Academic literature on the topic 'Piramo e Tisbe'

Le intertestualità traedimostrano come, tra il Boccaccio novelliere in volgare e il Boccaccio biografo in latino, la distanza sia solo apparente. Nel caso particolare, la storia di Gerolamo e Salvestra (. 4.8), ispirata in parte dalla favola di Piramo e Tisbe raccontata da Ovidio (. 4.55-62), offre degli addentellati decameroniani nella versione boccacciana inclusa nel.

This paper provides a chronological overview of the Latvian translations of the poem Metamorphoses by the Roman poet Publius Ovidius Naso with an in-depth look at its most frequently translated passage, “Pyramus and Thisbe”, from Book IV. The aim of the research is to reveal the journey of the interpretations of Ovid’s poem through the Latvian cultural environment by comparing the translation attempts of Ernests Dinsbergs (1851), Leimaņu Bernhards (1882), Nikolajs Vīksniņš (1920) and Augusts Ģiezens (1937). The theoretical basis of the comparison is Lawrence Venuti’s distinction between the strategies of domesticating and foreignizing. The empirical part of the research deals with the rendering of proper nouns, translations of Roman cultural realia, the transfer of artistic expression, and the treatment of the poem’s meter – the dactylic hexameter. The research found that although there are few translations of the poem and they demonstrate differences both in the understanding and interpretation of the source text, a tradition of translating Ovid’s “Metamorphoses” has indeed been established in the Latvian cultural environment. However, the finding of such a tradition does not exclude the possibility of creating new interpretations, especially considering that “Metamorphoses” are still not fully translated in Latvian, and the original text offers a very promising outlook for the application of various translation strategies in regard to content as well as form.

Chapter XIII of De mulieribus claris is devoted to the biography of Thisbe. For his narration, Boccaccio uses as his main source the fourth book of Ovid’s Metamorphoses although at certain times he modifies the Latin work. For instance, the suffering of Pyramus is no longer equal to that of Thisbe, and the Babylonian maid is the main victim of the love narrated: firstly because of the prohibition of her parents and later for the delay of Pyramus’s arrival at the agreed appointment. Considering all these peculiarities, this paper analyses chapter XIII of the De mulieribus claris and its main character with the purpose of reflecting on their originality and trying to determine if, taking these specificities into account, the Babylonian girl can be considered as an exemplary woman in Boccaccio’s work and why. Il capitolo XIII del De mulieribus claris è dedicato alla biografia di Tisbe. Per la sua narrazione, Boccaccio utilizza come fonte principale il quarto libro delle Metamorfosi ovidiane sebbene in certi momenti si distacchi dall’opera latina. Ad esempio, la sofferenza di Piramo non è più all’altezza di quella di Tisbe, e la fanciulla babilonese è la principale vittima dell’amore narrato: in primis per la proibizione dei propri genitori e in un secondo momento per la tardività di Piramo nell’arrivare all’appuntamento accordato. Considerando queste particolarità, questo articolo analizza il capitolo XIII del De mulieribus claris e la sua protagonista con lo scopo di riflettere sull’originalità e di cercare di determinare se, tenuto conto di queste specificità, la ragazza babilonese possa considerarsi un personaggio esemplare all’interno della silloge e perché.

La thèse, intitulée "Tre miti ovidiani in Dante : Piramo e Tisbe, Narciso e Semele" est une analyse de la présence de ces trois fabulae des Métamorphoses dans l'œuvre de Dante. La sélection des mythes a été dictée par la nécessité de définir un champ aussi vaste et par l'intention de mettre en évidence la relation entre l'Eros et la Connaissances, qui est si important dans le système poétique et philosophique de l'auteur florentin.Cette étude se fie par ailleurs l'objective de souligner la manière dont Dante utilise le modèle d'Ovide: la rencontre avec la source classique prévoit un dialogue continu, à la fois textuel et théorique-conceptuel. Le mythe devient ainsi un récit qui faut démêler dans ses applications multiples et parfois contradictoires. En ce qui concerne les sources, une attention particulière a été accordée aux commentaires médiévaux sur les Métamorphoses. En particulier, les œuvres suivantes ont été gardées à l'esprit : le Allegoriae super Ovidii Metamorphosi de Arnolfo d'Orléans, le Integumenta Ovidii de Jean de Garland, l'exégèse de Giovanni del Virgilio et l'Ovide moralisé. Ce poème mythographique de la première moitié du XIVe siècle, même si postérieur, s'est révélé utile en vue d'une reconstruction de la réception du mythe après la Commedia. On a donc essayé de reconstruire la perception réelle que le Moyen Age avait du texte d'Ovide, en prenant également en compte la présence des fabulae dans la littérature vernaculaire antérieure ou contemporaine de Dante.L'ensemble de l'analyse tend à montrer comment, dans le voyage de perfectionnement de Dante, le concept d'Eros soit intimement lié à la possibilité d'une vraie connaissance, à condition qu'elle soit soutenue par la raison et la foi
Analysis of three ovidian myths in Dante's Comedy

