Casa del Boccaccio - Ente Nazionale Giovanni Boccaccio. Torna alla ricerca. La ricerca effettuata ha restituito 3. Mostra di manoscritti, documenti e edizioni. Firenze - Biblioteca Medicea Laurenziana. Certaldo, a cura del Comitato Promotore, 1. Dalla Pozza, dell'esposizione dedicata alle edizioni ed illustrazioni francesi. Rotondi, in . Zimelien Abendl. Semi presenta Branca: Boccaccio a Londra, . XII- 3. 13, Cambridge, Cambridge University Press, 1. Per lo spoglio dei contributi d'interesse boccacci Il Boccaccio inciso, xx, 1. Societ. Letture utili ed amene, pp. Francesco Alunno da Ferrara sopra il Boccaccio, nuovamente ristampate, et con diligenza ricorrette, et molto ampliate dallo stesso autore.., cc. In Vinegia, appresso Giovan Maria Bonelli, 1. Le ricchezze della lingua volgare sopra il Boccaccio, di M. Francesco Alunno da Ferrara. Di nuovo ristampate, ricorrette, et ampliate dallo istesso autore, con le dechiarationi, regole, osservationi & , cc. In Vinegia, per Paulo Gherardo, 1. Istoria del Decamerone di Giovanni Boccaccio scritta da Domenico Maria Manni accademico fiorentino, pp. XXX, 6. 72, In Firenze: Si vende da Antonio Ristori dirimpetto alle Poste, 1. Vita di Giovanni Boccacci scritta dal conte Gio. Batista Baldelli, pp. Firenze, Passigli, Borghi e Comp., 1. Il Decameron di messer Giovanni Boccaccio aggiuntevi le due novelle di Romeo e Giulietta scritte da Luigi Da Porto, pp. Firenze, Passigli, Borghi e compagni, 1. Divinazione filologica sul Filocopo del Boccaccio del conte Trojano Marulli, VII, 5. Napoli, dalla Tipografia di Nunzio Pasca, 1. L'Ave Maria in rima fatta per messere Giovanni Boccaccio da Certaldo non mai fin qui stampata, pp. Imola, Tip. D'Ignazio Galeati e figlio, 1. Inizio pagina Giovanni Boccacci ambasciatore in Avignone e Pileo da Prata proposto da' fiorentini a patriarca di Aquileia. Studii di Attilio Hortis, pp. Trieste, Tipografia di L Herrmanstorfer, 1. Il 'Filocopo' del Boccaccio per B. Zumbini, pp. 6. 5, Firenze, coi tipi dei successori Le Monnier, 1. Introduzione al testo critico del Canzoniere del Boccaccio. Studio del dott. Manicardi e di A. Massera, pp. 7. 7, Castelfiorentino, la 'Societ. Ariani, 1. 91. 3Curatore Societ. Firenze, Felice Le Monnier, 1. Curatore Giuseppe Lipparini L'uomo nel Decameron. The Divine Comedy (Italian: Divina Commedia . 1308 and completed in 1320, a year. Free Dante Inferno papers, essays, and research papers. Saggio di vocabolario semantico. Dissertation zur Erlangung der Doktorwurde der philosophisch- historischen fakultat der Universitat Basel vorgelegt von Toni Reinhard von Rothenba, pp.
Santa Maria degli Angeli (Assisi), Tip. Ponziuncola, 1. 95. Mostra di codici ed edizioni dantesche : 2. XXXVIII, 2. 78 pp., . Illustrata a colori dai capolavori pittorici europei dal secolo XIII al secolo XX, pp. Milano, DCM, 1. 96. Vocabularium vulgare cum latino apposito nuper correctum per proprium authorem Nicolaum Vallam : additis fere tercentum vocabulis reconditis , Rist. Torino, Bottega d'Erasmo, 1. Ripr. Zeichnungen, gemalde, aquarelle und illustrationen zum Dichter und zu seinem Werk , Catalogo pubblicato in occasione di alcune mostre allestite in diverse localit. Selections in translation, edited by Ernst Cassirer, Paul Oskar Kristeller, John Herman Randall jr, pp. VIII, 4. 05, Chicago - London, The University of Chigaco press, 1. Boccaccio: secoli di vita. Atti del Congresso Internazionale 'Boccaccio 1. Ravenna, Longo, 1. Curatore Marga Cottino- Jones e Edward F. Tuttle Giovanni Boccaccio editore e interprete di Dante, VII- 1. Firenze, Olschki, 1. Curatore Societ. 