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teatrals de Vallespinosa" class="work-thumbnail" src="https://attachments.academia-assets.com/89289295/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84174228/Les_traduccions_teatrals_de_Vallespinosa">Les traduccions teatrals de Vallespinosa</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Aquest article te un doble objectiu. D’una banda, vol reivindicar el paper i l’esforc de Bonavent...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Aquest article te un doble objectiu. D’una banda, vol reivindicar el paper i l’esforc de Bonaventura Vallespinosa en la incorporacio i traduccio de textos teatrals classics i contemporanis. De l’altra, intenta il·lustrar-ne el metode de traduccio, el qual, partint de la «literalitat», perseguia l’objectiu de crear una versio catalana escenica (performance text), plausible i eficac. Per arribar- hi, pero, el text travessa moltes fases d’elaboracio i poliment per mitja, sobretot, de diverses posades en escena o lectures dramatitzades. Un ingent treball, en gran part inedit, que valdria la pena salvar de l’oblit perque constitueix per si sol una aportacio fonamental al teatre universal en catala.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="68a25b3f02736ad64fdfd2c5d971bcd2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89289295,"asset_id":84174228,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89289295/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84174228"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84174228"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84174228; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84174228]").text(description); $(".js-view-count[data-work-id=84174228]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84174228; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84174228']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 84174228, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "68a25b3f02736ad64fdfd2c5d971bcd2" } } $('.js-work-strip[data-work-id=84174228]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84174228,"title":"Les traduccions teatrals de Vallespinosa","translated_title":"","metadata":{"abstract":"Aquest article te un doble objectiu. D’una banda, vol reivindicar el paper i l’esforc de Bonaventura Vallespinosa en la incorporacio i traduccio de textos teatrals classics i contemporanis. De l’altra, intenta il·lustrar-ne el metode de traduccio, el qual, partint de la «literalitat», perseguia l’objectiu de crear una versio catalana escenica (performance text), plausible i eficac. Per arribar- hi, pero, el text travessa moltes fases d’elaboracio i poliment per mitja, sobretot, de diverses posades en escena o lectures dramatitzades. Un ingent treball, en gran part inedit, que valdria la pena salvar de l’oblit perque constitueix per si sol una aportacio fonamental al teatre universal en catala.","publication_date":{"day":null,"month":null,"year":2015,"errors":{}}},"translated_abstract":"Aquest article te un doble objectiu. D’una banda, vol reivindicar el paper i l’esforc de Bonaventura Vallespinosa en la incorporacio i traduccio de textos teatrals classics i contemporanis. 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Traducció i poètica" class="work-thumbnail" src="https://attachments.academia-assets.com/86488512/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/79941398/La_Vida_nova_de_Dante_a_la_nova_Catalunya_entre_decadentisme_i_blanors_burgeses_Traduccio_i_poe_tica">La "Vida nova" de Dante a la nova Catalunya entre decadentisme i blanors burgeses. Traducció i poètica</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Aquest article analitza la importancia i el paper de la Vita nova ( Vn .) de Dante en l’anomenat ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Aquest article analitza la importancia i el paper de la Vita nova ( Vn .) de Dante en l’anomenat modernisme catala , un periode a cavall dels segles xix i xx , en el qual diversos escriptors, en consonancia amb els components ideologics, culturals i literaris de l’epoca (decadentisme, regeneracionisme, joc oralisme, simbolisme, espiritualisme, etc.), consideren el prosimetre de Dante com el text central de les seves poetiques i per aixo el tradueixen, l’adapten i el reescriuen. Per aquest motiu, aqui s’estudien tant les dues traduccions completes de la Vita nova , la catalana de M. Montoliu (1903) i la castellana de L. C. Viada i Lluch (1912) com algunes de les multiples versions esparses de dos sonets cabdals de la Vn . 