano e Bernardino Baldi, hanno mostrato nei confronti di Museo e della lirica amorosa greca e latina pervenuta nel tardo Medioevo grazie anche ad Ovidio e diffusasi in Italia e in Europa nel corso del pieno e tardo Rinascimento.
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Barro, Soledad. "La influencia de Bernardo Tasso en Francisco de la Torre." Bulletin of Hispanic Studies 73, no. 1 (January 1996): 13–18. http://dx.doi.org/10.3828/bhs.73.1.13.

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García-Minguillán, Claudia. "La épica de los Jesuitas: juicios y comentarios sobre "El Bernardo", de Balbuena." Cuadernos de Estudios del Siglo XVIII, no. 28 (December 7, 2018): 73. http://dx.doi.org/10.17811/cesxviii.28.2018.73-93.

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RESUMENA partir de la segunda mitad del siglo XVIII, España necesita más que nunca demostrar al resto de naciones europeas la calidad de su literatura. Se persigue por distintas vías recuperar textos canónicos que puedan aportar una imagen de valor nacional, y una de estas vías es la consideración del género épico. En este trabajo analizamos la labor de Juan Francisco Masdeu, jesuita expulso, que, junto a otros miembros de la Compañía, recuperó la figura de Bernardo de Balbuena y su poema heroico "El Bernardo o Victoria de Roncesvalles" (1624) para proponerlo ante Europa como el Tasso español.PALABRAS CLAVEPoesía épica, jesuitas, Bernardo de Balbuena, "El Bernardo", Juan Francisco Masdeu. TITLEThe epic of Jesuits: judgement and comments to Balbuena’s "El Bernardo"ABSTRACTSince the second half of the XVIII century, Spain needed to demonstrate the rest of European nations the quality of its literature. They tried in different ways to recover canonic texts that could show an image of national value. One of these ways was, for instance, the assessment of the epic genre. In this essay, we analyze the aim of Juan Francisco Masdeu, expelled Jesuit, who, with other members of the Company, recovered the figure of Bernardo de Balbuena and his heroic poem "El Bernardo o Victoria de Roncesvalles" (1624) with the objective of proposing Balbuena as the Spanish version of Tasso.KEY WORDSEpic poetry, Jesuits, Bernardo de Balbuena, "El Bernardo", Juan Francisco Masdeu.
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Prosenc Šegula, Irena. "Intento de una definición genérica del poema renacentista italiano a la luz de las reflexiones teóricas de Ortega y Gasset, Lúkacs y Bajtin." Verba Hispanica 12, no. 1 (December 31, 2004): 51–57. http://dx.doi.org/10.4312/vh.12.1.51-57.

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La definición genérica de la novela o de lo novelesco es problemática tal cual, sin reparar ya en la forma histórica de la novela a la cual queremos aplicarla. Este artículo propone una contribución a la definición genérica del poema renacentista italiano de los finales del siglo XV y del siglo XVI, a base de las reflexiones de José Ortega y Gasset, Georg Lukács y Mijail Bajtin sobre la novela. La investigación se refiere a las tres obras más importantes de la épica italiana renacentista: Orlando enamorado (Orlando innamorato) de Matteo Maria Boiardo de finales del siglo XV, Orlando furioso de Ludovico Ariosto de la primera mitad del siglo XVI y Jerusalén liberada (Gerusalemme liberata) de Torquato Tasso de la segunda mitad del siglo XVI. Además han sido incluidos algunos poemas descritos en general como menores: Guirón el Cortés (Gyrone il Cortese) de Luigi Alamanni, Amadís (Ama- digi) de Bernardo Tasso, Reinaldo (Rinaldo) de Torquato Tasso – todos de la midad del siglo XVI – y Jerusalén conquistada (Gerusalemme conquistata) de Torquato Tasso de finales del siglo XVI. La base de todas estas obras es sin duda el poema caballeresco, ya que sus autores constantemente vuelven a introducir sus motivos y fórmulas estilísticas.
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De la Torre Ávalos, Gáldrick. "Garcilaso de la Vega y la tertulia napolitana del obispo "monsignor" de Catania." Studia Aurea 16 (December 31, 2022): 261–82. http://dx.doi.org/10.5565/rev/studiaaurea.509.