2. Torino, Tirrenia Stampatori, 1. Curatore Barberi Squarotti, G, . Memoria, scrittura, riscrittura. Atti del seminario internazionale di Firenze- Certaldo (2. Firenze, Olschki, 1. Approaches to teaching Boccaccio's 'Decameron', 2. New York, The Modern Language Association of America, 2. Curatore edited by James H. Mc. Gregor Il . Da oggi in mostra in quaranta tavole, . Actas del Coloquio Internacional, Santiago de Compostela, 1- 4 diciembre, 2. Firenze, Edizioni del Galluzzo per la fondazione Ezio Franceschini, 2. Curatore Pilar Lorenzo Gradin. Archivio Romanzo; 1. Inizio pagina Libro de las ciento novelas que compuso Juan Bocacio de Certaldo. Manuscrito J- II- 2. Biblioteca de San Lorenzo del Escorial), Cuadernos de Filologia Italiana, volumen extraordinario, pp. Madrid, Publicaciones Universidad Complutense, 2. Curatore Mita Valvassori La stella e la porpora: il corteo di Benozzo Gozzoli e l'enigma del Virgilio Riccardiano, 2. Verso il settimo centenario, . Firenze, Le Lettere, 2. Relazioni convegno . Modelli medievali, riscritture e interpretazione del Boccaccio volgare. Firenze, Le Lettere, 2. Lo spettacolo di Griselda. Cuneo, Societ. Contiene 'Le livre de l'istoire de la marquise de Saluce' Boccaccio e i suoi lettori: una lunga ricezione, 4. Bologna, Il Mulino, 2. Curatore a cura di Gian Mario Anselmi.. Chicago and London, The University of Chicago Press, 2. Curatore V. Sherberg, J. Levarie Smarr Boccaccio in Romagna. Manoscritti, incunaboli e cinquecentine nelle biblioteche romagnole, pp. Giuliani, P. Zanfini. Catalogo della Mostra tenuta a Ravenna nel 2. Cesena nel 2. 01. Boccaccio autore e copista, pp. Firenze, Mandragora, 2. Curatore T. De Robertis, C. Petoletti, G. Tanturli, S. Zamponi. Catalogo della mostra, Firenze, Biblioteca Medicea Laurenziana, 1. Piccolo Decameron: Concorso letterario Boccaccio Giovani 1a edizione, 2. Empoli, Ibiskos, 2. Curatore Associazione letteraria Giovanni Boccaccio. Inizio pagina Brescia per Boccaccio, pp. Atti del Convegno di Studi. Ravenna, Longo, 2. Curatore G. Albanese e P. Pontari Intorno a Boccaccio / Boccaccio e dintorni. VIII, 1. 37, Firenze, Firenze University Press, 2. Curatore Giovanna Frosini, Stefano Zamponi Boccaccio 1. Ravenna, Longo, 2. Curatore Francesco Ciabattoni, Elsa Filosa, Kristina Olson Boccaccio veneto. Settecento anni di incroci mediterranei a Venezia, Atti del Convegno Internazionale. Venezia- Wake Forest University, Casa Artom, 2. Roma, Aracne, 2. 01. Curatore R. Morosini - L. Formisano Boccaccio in versi. Atti del Convegno di Parma, 1. Firenze, Franco Cesati Editore, 2. Curatore P. Mazzitello, G. Rinoldi e C. Varotti Intorno a Boccaccio / Boccaccio e dintorni. Atti del Seminario internazionale di Studi, Certaldo Alta, Casa di Giovanni Boccaccio, 9 settembre 2. Studi e saggi, 1. Firenze, Firenze University Press, 2. Curatore Stefano Zamponi Omaggio degli artisti a Giovanni Boccaccio. Certaldo, Palazzo Pretorio, 3. Certaldo, Nidiaci Grafiche, 2. Boccaccio: comic opera, in three acts. The music composed by F. The english adaptation by R. Reece and H. 3. 8, London, Boosey & co., . La Plata, Facultad de Humanitades y Ciencias de la Education, 1. Continui i riferimenti al Boccaccio Giovanni Boccaccio. Sexto Centenario de su muerte*, Mendoza, Facultad de Filosof. DOVARA DE VAROLI, 'Las diversiones de la fortuna en el . Homenaje en el sexto centenario de su muerte*, La Plata, Universidad Nacional - Centro de Estudios Italianos, 1. The Roles and Images of Women in the Middle Ages and Renaissance*, Pittsburg, Center for Medieval and Renaissance Studies - Univ. Radcliff Umstead. Edited by D. Radcliff Umstead. Boccaccio in Nederland. Tentoonstelling van handschriften en gedrukte werken . Boccace en France. De l'humanisme . Avril)*, Paris, Biblioth. Giovanni Boccaccio. Homenaje en el sexto centenario de su muerte*, La Plata, Universidad Nacional, Centro de Estudios Italianos, 1. Atti del Convegno di Nimega sul Boccaccio (2. Bologna, Patron, 1. Curatore Carlo Ballerini Chaucer's Troylus and Cryseide (from the Harl. Boccaccio's Filostrato*, London, Chuacer Society, 1. Traduzione di W. Rossetti. Inizio pagina La nouvelle X 5 du . Colloque International 2. Avignone, Ass. Vauclusienne, 1. Cfr. Boccaccio: Secoli di vita. Atti del Congresso Internazionale: Boccaccio 1. Boccaccio in Europe. Proceedings of the Boccaccio Conference - Louvain, December 1. Leuven, Leuven University Press, 1. Curatore Gilbert Tournoy. Cfr. Boccaccio in Europe. Proceedings of the Boccaccio Conference. Louvain, December 1. Louvain, Leuven UP, 1. Curatore Gilbert Tournoy. Interventi di: Alberte BAUDAUX- SPINETTE, . Carla BOZZOLO, . 