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(«Cavalcando l’altr’ier» i «Tanto gentil e tanto onesta pare») realitzades per integrants d’aquestes diverses estetiques; testimonis, per tant, de la centralitat d’una obra que, d’enca el prerafaelitisme, s’havia erigit en el llibre de la nova religio d’amor i de re...","owner":{"id":13092013,"first_name":"Rossend","middle_initials":null,"last_name":"Arques","page_name":"RossendArques","domain_name":"uab","created_at":"2014-06-19T06:08:19.763-07:00","display_name":"Rossend Arques","url":"https://uab.academia.edu/RossendArques"},"attachments":[{"id":86488512,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/86488512/thumbnails/1.jpg","file_name":"427399643.pdf","download_url":"https://www.academia.edu/attachments/86488512/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Vida_nova_de_Dante_a_la_nova_Cataluny.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/86488512/427399643-libre.pdf?1653547340=\u0026response-content-disposition=attachment%3B+filename%3DLa_Vida_nova_de_Dante_a_la_nova_Cataluny.pdf\u0026Expires=1736264126\u0026Signature=JyC1zieyVz4gHpoa4nmuJfVhipNVRR3zvk~SOO9JnziSYss1fD5GLCBMPwbIU1XYAuDvBPOD9ImrIsg8MowkNKX5xdXd1MyBZCzCpz--2QyfNScUJprm2Qz6zAxs7hu3n5QXwBSHvDdhgbw6vkmmBw1HP1QOsP9hd5e9S-kXc~P9HqR0VOuuIbcurFhzHTCnW-GIP3yO17UDODt27wDNn5a9t2Nnem34t1606w5o-8YR6krrG-LvRTtMU7KyKvOc2LQ~j92UQ3woFDEDLvfd2Sp6kPqmy5RCGZgb9lo1gWafZ-YmUZ8i3rZ2hzKKDH~wzlsM8Nz1ltkO8K60pv~BcA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":17725,"name":"Dante","url":"https://www.academia.edu/Documents/in/Dante"},{"id":381796,"name":"Dantismo","url":"https://www.academia.edu/Documents/in/Dantismo"},{"id":540972,"name":"Vita Nova","url":"https://www.academia.edu/Documents/in/Vita_Nova"},{"id":722950,"name":"Joan Maragall","url":"https://www.academia.edu/Documents/in/Joan_Maragall"},{"id":1956321,"name":"Modernisme Català","url":"https://www.academia.edu/Documents/in/Modernisme_Catal%C3%A0"},{"id":2318504,"name":"Universitat Pompeu Fabra","url":"https://www.academia.edu/Documents/in/Universitat_Pompeu_Fabra"}],"urls":[]}, dispatcherData: dispatcherData }); 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Cases, Torino, Einaudi, 1988. Page 5. dante nell&#x27;inferno moderno: la let...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... i, a cura di C. Cases, Torino, Einaudi, 1988. Page 5. dante nell&#x27;inferno moderno: la letteratura dopo auschwitz 91 ... Hanno sperimentato l&#x27;umiliazione delle percosse, la debolezza del corpo sotto la frusta. Hanno constatato la devastazione che produce la fame. ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74698289"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74698289"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74698289; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74698289]").text(description); $(".js-view-count[data-work-id=74698289]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74698289; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74698289']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74698289, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=74698289]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74698289,"title":"Dante nell'inferno moderno: la letteratura dopo Auschwitz","translated_title":"","metadata":{"abstract":"... i, a cura di C. 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En este artículo exponemos el modo en que hemos resuelto en la práctica lexicográfica dos problemas relevantes: el tratamiento de los complementos y los verbos transitivos / intransitivos. 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El seu objectiu és servir de mitjà de difusió d&#39;idees i investigacions originals lligades a aquests camps, en el vessant literari, lingüistic, teòric o comparatista, amb especial atenció a les relacions entre les cultures hispàniques i la italiana. La revista publica articles originals en dossiers monogràfics, articles d&#39;investigació, notes i ressenyes. 