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El presente artículo aborda la relación de Garcilaso con la tertulia del obispo monsignor de Catania, cuya localización se logra situar en Nápoles durante el tiempo en que residió allí el poeta de Toledo. El interés por una concepción clasicista del petrarquismo en un grupo poético del que formaron parte Bernardo Tasso, Luigi Tansillo y Antonio Sebastiano Minturno, quienes posiblemente fueron miembros destacados de la red clientelar de la marquesa de la Padula María de Cardona, sirve para contextualizar, desde un punto de vista histórico y sociológico, el contenido del soneto XXIV de Garcilaso.
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Magalhães, Anderson. "The Image of the Marquise: Bernardo Tasso and the Representation of Vittoria Colonna in the «Libro secondo degli Amori»." Studia Aurea 14 (December 7, 2020): 537. http://dx.doi.org/10.5565/rev/studiaaurea.409.

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De la Torre Ávalos, Gáldrick. "«…al servitio de la felice memoria del Marchese del Vasto». Notes on the presence of Bernardo Tasso in the poetic court of Ischia." Studia Aurea 10 (November 23, 2016): 363. http://dx.doi.org/10.5565/rev/studiaaurea.230.

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Simpson, Pablo. "“Uma atitude puramente espiritualista”, leitura de Festim (1922) de Guilherme de Almeida." Revista Texto Poético 15, no. 28 (October 15, 2019): 305. http://dx.doi.org/10.25094/rtp.2019n28a614.

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É conhecido o esforço de alguns críticos brasileiros do início do século XX de constituir uma relação entre a poesia moderna e a sua herança simbolista. Alceu Amoroso Lima afirmou ter o simbolismo aberto “rumos novos” e tido “o grande mérito de trazer de novo a poesia ao seu berço nativo – o mistério”. Andrade Muricy e Tasso da Silveira também procederam a uma revisão do simbolismo com vistas à poesia moderna, europeia e brasileira. Fizeram-no através de edições da obra de Cruz e Souza, Bernardino Lopes, Emiliano Perneta, ou do exaustivo Panorama do simbolismo brasileiro, publicado em dois volumes e abrangendo desde precursores do movimento até poetas como Manuel Bandeira, Cecília Meireles ou Onestaldo de Pennafort. O interesse desta apresentação é percorrer uma das chaves principais de leitura dessa tradição, a espiritualidade, às quais Alceu somaria outra, política, em seu artigo intitulado A reação espiritualista. Trata-se de proceder, com o seu auxílio, à interpretação de Festim de Guilherme de Almeida – um dos principais tradutores de Baudelaire e Paul Verlaine – livro considerado pelo poeta, nos anos 1930, como a única obra em que pôde manter uma atitude puramente espiritualista.
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Dissertations / Theses on the topic "Bernardo Tasso"

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RAMAZZOTTI, MAURO. "I libri primo e secondo degli "Amori" di Bernardo Tasso (1531-1560). Edizione e commento." Doctoral thesis, Università degli studi di Pavia, 2017. http://hdl.handle.net/11571/1203291.

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La tesi consiste nell’edizione dei libri primo e secondo degli “Amori” di Bernardo Tasso sulla base del testo del 1534. Nella Nota al testo si descrivono i testimoni a stampa e manoscritti, si ripercorre la storia editoriale degli “Amori”, si discutono le varianti intercorrenti tra le stampe, si fornisce un saggio di “recensio” delle antologie cinquecentesche pertinenti e si dà conto dell’esigua tradizione manoscritta; infine, si espongono i criteri di trascrizione. Il testo dei due libri degli “Amori” è corredato da un ampio commento stilistico-retorico, metrico, storico e linguistico. In coda ai testi presenti nel 1534 si aggiungono quelli che sono stati espunti dal “Libro primo degli Amori” nel passaggio dalla prima (1531) alla seconda edizione (1534) e si dànno le trascrizioni dei due testimoni manoscritti. A completamento del lavoro si trova un indice dei nomi citati nei testi, una tavola che mostra la fisionomia del “Libro primo” nel 1531, una tavola metrica e un indice dei capoversi.
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Barucci, G. "«Ad imitazione degli antichi poeti greci e latini». Il libro Hinni et ode di Bernardo Tasso." Doctoral thesis, Università degli Studi di Milano, 2003. http://hdl.handle.net/2434/23670.

