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Artículos de revistas sobre el tema "Il Decameron"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 8 de febrero de 2022

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1

Cassell, Anthony K. y Giovanni Boccaccio. "Decameron." MLN 100, n.º 1 (enero de 1985): 178. http://dx.doi.org/10.2307/2905675.

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Potter, Joy Hambuechen, Giovanni Boccaccio, John Payne y Charles S. Singleton. "Decameron". Italica 63, n.º 3 (1986): 297. http://dx.doi.org/10.2307/478630.

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3

Cuilleanain, Cormac O., Giovanni Boccaccio y G. H. McWilliam. "The Decameron". Modern Language Review 96, n.º 2 (abril de 2001): 531. http://dx.doi.org/10.2307/3737429.

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4

Colombo Timelli, Maria. "Boccace, Decameron". Studi Francesi, n.º 162 (LIV | III) (1 de noviembre de 2010): 540–41. http://dx.doi.org/10.4000/studifrancesi.6239.

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5

Gittes, Tobias Foster. "The Decameron". Romanic Review 106, n.º 1-4 (1 de enero de 2015): 206–11. http://dx.doi.org/10.1215/26885220-106.1-4.206.

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6

Usher, Jonathan y David Wallace. "Boccaccio: 'Decameron'". Modern Language Review 88, n.º 1 (enero de 1993): 224. http://dx.doi.org/10.2307/3730857.

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7

Campmany Tarrés, Maribel. "La Llegenda del cor menjat al Decameró de Boccaccio: Estratègies de traducció al català". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, n.º 2 (16 de diciembre de 2013): 227. http://dx.doi.org/10.7203/scripta.2.3093.

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Resum: El grau d’intervenció del traductor determina l’acostament del text al lector. Amb la comparació de les quatre traduccions catalanes de La llegenda del cor menjat, el conte novè de la quarta jornada del Decameró de Giovanni Boccaccio, es pot comprovar que cada traductor utilitza estratègies diferents per mirar de resoldre un mateix problema de traducció. A més del bagatge cultural i la subjectivitat de cada un d’ells, cal tenir en compte un seguit de factors (temporals, històrics, referencials, lingu?ístics, socials, etc.) que determinen el resultat final.Paraules clau: llegenda; cor; menjat; Decameró; Boccaccio; estratègia de traduccióAbstract: The extent to which translators intervene in a text determines its approach to the reader. By comparing the four Catalan translations of The Legend of the Eaten Heart, the ninth tale of the fourth day of The Decameron by Giovanni Boccaccio, you can see that each translator uses different strategies to tackle the same translation problem. Besides each translator’s cultural background and subjectivity, one must take into account several factors (time, history, reference, language, society, etc.), which might also affect the outcome.Keywords: legend; heart; eaten; Decameron; Boccaccio; strategy; translation
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8

DuVal, John. "Giovanni Boccaccio,Decameron". Translation Review 80, n.º 1 (septiembre de 2010): 76–82. http://dx.doi.org/10.1080/07374836.2010.10524156.

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9

Patel, Raksha. "Revisiting the Decameron". Journal of Contemporary Painting 6, n.º 1-2 (1 de octubre de 2020): 171–79. http://dx.doi.org/10.1386/jcp_00021_7.

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10

Grossi, Joseph. "Anti-Petrarchism in the Decameron’s Proem and Introduction". Quaderni d'italianistica 33, n.º 2 (9 de febrero de 2013): 5–26. http://dx.doi.org/10.33137/q.i..v33i2.19416.

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Similarities of purpose between the Proem of the Decameron and the opening sonnet of the Rerum vulgarium fragmenta have been noticed by several scholars. Students of Boccaccio and Petrarch are also becoming increasingly aware that the former was willing to criticize his friend, as he did when Petrarch chose to accept Visconti patronage in Milan, the great enemy of Florence.The Proem of the Decameron, however, has not hitherto elicited comment as a text where such friendly criticism, at least of Petrarch’s poetic persona in the RVF, might be found. The present essay suggests that Boccaccio’s famous address in the Proem to fearful, lovesick and housebound women pertains as much to that Petrarcan persona as it does to those vaghe donne. Although it refers to and engages with the important debate on Boccaccio’s attitudes towards real women, the essay explores the possibility that the Decameron’s Proem slyly hints (in a way that is reinforced by the story collection’s Introduction) that the Canzoniere reveals a male poet who is himself “unmanned” by his excessive lovesickness and pursuit of solitude.
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11

Kirkham, Victoria. "An Allegorically Tempered Decameron". Italica 62, n.º 1 (1985): 1. http://dx.doi.org/10.2307/478676.