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Una storia notturna della Sicilia: Nottetempo, casa per casa di Consolo</a></div><div class="wp-workCard_item"><span>Quaderns D Italia</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi del sostrato mitico e iconografico delle rappresentazioni teriomorfiche più importanti del romanzo (il «luponario» e il «caprone») per sottolineare il cammino del protagonista dall'afasia animale e malinconica in cui è immersa la sua famiglia, e lui stesso, all'accesso al linguaggio accompagnato dalla presa di coscienza della decadenza della società siciliana che coincide anche con il suo esilio.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c2957e32bb22ab7b21307b40a5e4e1f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74435990,"asset_id":61391428,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74435990/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="61391428"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="61391428"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 61391428; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=61391428]").text(description); $(".js-view-count[data-work-id=61391428]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 61391428; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='61391428']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 61391428, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c2957e32bb22ab7b21307b40a5e4e1f5" } } $('.js-work-strip[data-work-id=61391428]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":61391428,"title":"Teriomorfismo e malinconia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="61391410"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/61391410/La_Gerusalemme_Liberata_de_Tasso_en_la_g%C3%A8nesi_de_LAtl%C3%A0ntida_de_Verdaguer"><img alt="Research paper thumbnail of La" Gerusalemme Liberata" de Tasso en la gènesi de" L'Atlàntida" de Verdaguer" class="work-thumbnail" src="https://attachments.academia-assets.com/74435950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/61391410/La_Gerusalemme_Liberata_de_Tasso_en_la_g%C3%A8nesi_de_LAtl%C3%A0ntida_de_Verdaguer">La" Gerusalemme Liberata" de Tasso en la gènesi de" L'Atlàntida" de Verdaguer</a></div><div class="wp-workCard_item"><span>Anuari Verdaguer</span><span>, 1986</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ,És un fet prou sabut dels estudiosos que Verdaguer, quan residia a can Tona, escriví una carta al seu conegut Ferran Sellares, datada els primers dies de 1867, en que li comunicava que <(cada demati, entre vuit u nou horas, ja m hi veuria voste passejar amun y avall ab la Eneydu o la Geru.salem, que son las obras que may me cansí de llegir ni penso traure'm dels dits, y que han de ser la mort de la meva musa, pus veu quant esgarrifosos son, al costat dels seus, sos dibuixos.~I Josep M. de Casacuberta, en la nota 15 que comenta aquesta carta, escriu que ((L. C. Viada, en el treball abans citat, J. Verdaguer als Jocs Florals de Burcelonu, diu que I'accessit guanyat per Verdaguer al certamen del 1865 per la poesia L0.y minyons d'en Veciana consistí "en un exemplar de La Geru.salemme liheruta i L'Amintu del Tasso, que devora amb frui'cio I'estudiant-poeta", el qual en tragué un gran partit-afegeix Viada-en les seves temptatives epiques d'aquell-temps. Recordem que Jaume Collell, tan amic de Verdaguer, havia llegit la Gerusalemme: "no tenia encara quinze anys que en 10s solitaris recons de la Gorga, prop del Esquirol, recitava en veu alta" els seus cants (Del meu,fudrinatge, 1 1 5)~.~ Malgrat les meves indagacions, no he pogut confirmar la noticia de Viada, pero sí, en canvi, el fet que aquest dos llibres de Tasso reunits en un sol volum (que avui es troba al fons Verdaguer de la Biblioteca de Catalunya3) foren una part del premi del concurs en que Verdaguer es va presentar amb L'Atlantida, és a dir, de I'any 1877. De tota manera no calia que el nostre poeta posseís personalment les obres de Tasso puix que, segons que sabem per Collell, es passava llargues estones a la biblioteca episcopal llegint en el racó dels llibres de litera~ura castellana, llatina i italiana4; biblioteca que era bastant rica per l'epoca. Es allí on ell va poder llegir, si és que sabia I'italia, les obres de Tasso: Le sette giornate del mondo creato (Londres, 1780), Aminta (Londres, 1780), Gerusalemme Liberata (Londres, 1778) i L'Amadigi (Venecia, 1583). Allo que caldria saber és si coneixia prou bé I'italia per llegir La Gerusalemme (d'ara endavant GL). Sobre aquest particular hi ha un fragment d'una carta a Collell (26 d'agost 1884)s en que li comenta un fragment d'una lletra de Luigi Sunner-traductor de I'Atlantida a L'italia-, on li plantejava