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The thesis concerns the book Hinni et ode by Bernardo Tasso (1493-1569) : it consists of 55 compositions plus 3 not included for various reasons in the definitive edition. It was elaborated collecting poems composed along the thirty years of poetic prodictivity of one of the most prolific authors of the Italian Renaissance (1530-1560). As declared by the title, the book gathers poems inspired by classical odes and hymns. The thesis tackles the many aspects of classical imitation present in the poems, compared with the poems by hte same author belonging to the Italian petrarchan tradition. The chapters treat : the remarks by Tasso on the theme included in deidcations and letters ; the metrical option aimed at reproducing the latin verses and strophes, contrasted with his predecessors ; the disposition of the ocmpositions in a structure that could remind the disposition of latin poetry books ; the relation between syntax and metre as well as the use if enjambement in order to free the system to the strophe ; the themes and the similitudes. All this topics show that Bernardo Tasso aimed at creating a kind of poetry which could sound as much as possible.
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Zoccarato, Giovanna. "Metrica e sintassi nelle Rime di Bernardo Tasso." Doctoral thesis, 2018. http://hdl.handle.net/11562/982397.

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La recherche analyse le profil formel de la production lyrique de Bernardo Tasso, que le poète rassemble en cinq volumes des Rime, publiés entre le 1531 et le 1560. À partir de les études critiques sur la syntaxe et la métrique de Pétrarque et des autres auteurs de la tradition italienne, le travail établit des paramètres linguistiques pour ficher les phénomènes prosodique et syntactique les plus particulières de l’écriture de Tasso. En premier lieu, l’analyse de la prosodie permis de déterminer quelles soient les schémas d’accents plus fréquentes et plus utilisés par Tasso pour la composition des endécasyllabes ; sont identifiées aussi les configurations du rythme, syntaxe et vocabulaire typiques de chacun schéma prosodique. En deuxième lieu, sont observées les structures syntactiques et textuelles spécifiques des genres métriques utilisés par l’auteur : cette procédure permis de connaitre les dynamiques que sont entre la grille institutionnelle de la forme métrique et les choix de l’auteur pour la composition. En sa production lyrique, Tasso utilise nombreuse formes métriques ; les sonnets sont les textes plus fréquentes, mais sont observés aussi les chansons, les huitièmes, les textes en tercets et les poèmes composées en mètres expérimentales. Enfin, sont objet d’étude les enjambements, c’est-à-dire les points les moindres d’articulation du rapport entre le mètre e la syntaxe. L’élaboration des donnés quantitatifs conduit à la description qualitative de l’écriture de Tasso e à l’évaluation générale du style de son œuvre poétique, avec la mise en relief de l’évolution diachronique de son profil formel. De plus, les donnés formels relatifs à les Rime de Tasso sont confrontées avec les résultats des recherches conduites avec analogues paramètres sur autres auteurs de la tradition lyrique italienne, en particulier sur Pétrarque et sur les principaux poètes du XVI siècle : Sannazaro, Bembo, Della Casa. En cette perspective, le travail de recherche porte à colloquer plus precisement l’œuvre de Bernardo Tasso entre les coordonnés de l’histoire des formes métriques, et aussi de la mettre entre les dynamiques du pétrarquisme plural, pour identifier les modèles de l’auteur comme les apports d’innovation.
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Books on the topic "Bernardo Tasso"

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Ottavio, Besomi, and Casella Nicola, eds. Ariosto, Boiardo, Marino Pulci, Bernardo Tasso, Torquato Tasso, Tassoni, Trissino. Hildesheim: G. Olms Verlag, 1994.