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12

Münchberg, Katharina. "Singularität in Boccaccios Decameron". Poetica 36, n.º 3-4 (18 de diciembre de 2004): 313–42. http://dx.doi.org/10.30965/25890530-036-03-04-90000004.

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13

Münchberg, Katharina. "Singularität in Boccaccios Decameron". Poetica 36, n.º 3-4 (27 de junio de 2004): 313–42. http://dx.doi.org/10.30965/25890530-0360304004.

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14

Poole, Gordon. "Boccaccio's Decameron IV, 5". Explicator 47, n.º 3 (abril de 1989): 3–4. http://dx.doi.org/10.1080/00144940.1989.9933913.

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15

Mazzotta, Giuseppe. "Decameron by Giovanni Boccaccio". Studies in the Age of Chaucer 7, n.º 1 (1985): 248–50. http://dx.doi.org/10.1353/sac.1985.0034.

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16

Merola, Carmela. "Giovanni Boccaccio, The Decameron". Forum Italicum: A Journal of Italian Studies 50, n.º 1 (14 de julio de 2015): 275–77. http://dx.doi.org/10.1177/0014585815594599.

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17

Strappini, Lucia. "Due novelle del Decameron". Revista de Italianística, n.º 29 (12 de junio de 2015): 168. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p168-178.

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A leitura aqui proposta do Decameron concentra-se especificamente em duas novelas: a primeira e a décima da quarta jornada (IV, 1 e IV, 10), que apresentam muitos pontos de interesse pela trama, pela caracterização dos personagens e pelos temas centrais da narrativa, fundada na conjunção e complementaridade de trágico e cômico como traços máximos e significantes da aventura humana sob todos os aspectos
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18

Strappini, Lucia. "Duas novelas do Decameron". Revista de Italianística, n.º 29 (12 de junio de 2015): 179. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p179-189.

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A leitura aqui proposta do Decameron concentra-se especificamente em duas novelas: a primeira e a décima da quarta jornada (IV, 1 e IV, 10), que apresentam muitos pontos de interesse pela trama, pela caracterização dos personagens e pelos temas centrais da narrativa, fundada na conjunção e complementaridade de trágico e cômico como traços máximos e significantes da aventura humana sob todos os aspectos
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19

Bragantin, Renzo. "Para um diverso Decameron". Revista de Italianística, n.º 29 (12 de junio de 2015): 38. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p38-70.

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Que o Decameron tenha sido fortemente influenciado pela Comédia dantesca (e parcialmente também pelo Cancioneiro de Petrarca) é fato notório. Em geral, porém, essa influência é considerada apenas nos termos de uma veneração de Boccaccio por Dante, sem que se tenha alguma vez questionado se Boccaccio não interviria para questionar, também, em função da própria poética, algumas das teses básicas do poema dantesco. Propõe-se neste ensaio precisamente essa tarefa de tentar demonstrar como Boccaccio, ao intervir em tais teses, questiona seus princípios fundamentais, em primeiro lugar aquele do estatuto de verdade, a todo momento mencionado por Dante e proposto a seu leitor, e que Boccaccio submete a um exame atento, por vezes crítico. Isso se dá, sobretudo, em alguns trechos do Decameron, nos quais Boccaccio fala diretamente, sem a mediação dos próprios narradores (por exemplo, na Introdução à IV jornada); mas também pode ser identificado nas premissas e conclusões dos narradores às próprias narrativas. Nelas, a intangibilidade da verdade, e ao mesmo tempo a necessidade de interpretar a realidade, submetida a um constante escrutínio, propõe-se não como modelo oposto, mas decerto radical e problematicamente diferente daquele que a experiência dantesca sugere
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20

Bragantini, Renzo. "Per un diverso Decameron". Revista de Italianística, n.º 29 (12 de junio de 2015): 5. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p5-37.