1. Francesco BRUNI, . Scrittura e civilt. Vi sono raccolti i seguenti scritti: Armando PETRUCCI, . Giorgio CHIARINI, . Mario LUZI, . XVI, 7. Firenze, Olschki, 1. Curatore Francesco Mazzoni Boccaccio Venezia e il Veneto*, 1. Firenze, Olschki, 1. Curatore Vittore Branca e Giorgio Padoan. Interventi di: EGIDIO ROSSINI, . GIORGIO PADOAN, . MANLIO PASTORE STOCCHI, . Teoria e prassi della poetica dell'Umanesimo. Onoranze a Giovanni Boccaccio. Atti del XIII Convegno internazionale del centro di studi umanistici*, pp. XIV, 1. 30, Firenze, Olschki, 1. Curatore Giovannangiola Tarugi. Interventi di: Flora CHIARAPPA SILINI, . Giovanni COIRO, . Franca MASTROPIERO, Poggio Bracciolini*, pp. Firenze, Sansoni, 1. Lettura di una novella del . Giovanni BOCCACCIO, . Mario BARATTO, . XII, 3. Cambridge, Cambridge University Press, 1. Curatore Piero Boitani. Interventi di: David WALLACE, . Barry WINDEATT, . Piero BOITANI, . Th Dante, Petrarca, Boccaccio. Studies in the Italian Trecento in Honor of Charles S. Singleton*, pp. 3. Binghamton, N. Y., Medieval & Renaissance Textes & Studies, 1. Curatore Aldo S. Bernardo, Antony L. Pellegrini Miscellanea di studi in onore di Vittore Branca. Boccaccio e dintorni*, pp. Firenze, Olschki, 1. Interventi di: Francesco BRUNI, . Nella GIANNETTO, . Mar Formation, codification et rayonnement d'un genre m. Actes du Colloque international de Montr. Michelangelo La prosa del Boccaccio. Antologia delle opere e crestomazia della critica*, pp. Palermo, Epos, 1. Curatore Natale Tedesco Memoria dell'antico nell'arte italiana*, pp. XXVIII, 4. 78, Torino, Einaudi, 1. Curatore Salvatore Settis. Il Boccaccio . 1. Boccaccio visualizzato*, . I. Vittore BRANCA, . III. La circolazione dei temi e degli intrecci narrativi: il caso di Griselda (Atti del convegno di studi: L'Aquila 3- 4 dicembre 1. L'Aquila, Japadre, 1. Curatore Raffaele Morabito Su Certaldo e il Boccaccio*, pp. Castelfiorentino, Cassa Rurale ed Artigiana di Cambiano di Castelfiorentino, 1. Curatore Sergio Marconcini. Tavv. In appendice: . L'Aquila- Roma, Japadre editore, 1. Curatore Raffaele Morabito. Inferno (The Divine Comedy #1) by Dante Alighieri — Reviews, Discussion, Bookclubs, Lists. About Translation. It took me a while to decide on the translation to use. After a few days of research and asking around, I shortlisted Musa and Hollander. Went with Hollander since it seemed better organized. Turned out to be a good choice. The translation is fluid and easy on the ear. The Italian version is also available when you want to just read the Italian purely for the sound of verse. I am no judge of the fidelity of the various translations, but this was an easy read and that was good. There is enough difficulty in the poem without the translation adding to it. Besides, Dante’s own Italian is supposed to be written in an unaffected style anyway. To me the more important consideration in choosing the edition was the quality of the footnotes and the ease of accessing them. About Footnotes. Here the notes are scholarly yet accessible with very little arcane stuff (and mind you this is a classic for which proper footnotes are essential to the reading to keep up with the erudition (classical, political, geographical, etc) displayed by Dante throughout the Comedia). As an intro to the Longfellow translation (Barnes & Nobles: The Inferno: The Longfellow Translation) says: The best advice to the reader of The Divine Comedy in general and to the Inferno in particular is to pay attention to the literal sense of the poem. The greatest poetry in Dante resides in the literal sense of the work, its graphic descriptions of the sinners, their characters, and their punishments. In like manner, the greatest and most satisfying intellectual achievement of the poem comes from the reader’s understanding (and not necessarily agreement with) Dante’s complex view of morality, or the sinful world that God’s punishment is designed to correct. In