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Dall'Amadigi al Rinaldo: Bernardo e Torquato Tasso tra epico ed eroico. Alessandria: Edizioni dell'Orso, 2012.

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La penna e la spada: Bernardo e Torquato Tasso da Tunisi a Lepanto. Nocera Superiore: D'Amico editore, 2021.

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Per l'orme impresse da Ariosto: Tecniche compositive e tipologie narrative nell'Amadigi di Bernardo Tasso. Roma: Aracne, 2006.

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Mastrototaro, Mariacristina. Per l'orme impresse da Ariosto: Tecniche compositive e tipologie narrative nell'Amadigi di Bernardo Tasso. Roma: Aracne, 2006.

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Tani, Irene. Le Rime di Bernardo Cappello. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-257-4.

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Bernardo Cappello (Venezia 1498 ca.-Roma 1560), member of one of the oldest patrician families of Venice, played an active role in the politics of the Venetian Republic, until his exile in 1540. After that, he became a collaborator and a protégé of cardinal Alessandro Farnese, who is one of the most significant figures of the century. Then he took refuge in Rome, where over the years he held varied appointments. Since his youth and in parallel with his political career, Cappello constantly devoted himself to humanistic studies and to rhymes production: pupil of Pietro Bembo, interlocutor of Giovanni Della Casa and close friend to Bernardo Tasso, the author is among the greatest exponents of the sixteenth-century Petrarchism. For the first time the critical edition of Rime by Bernardo Cappello is here given, namely the book of 353 compositions that the author elaborated on the pattern of Bembo’s directives, over a large period of time. In his book of poetry (canzoniere), through lyrical pieces, the author creates his own existential and biographical path. Regarding the evolution of the architecture of Cappello’s collection, four witnesses survived, in which we distinguish different phases: the first one is genetic and manuscript (Roma, Biblioteca Casanatense, 277), with addition of corrections that generally are close to the textual variants of the princeps; the second is the print of 1560 for the press of the Guerra brothers; finally, a further evolutionary stage is represented by two postillated prints. To these witnesses a rich miscellaneous tradition is added, which, for a large number of rhymes, restores the elaborative complexity through multiple genetic forms. Poems ousted from the ancient print, but part of the canzoniere in other phases of composition, are included in this critical edition.
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Torquato di Bernardo Tasso: Il Paratasso, o La Gerusalemme rivelata : il poeta, le vergini e le crociate della cocacola. Napoli: A. Guida, 2005.

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La strategia del Tasso: I giorni di Bernard Hinault. [Arezzo, Italy]: Lìmina, 2011.

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Book chapters on the topic "Bernardo Tasso"

1

"Chapter Thirteen. Bernardo Tasso, L'Amadigi (1560)." In The Romance Epics of Boiardo, Ariosto, and Tasso. Toronto: University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442682245-016.

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McHugh, Shannon. "‘I Take Thee’: Vittoria Colonna, Conjugal Verse and Male poeti colonnesi." In Vittoria Colonna. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723947_ch14.

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It is widely known that Vittoria Colonna influenced female love lyricists, as well as spiritual Petrarchists of both genders. Generally unrecognized is the impact her amorous verse had on male love poets. This chapter traces Colonna’s impact via the Petrarchan sub-tradition of ‘conjugal verse’, or poetry for one’s spouse: first on Pietro Bembo; then on Neapolitan widowers in her cultural sphere (Bernardo Tasso, Berardino Rota); and down through a line of husband poets stretching to the early years of the seventeenth century. An examination of this verse lineage expands our understanding of the full extent of Colonna’s authority—and, accordingly, that of Italian women writers more broadly, rarely seen as innovators in Renaissance literary movements.
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Fratani, Dominique. "Un maître chanteur sur la scène du monde : le deuxième volume de lettres de Bernardo Tasso." In L’exemplarité épistolaire, 37–62. Presses Universitaires de Bordeaux, 2013. http://dx.doi.org/10.4000/books.pub.18143.

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