Le présent travail de recherche porte sur la réception des fabulae de Héro et Léandre et de Pyrame et Thisbé dans la littérature italienne du XVIIe siècle, en particulier dans quatre textes différents par genre, style et origine géographique : Gli amori infelici di Leandro ed Ero (1618), l'idylle de Giovanni Capponi, Hero et Leandro (1630) et La Tisbe, respectivement la «Favola maritima » et la «lieta favola» de Francesco Bracciolini, et Il Leandro (1679), le drame musical de Badovero-Pistocchi. La décision de mettre les deux mythes en relation étroite l'un avec l'autre se fonde sur certaines considérations exposées dans des études historico-philologiques faisant autorité sur l'origine du roman et de la nouvelle grecque (Rodhe 1876, Lavagnini 1921, Cataudella 1957) où les deux fabulae sont citées comme des exemples de proto-romans ou de proto-nouvelles en raison de la présence récurrente de topoi propres au roman hellénique. À partir d'une analyse thématique et rhétorique du « patrimoine génétique commun » aux deux mythes ou, mieux, du « noyau hellénique-romanesque » appartenant aux versions classiques de référence (Mus.; Ov., Her.18-19, Ov. Met., IV, 55-166), le parcours d’analyse des réécritures modernes des oeuvres à l’étude suit trois axes principaux : la vérification de l’idée de correspondance entre les deux mythes, déjà présente dans les versions anciennes, médiévales et de la Renaissance, ainsi que l’identification de leurs modalités d’expression dans les textes du XVIIe siècle ; l’analyse des processus de réécriture du mythe au sein des nouvelles métamorphoses baroques et des nouveaux hybrides scéniques, tant en référence à l'interaction entre le «noyau hellénique-romanesque», l'héritage tragique et les influences du genre idyllique et pastoral, qu’en ce qui concerne la relation entre le romanesque hellénique et le romanesque baroque ; la focalisation sur l'aspect herméneutique permettant de comprendre le sens nouveau assumé par le mythe pour les deux couples d'amants : clementia ou sententia ?
The present research focuses on the reception of the fabulæ of Hero and Leander and of Pyramus and Thisbe in Seventeenth-century Italian literature, in particular in four texts differing by genre, style and geographical origin: the idyll of Giovanni Capponi, Gli amori infelici di Ero e Leandro (1618); the ‘favola maritima’ Hero e Leandro (1630) and the ‘lieta favola’ La Tisbe by Francesco Bracciolini; and the ‘dramma per musica’ Il Leandro by Badovero-Pistocchi (1679). The decision to place the two myths in close relationship with each other was inspired by some remarks found in authoritative historical-philological studies on the origin of the ancient Greek novel and the Greek novella (Rodhe 1876, Lavagnini 1921, Cataudella 1957) where the two fabulæ are cited as examples of proto-novels for the insistent recurrence in them of topoi proper to the Hellenic novel. Starting from an accurate thematic-rhetorical analysis of the 'common heritage', or rather, of the 'Hellenic-romance nucleus' belonging to the classic versions of reference (Mus.; Ov., Her. 18-19; Ov. Met., IV, 55-166), the course of the research in modern rewritings in question follows three main coordinates: verification of the idea of correspondence between the two myths, already found in the ancient, medieval and Renaissance versions, and identification of the ways in which it is expressed in seventeenth-century texts; analysis of the processes of rewriting the myth within the new Baroque metamorphoses and the new stage hybrids, both in reference to the interaction between the 'Hellenic-romance nucleus', tragic inheritance and influences of the idyllic and pastoral genre, as well as in regard to the relationship between Hellenic and Baroque romance; focus on the hermeneutic aspect within which to read the new meaning assumed by the myth: clementia or sententia for the two couples of lovers?

Readers’ cultural expectations regarding literary masterpieces can hamper their experience of humor. This chapter studies the passage in Chrétien de Troyes’ Yvain in which the knight’s faithful lion is said to run like a frantic hog. This simile is so surprising that it has generally been ignored not only by medievalists but also by medieval translators of Chrétien’s Yvain. Yet its potential humor is highly significant, as its disruptive quality constitutes an astute response to the already disruptive thrust of Ovid’s legend of Pyramus and Thisbe. The comparative and intertextual approach of this chapter brings together, on the one hand, Chrétien’s romance with its translations in Middle English, Old Norse, and Old Swedish, and on the other hand, Ovid’s seminal legend with its medieval adaptations by Chaucer, Gower, Boccaccio, and the anonymous author of the Old French Piramus et Tisbé. In every work, the dynamics of perception and cognition are central to the plot.