uns problemes de traduccio: crajunta-escriu Verdaguer-t'envio una carta de Luigi Sunner, traductor de mos versos, que m demana lo sentit de quatre paraulas catalanas, duas de las quals estan tan mal escritas que no les entench (las subrayo): si tu que coneixes lo italia las entens, t'agrairé que li donis la traducció en 10 vuyt de ma carta</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e20f7a9caaa10162fffb575957f95244" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74435950,"asset_id":61391410,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74435950/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="61391410"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="61391410"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 61391410; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=61391410]").text(description); $(".js-view-count[data-work-id=61391410]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 61391410; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='61391410']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 61391410, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e20f7a9caaa10162fffb575957f95244" } } $('.js-work-strip[data-work-id=61391410]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":61391410,"title":"La\" Gerusalemme Liberata\" de Tasso en la gènesi de\" L'Atlàntida\" de Verdaguer","translated_title":"","metadata":{"publisher":"raco.cat","grobid_abstract":"LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ,És un fet prou sabut dels estudiosos que Verdaguer, quan residia a can Tona, escriví una carta al seu conegut Ferran Sellares, datada els primers dies de 1867, en que li comunicava que \u003c(cada demati, entre vuit u nou horas, ja m hi veuria voste passejar amun y avall ab la Eneydu o la Geru.salem, que son las obras que may me cansí de llegir ni penso traure'm dels dits, y que han de ser la mort de la meva musa, pus veu quant esgarrifosos son, al costat dels seus, sos dibuixos.~I Josep M. de Casacuberta, en la nota 15 que comenta aquesta carta, escriu que ((L. 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C. Viada, en el treball abans citat, J. Verdaguer als Jocs Florals de Burcelonu, diu que I'accessit guanyat per Verdaguer al certamen del 1865 per la poesia L0.y minyons d'en Veciana consistí \"en un exemplar de La Geru.salemme liheruta i L'Amintu del Tasso, que devora amb frui'cio I'estudiant-poeta\", el qual en tragué un gran partit-afegeix Viada-en les seves temptatives epiques d'aquell-temps. Recordem que Jaume Collell, tan amic de Verdaguer, havia llegit la Gerusalemme: \"no tenia encara quinze anys que en 10s solitaris recons de la Gorga, prop del Esquirol, recitava en veu alta\" els seus cants (Del meu,fudrinatge, 1 1 5)~.~ Malgrat les meves indagacions, no he pogut confirmar la noticia de Viada, pero sí, en canvi, el fet que aquest dos llibres de Tasso reunits en un sol volum (que avui es troba al fons Verdaguer de la Biblioteca de Catalunya3) foren una part del premi del concurs en que Verdaguer es va presentar amb L'Atlantida, és a dir, de I'any 1877. De tota manera no calia que el nostre poeta posseís personalment les obres de Tasso puix que, segons que sabem per Collell, es passava llargues estones a la biblioteca episcopal llegint en el racó dels llibres de litera~ura castellana, llatina i italiana4; biblioteca que era bastant rica per l'epoca. Es allí on ell va poder llegir, si és que sabia I'italia, les obres de Tasso: Le sette giornate del mondo creato (Londres, 1780), Aminta (Londres, 1780), Gerusalemme Liberata (Londres, 1778) i L'Amadigi (Venecia, 1583). Allo que caldria saber és si coneixia prou bé I'italia per llegir La Gerusalemme (d'ara endavant GL). Sobre aquest particular hi ha un fragment d'una carta a Collell (26 d'agost 1884)s en que li comenta un fragment d'una lletra de Luigi Sunner-traductor de I'Atlantida a L'italia-, on li plantejava uns problemes de traduccio: crajunta-escriu Verdaguer-t'envio una carta de Luigi Sunner, traductor de mos versos, que m demana lo sentit de quatre paraulas catalanas, duas de las quals estan tan mal escritas que no les entench (las subrayo): si tu que coneixes lo italia las entens, t'agrairé que li donis la traducció en 10 vuyt de ma carta","owner":{"id":13092013,"first_name":"Rossend","middle_initials":null,"last_name":"Arques","page_name":"RossendArques","domain_name":"uab","created_at":"2014-06-19T06:08:19.763-07:00","display_name":"Rossend Arques","url":"https://uab.academia.edu/RossendArques"},"attachments":[{"id":74435950,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74435950/thumbnails/1.jpg","file_name":"67430-Text_de_larticle-86211-1-10-20070927.pdf","download_url":"https://www.academia.edu/attachments/74435950/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Gerusalemme_Liberata_de_Tasso_en_la_g.