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Que o Decameron tenha sido fortemente influenciado pela Comédia dantesca (e parcialmente também pelo Cancioneiro de Petrarca) é fato notório. Em geral, porém, essa influência é considerada apenas nos termos de uma veneração de Boccaccio por Dante, sem que se tenha alguma vez questionado se Boccaccio não interviria para questionar, também, em função da própria poética, algumas das teses básicas do poema dantesco. Propõe-se precisamente essa tarefa, de tentar demonstrar como Boccaccio, ao intervir em tais teses, questiona seus princípios fundamentais, em primeiro lugar aquele do estatuto de verdade, a todo momento mencionado por Dante e proposto a seu leitor, e que Boccaccio submete a um exame atento, por vezes crítico. Isso se dá sobretudo em alguns trechos do Decameron, nos quais Boccaccio fala diretamente, sem a mediação dos próprios narradores (por exemplo, na Introdução à IV jornada); mas também pode ser identificado nas premissas e conclusões dos narradores às próprias narrativas. Nelas, a intangibilidade da verdade, e ao mesmo tempo a necessidade de interpretar a realidade, submetida a um constante escrutínio, propõe-se não como modelo oposto, mas decerto radical e problematicamente diferente daquele que a experiência dantesca sugere
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21

Morosini, Roberta. "What a Difference a Sea Makes in the Decameron: The Mediterranean, a Structural Space of the Novella". Quaderni d'italianistica 38, n.º 2 (4 de febrero de 2019): 65–111. http://dx.doi.org/10.33137/q.i..v38i2.32232.

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This essay presents a reading of the Mediterranean sea as a narrative space in the Decameron. Through a reading of text and images, the paper illustrates the categories of mobile/static and foreign/domestic at work in the Decameron. It also introduces a third epistemological category, hybridity, at the centre of this study, which aims to establish the role and function of the Mediterranean in the fabula—the plot development—as well as in the structure of the novella itself, and ultimately in Boccaccio’s poetics. Is the Mediterranean a “structural space” in (and of) the novella, hence in/of the Decameron? Does it make and forge “experiences” of women of different religions (and social origins) that differ from the experiences of men in the Medieval Mediterranean? The article proposes different cases of women travelling in the Decameron and discusses the paralysis and diaspora of women’s identity in the hybrid space of mobile Mediterranean, a foreign space of immobilization and dangers.
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22

Barsella, Susanna. "Natural Asymmetries: Medicine and Poetry in Decameron VI. 9 and Decameron VIII. 9". MLN 134, S (2019): S—56—S—77. http://dx.doi.org/10.1353/mln.2019.0057.

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23

Gros Lladós, Sònia. "Sobre la presència de Boccaccio en el Curial e Güelfa: la novella X.8". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, n.º 2 (16 de diciembre de 2013): 192. http://dx.doi.org/10.7203/scripta.2.3091.

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Resum: Les darreres investigacions sobre la novel·la cavalleresca catalana Curial e Güelfa subratllen de forma unànime la qualitat literària de l’obra i la riquesa de la cultura literària del seu autor, en especial en relació als autors clàssics i italians. Entre els italians, nombrosos estudiosos han remarcat el paper cabdal de Boccaccio, i en particular del Decameron, com a model d’escriptura i com a intermediari de la tradició clàssica, per a l’autor anònim català. En aquest treball oferim una mostra de la presència de la novella X.8 en el text català, tot resseguint ambdues narracions, i observant l’encaix en el nou context narratiu que duu a terme l’autor anònim del Curial. Això ens permet, a més, valorar la relació de la novel·la cavalleresca i la traducció catalana del Decameron de 1429.Paraules clau: Curial e Güelfa, Boccaccio, Decameron, novella X.8Abstract: The latest research on the Catalan chivalric novel Curial e Güelfa has highlighted unanimously the literary quality of the work and the richness of the literary culture of its author, in particular in relation to the classical and Italian writers. Among the Italians, many scholars have stressed the crucial role of Boccaccio, and in particular of the Decameron, as a literary model and as an intermediary in the classical tradition, for the anonymous Catalan author. In this work we offer a view of the presence of the novella X.8 in the Catalan text, following both narratives, and observing the fitting in the new narrative context that carries out the anonymous author of Curial. Besides, this allows us to appreciate the relationship of the chivalric novel and the Catalan translation of the Decameron of 1429.Keywords: Curial e Gu?elfa, Boccaccio, Decameron, novella X.8
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24

Kircher, Timothy. "The Modality of Moral Communication in the Decameron's First Day, in Contrast to the Mirror of the Exemplum*". Renaissance Quarterly 54, n.º 4-Part1 (2001): 1035–73. http://dx.doi.org/10.2307/1261966.