most cases, a concrete appreciation of the small details of his poem will almost always lead to surprising but satisfying discoveries about the universe Dante’s poetry has created. Or. As Ciardi’s (The Inferno) intro says: Dante demands more careful reading. Because of that demand, because of the immense and minute scholarship that has been expended upon Dante, and because too few English readers have been pointed in the right direction to him, Dante has acquired a reputation as an immensely difficult poet. It is true that Dante writes in depth. Though his language is normally simple, his thought is normally complex. But if the gold of Dante runs deep, it also runs right up to the surface. A lifetime of devoted scholarship will not mine all that gold; yet enough lies on the surface—or just an inch below—to make a first reading a bonanza in itself. All one really needs is some first instruction in what to look for. Thereafter he need only follow the vein as it goes deeper and deeper into the core of things. But of course, footnotes is not all. The footnotes are like our Virgil through these pages, the guide that is Reason. But at some point we have to surrender to the Poet to truly fathom its depth of feeling.+++After I finished Hollander I raced through the Ciardi translation, without pausing for the notes much. I also hope to read Carson (NYRB - Inferno) in the future. Earlier I had read the Inferno with Longfellow, and sad to say I had been left as scared as Dante at the beginning of his own journey after that encounter. Hollander is the one who offered to be this reader’s gentle Virgil. Overall the Ciardi translation is grander and more familiar - since a good chunk of the famous quotes and phrases come from it, and Ciardi also tries to force us into looking at the symbolism of the poetry overtly by pointing it out at the very beginning of his cantos. This is helpful, but in the final analysis, the Hollander is the better choice for the new reader. So in case you are searching for the right translation and using that as an excuse to procrastinate (like me), you can go with Hollander and get down to it.+++For Comparison. John Ciardi: Midway in our life’s journey, I went astrayfrom the straight road and woke to find myselfalone in a dark wood. How shall I saywhat wood that was! I never saw so drear,so rank, so arduous a wilderness! Its very memory gives a shape to fear. Death could scarce be more bitter than that place! But since it came to good, I will recountall that I found revealed there by God’s grace. How I came to it I cannot rightly say,so drugged and loose with sleep had I becomewhen I first wandered there from the True Way. But at the far end of that valley of evilwhose maze had sapped my very heart with fear! I found myself before a little hilland lifted up my eyes. Its shoulders glowedalready with the sweet rays of that planetwhose virtue leads men straight on every road,and the shining strengthened me against the frightwhose agony had wracked the lake of my heartthrough all the terrors of that piteous night.& ABANDON ALL HOPE YE WHO ENTER HERE. Henry Wadsworth Longfellow: MIDWAY upon the journey of our life I found myself within a forest dark, For the straightforward pathway had been lost. Ah me! Ah, how hard it is to tellthe nature of that wood, savage, dense and harsh—the very thought of it renews my fear! It is so bitter death is hardly more so. But to set forth the good I found I will recount the other things I saw. How I came there I cannot really tell,I was so full of sleep when I forsook the one true way. But when I reached the foot of a hill, there where the valley ended that had pierced my heart with fear, looking up, I saw its shouldersarrayed in the first light of the planet that leads men straight, no matter what their road. Then the fear that had enduredin the lake of my heart, all the night I spent in such distress, was calmed.& Lasciate ogne speranza, voi ch’intrate (Inf. ABANDON ALL HOPE, YOU WHO ENTER HERE.
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