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74435950/67430-Text_de_larticle-86211-1-10-20070927-libre.pdf?1636462344=\u0026response-content-disposition=attachment%3B+filename%3DLa_Gerusalemme_Liberata_de_Tasso_en_la_g.pdf\u0026Expires=1736264127\u0026Signature=KypWXg2aUhU4Q4GIonbeXDmKyHjMti-TASZ2H2BMzACR6hIdslllrdytuhhy11wrnYLbwZRG5hhGPAE4EmIFognxrL3EYs2~aliL9LPMGcbo0F0zUqfUwQBLOfIXxAJQF47Qp8mrNXhhX1BcR4fNVC-AI2SJmK4xVCaBjUyBD4uJm5Ryw-tlBTp38S~uE7tYwaGaBfCj27GJzWQ57TP5ETLAqMRKSY1SsCxEnrn5bgYoUwJ1TJeODJJ1S0nYL1OFBg6F~950UeYnBNNZkEfL8VN9SUrBDwpp3LGE80LQMR-aWXwNoaKvKMt59YYLwejazIQRZFytX36Fk1~KD~qLkg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50546114"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50546114/El_coste_de_estar_vivo_Sobre_la_poes%C3%ADa_de_Isabella_Panfido_Antolog%C3%ADa_biling%C3%BCe_Italiano_Espa%C3%B1ol"><img alt="Research paper thumbnail of El coste de estar vivo". 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href="https://www.academia.edu/50546112/Teriomorfismo_e_malinconia_Una_storia_notturna_della_Sicilia_Nottetempo_casa_per_casa_di_Consolo">Teriomorfismo e malinconia Una storia notturna della Sicilia: Nottetempo, casa per casa di Consolo</a></div><div class="wp-workCard_item"><span>Quaderns d’Italià</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi del sostrato mitico e iconografico delle rappresentazioni teriomorfiche più importanti del romanzo (il «luponario» e il «caprone») 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class="wp-workCard_item"><span class="js-work-more-abstract-truncated">basant-se sobretot, però no exclusivament, en el primer contacte de l'escriptor empordanès amb la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">basant-se sobretot, però no exclusivament, en el primer contacte de l'escriptor empordanès amb la península italiana tal com aquest es veu reflectit en les seves col•laboracions a diferents publicacions a principis dels anys vint. 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D’una banda, vol reivindicar el paper i l’esforc de Bonavent...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Aquest article te un doble objectiu. D’una banda, vol reivindicar el paper i l’esforc de Bonaventura Vallespinosa en la incorporacio i traduccio de textos teatrals classics i contemporanis. De l’altra, intenta il·lustrar-ne el metode de traduccio, el qual, partint de la «literalitat», perseguia l’objectiu de crear una versio catalana escenica (performance text), plausible i eficac. Per arribar- hi, pero, el text travessa moltes fases d’elaboracio i poliment per mitja, sobretot, de diverses posades en escena o lectures dramatitzades. Un ingent treball, en gran part inedit, que valdria la pena salvar de l’oblit perque constitueix per si sol una aportacio fonamental al teatre universal en catala.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="68a25b3f02736ad64fdfd2c5d971bcd2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89289295,"asset_id":84174228,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89289295/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84174228"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84174228"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84174228; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84174228]").text(description); $(".js-view-count[data-work-id=84174228]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84174228; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84174228']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 84174228, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "68a25b3f02736ad64fdfd2c5d971bcd2" } } $('.js-work-strip[data-work-id=84174228]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84174228,"title":"Les traduccions teatrals de Vallespinosa","translated_title":"","metadata":{"abstract":"Aquest article te un doble objectiu. 