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The essay analyzes episodes from the first day of story-telling in the Decameron and the contemporary tradition of mendicant exempla comparing their differing means of influencing moral behavior. The Decameron discloses a crisis in the exemplum tradition between conventional sermonizing and a heightened sense of clerical frailty, and responds by showing a new way of narrating moral problems to a sceptical readership. While the exemplum provides a framework for the Decameron narrators, they treat this tradition with irony, emphasizing the contingent, subjective apprehension of moral truth. The various narrative personalities and the subtle associations between narrator and protagonist, protagonist and audience illustrate a mode of communication that recognizes the reader's capacity to listen.
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25

Usher, Jonathan y James H. McGregor. "Approaches to Teaching Boccaccio's 'Decameron'". Modern Language Review 96, n.º 4 (octubre de 2001): 1102. http://dx.doi.org/10.2307/3735929.

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26

Alfie, Fabian y James H. McGregor. "Approaches to Teaching Boccaccio's "Decameron"". Italica 78, n.º 4 (2001): 565. http://dx.doi.org/10.2307/3656085.

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27

Vallverdú, Francesc. "The Catalan Translations of Decameron". Quaderns d’Italià 19 (2 de noviembre de 2014): 109. http://dx.doi.org/10.5565/rev/qdi.368.

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28

Dardano, Maurizio. "Aspetti della connessione nel „Decameron”". Verbum 4, n.º 2 (febrero de 2003): 447–60. http://dx.doi.org/10.1556/verb.4.2002.2.13.

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29

Sowell, Madison U. y James H. McGregor. "Approaches to Teaching Boccaccio's "Decameron"". South Atlantic Review 67, n.º 3 (2002): 146. http://dx.doi.org/10.2307/3201918.

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30

Berger, Vance W. y John P. A. Ioannidis. "The Decameron of poor research". BMJ 329, n.º 7480 (16 de diciembre de 2004): 1436–40. http://dx.doi.org/10.1136/bmj.329.7480.1436.

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31

Gallo, Cinzia. "Cene e conviti nel Decameron". Forum Italicum: A Journal of Italian Studies 50, n.º 3 (26 de octubre de 2016): 1201–9. http://dx.doi.org/10.1177/0014585816669945.

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32

Brown, Katherine A. "Confession and Social Space in the Decameron". Quaderni d'italianistica 38, n.º 2 (4 de febrero de 2019): 41–63. http://dx.doi.org/10.33137/q.i..v38i2.32231.

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This essay argues that confession in the Decameron is a liminal activity, which affords characters and readers a milieu removed from the space of society in which transformation and ultimately a temporary moment of transcendence of the secular world (almost a return to paradise) are achieved. In the tales of the Decameron in which confession is central to the narrative (novelle I.1, III.3, and VII.5), the liminal is a locus of trickery. Boccaccio subverts the notion of spiritual transcendence traditionally associated with the sacrament of confession and playfully substitutes the profane and the divine for each other. The parallels these stories establish between confession as a liminal activity and reading the Decameron suggests that Boccaccio’s masterpiece has the potential to transform its public in social but not necessarily metaphysical ways.
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33

Barsella, Susanna. "The Merchant and the Sacred: Artifice and Realism in Decameron I.1". Quaderni d'italianistica 38, n.º 2 (4 de febrero de 2019): 11–40. http://dx.doi.org/10.33137/q.i..v38i2.32230.

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By investigating the first novella of the Decameron from the perspective of the sacred this article questions the notion of realism as privileged key to the interpretation of Boccaccio’s style, poetics, and even philosophy in his major work. Although with different nuances of definition, realism remains by and large the trait scholarship emblematically associate with the Decameron as testifying to the emergence of mercantile culture and bourgeois mentality. Realism as verisimilar representation of historical reality tends to be associated with the character of modernity of Boccaccio’s masterpiece. In this paper I propose a different approach and suggest an alternative notion of realism in terms of the effects on reality of the literary artifice. This notion encompasses the verisimile as well as the marvelous and identifies a mode of realism coherent to the moral instances of the Decameron.
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34

Gittes, T. F. "“Forgers of Falsehood, Physicians of Nought”: Retailing Fictions in Boccaccio’s Decameron". Quaderni d'italianistica 38, n.º 2 (4 de febrero de 2019): 139–56. http://dx.doi.org/10.33137/q.i..v38i2.32234.

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Whereas Petrarch’s portrait of his doctor in Invectives Against a Physician is deliberately caricatural and seized at a glance, Boccaccio’s attitude towards doctors in the Decameron is far harder to grasp and easily overlooked. Yet, doctors and medical science are a central concern of the Decameron, whose first significant action (the brigata’s movement from the plague-afflicted city to the countryside) and activity (storytelling) are predicated on the Florentine doctors’ failure to find a remedy for the plague. Throughout the Decameron, the doctors’ glaring incapacity to help their patients is implicitly contrasted with the poets’ success in offering some measure of solace—if not a definitive cure—to those afflicted by the plague. The conventional view that poets retail fictions, and doctors, real cures, is repeatedly cast into doubt as Boccaccio reveals that all too often the real difference between doctors and poets is that doctors hawk medical fictions (their arsenal of exotic powders and decoctions) as true cures, whereas poets cloak true cures in poetic fictions. Medical fictions sicken the healthy and kill the sick; poetic fictions quicken the spirit and promote life. This counterpoising of doctors and poets (or painters), medicine and fiction in the Decameron both anticipates and contributes to Boccaccio’s lifelong defense of poetry that culminates in the 14th and 15th books of the Genealogy of the Pagan Gods.
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35

Classen, Albrecht. "German-Italian Literary Connections in the Late Middle Ages: Boccaccio’s The Decameron in Light of Some Late Medieval German Narrative Precedents". arcadia 55, n.º 2 (9 de noviembre de 2020): 260–78. http://dx.doi.org/10.1515/arcadia-2020-2001.

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AbstractComparative research focused on medieval literature continues to be characterized by many desiderata, especially with regard to the fruitful relationships between late medieval verse narratives, mæren, and the famous Italian storyteller Boccaccio and his Decameron. This paper brings to light four significant Middle High German verse narratives from the 13th or early-14th century that demonstrate remarkable similarities with stories contained in Boccaccio’s Decameron. While the study of Boccaccio’s sources has traditionally been focused primarily on Old French (fabliaux) or Latin sources, here I introduce a number of texts that were composed just a few decades earlier and which express, in surprising parallel, strikingly similar themes that could be straight from the textbook the Italian poet might have drawn from. We have, of course, no specific evidence as to Boccaccio’s direct familiarity with late-medieval German literature, but the motif analysis reveals major parallels between the examples in The Decameron and in those mæren.
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36

Berard, Claude Cazale. "La strategia della parola nel Decameron". MLN 109, n.º 1 (enero de 1994): 12. http://dx.doi.org/10.2307/2904926.

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37

Usher, Jonathan. "Boccaccio's "Ars Moriendi" in the Decameron". Modern Language Review 81, n.º 3 (julio de 1986): 621. http://dx.doi.org/10.2307/3729185.

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38

Falvo, Joseph D. "Ritual and Ceremony in Boccaccio's Decameron". MLN 114, n.º 1 (1999): 143–56. http://dx.doi.org/10.1353/mln.1999.0010.

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39

Pennisi, Francesca. "A Rhetoric of the Decameron (review)". Italian Culture 23, n.º 1 (2005): 173–75. http://dx.doi.org/10.1353/itc.2006.0026.

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40

Doering, Pia Claudia. "Die ‚patria potestas‘ in Boccaccios ‚Decameron‘". Das Mittelalter 25, n.º 1 (3 de junio de 2020): 66–82. http://dx.doi.org/10.1515/mial-2020-0006.

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AbstractThe power of fathers over their children – especially over their daughters – is a central theme of Boccaccio’s ‘Decameron’. Novella V,7 situates the ‘patria potestas’ in a tension-filled position between honour and law, vigilante justice and public prosecution. The legitimation of cruelty and violence by invoking the ‘patria potestas’ is questioned through the confrontation with poetic justice.
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41

Migiel (book author), Marilyn y Andrea Privitera (review author). "The Ethical Dimension of the Decameron". Quaderni d'italianistica 37, n.º 1 (9 de junio de 2017): 164–67. http://dx.doi.org/10.33137/q.i..v37i1.28286.

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42

Storey, H. Wayne. "Decameron 2.4: the Matrices of Voice". Colloquium, n.º 9788879166539 (septiembre de 2013): 33–47. http://dx.doi.org/10.7359/653-2013-stor.

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Unlike many characters of the, Landolfo Rufolo is voiceless. This essay examines the transfer of narrative and rhetorical authority to the narrator of the story, Lauretta, and her appropriation and correction of mercantile ethics summed up in Boccaccio’s own narrative selection betweenandin his late holograph MS Hamilton 90.
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43

Kwak, Chaseop. "Boccaccio’s Decameron and the Erotic Renaissance". Cogito 93 (28 de febrero de 2021): 251–75. http://dx.doi.org/10.48115/cogito.2021.02.93.251.

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44

Lombardi, Andrea. "Il diavolo in corpo: una lettura del Decameron di Giovanni Boccaccio". Alea : Estudos Neolatinos 14, n.º 2 (diciembre de 2012): 180–200. http://dx.doi.org/10.1590/s1517-106x2012000200003.

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Considerare il Decameron esclusivamente un "classico" non rende giustiza alla sua struttura narrativa geometrica e complessa. Poiché ognuno dei suoi aspetti rivela il potenziale sovversivo della sua macchina narrativa. Le cento novelle con la loro cornice, che descrive l'epidemia della peste nera del 1348, ne fanno il primo libro organico della narrativa occidentale: un testo con una architettura peculiare. Una lettura attenta, però, può individuare una nuova novella, quella di numero 101 (nell'Introduzione alla quarta giornata): ciò che rivela la crisi finale della struttura chiusa, dell'architettura pianificata. Ciappelletto, protagonista della prima novella, diviene Santo da "peggiore uomo del mondo" che era; mentre Griselda, eroina dell'ultima delle cento novelle, mostra che la sua iperbolica virtù si trasforma in cinismo crudele. Così il Decameron crea il proprio futuro, rappresentando una mimesi ampia della sua epoca e, allo stesso tempo, avviando una rottura radicale ironica, o meglio elusiva: modello della commedia rinascimentale e dell'ermeneutica, nell'uso radicale dell'ironia. Possiamo forse considerare il Decameron una risposta istigante alla domanda attuale sulla natura di ciò che è contemporaneo.
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45

Kriesel, James C. "Boccaccio and the Early Modern Reception of Tragedy". Renaissance Quarterly 69, n.º 2 (2016): 415–48. http://dx.doi.org/10.1086/687606.

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AbstractFourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio’s role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid’s elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures.
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46

Artico, Tancredi. "Per una grammatica del sogno nel «Decameron». Forme e strutture delle novelle a tema onirico". Italianistica Debreceniensis 24 (1 de diciembre de 2018): 96–109. http://dx.doi.org/10.34102/italdeb/2018/4664.

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This paper takes into account the oneiric issue in Giovanni Boccaccio Decameron, with the aim of defining Boccaccio’s overall “grammar of dreaming”: besides an accurate investigation on Decameron’s sources, which range from classic to Medieval literature, it retraces the narrative constructions of the short-novels with oneiric subjects, hypothesizing the existence of two main schemes. In the short-tales on a vision (which are the most known), it is almost always replied the scheme of the “tale in the tale”, due to the creation of a imaginary world with its own rules. Meanwhile, in the short tales of deceiving, the dream is useful to trick the naive antagonist, making him believe something unbelievable. In both cases, it has a deep influence on the so-called “statute of reality” (Amedeo Quondam): in the first, there is the invention of a new reality; in the second it is deconstructed instead.
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47

Lucente, Gregory L. y Giuseppe Mazzotta. "The World at Play in Boccaccio's Decameron." MLN 101, n.º 5 (diciembre de 1986): 1263. http://dx.doi.org/10.2307/2905724.

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48

Nicoletti, Giuseppe. "Di Ugo Foscolo lettore (maldisposto) del Decameron". Colloquium 9788879168946 (octubre de 2019): 251–56. http://dx.doi.org/10.7359/894-2019-nico.

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49

Bragantini, Renzo. "Jolles, il Decameron e le forme brevi". Cahiers d’études italiennes, n.º 23 (30 de diciembre de 2016): 109–24. http://dx.doi.org/10.4000/cei.3136.

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50

Usher, Jonathan, Giuseppe Mazzotta y Janet Levarie Smarr. "The World at Play in Boccaccio's Decameron". Modern Language Review 84, n.º 1 (enero de 1989): 190. http://dx.doi.org/10.2307/3732016.

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