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Traducció i poètica" class="work-thumbnail" src="https://attachments.academia-assets.com/86488512/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/79941398/La_Vida_nova_de_Dante_a_la_nova_Catalunya_entre_decadentisme_i_blanors_burgeses_Traduccio_i_poe_tica">La "Vida nova" de Dante a la nova Catalunya entre decadentisme i blanors burgeses. Traducció i poètica</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Aquest article analitza la importancia i el paper de la Vita nova ( Vn .) de Dante en l’anomenat ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Aquest article analitza la importancia i el paper de la Vita nova ( Vn .) de Dante en l’anomenat modernisme catala , un periode a cavall dels segles xix i xx , en el qual diversos escriptors, en consonancia amb els components ideologics, culturals i literaris de l’epoca (decadentisme, regeneracionisme, joc oralisme, simbolisme, espiritualisme, etc.), consideren el prosimetre de Dante com el text central de les seves poetiques i per aixo el tradueixen, l’adapten i el reescriuen. Per aquest motiu, aqui s’estudien tant les dues traduccions completes de la Vita nova , la catalana de M. Montoliu (1903) i la castellana de L. C. Viada i Lluch (1912) com algunes de les multiples versions esparses de dos sonets cabdals de la Vn . 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Cases, Torino, Einaudi, 1988. Page 5. dante nell&#x27;inferno moderno: la let...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... i, a cura di C. Cases, Torino, Einaudi, 1988. Page 5. dante nell&#x27;inferno moderno: la letteratura dopo auschwitz 91 ... Hanno sperimentato l&#x27;umiliazione delle percosse, la debolezza del corpo sotto la frusta. 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En este artículo exponemos el modo en que hemos resuelto en la práctica lexicográfica dos problemas relevantes: el tratamiento de los complementos y los verbos transitivos / intransitivos. 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El seu objectiu és servir de mitjà de difusió d&#39;idees i investigacions originals lligades a aquests camps, en el vessant literari, lingüistic, teòric o comparatista, amb especial atenció a les relacions entre les cultures hispàniques i la italiana. La revista publica articles originals en dossiers monogràfics, articles d&#39;investigació, notes i ressenyes. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="61391410"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/61391410/La_Gerusalemme_Liberata_de_Tasso_en_la_g%C3%A8nesi_de_LAtl%C3%A0ntida_de_Verdaguer"><img alt="Research paper thumbnail of La" Gerusalemme Liberata" de Tasso en la gènesi de" L'Atlàntida" de Verdaguer" class="work-thumbnail" src="https://attachments.academia-assets.com/74435950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/61391410/La_Gerusalemme_Liberata_de_Tasso_en_la_g%C3%A8nesi_de_LAtl%C3%A0ntida_de_Verdaguer">La" Gerusalemme Liberata" de Tasso en la gènesi de" L'Atlàntida" de Verdaguer</a></div><div class="wp-workCard_item"><span>Anuari Verdaguer</span><span>, 1986</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ,És un fet prou sabut dels estudiosos que Verdaguer, quan residia a can Tona, escriví una carta al seu conegut Ferran Sellares, datada els primers dies de 1867, en que li comunicava que <(cada demati, entre vuit u nou horas, ja m hi veuria voste passejar amun y avall ab la Eneydu o la Geru.salem, que son las obras que may me cansí de llegir ni penso traure'm dels dits, y que han de ser la mort de la meva musa, pus veu quant esgarrifosos son, al costat dels seus, sos dibuixos.~I Josep M. de Casacuberta, en la nota 15 que comenta aquesta carta, escriu que ((L. C. Viada, en el treball abans citat, J. Verdaguer als Jocs Florals de Burcelonu, diu que I'accessit guanyat per Verdaguer al certamen del 1865 per la poesia L0.y minyons d'en Veciana consistí "en un exemplar de La Geru.salemme liheruta i L'Amintu del Tasso, que devora amb frui'cio I'estudiant-poeta", el qual en tragué un gran partit-afegeix Viada-en les seves temptatives epiques d'aquell-temps. Recordem que Jaume Collell, tan amic de Verdaguer, havia llegit la Gerusalemme: "no tenia encara quinze anys que en 10s solitaris recons de la Gorga, prop del Esquirol, recitava en veu alta" els seus cants (Del meu,fudrinatge, 1 1 5)~.~ Malgrat les meves indagacions, no he pogut confirmar la noticia de Viada, pero sí, en canvi, el fet que aquest dos llibres de Tasso reunits en un sol volum (que avui es troba al fons Verdaguer de la Biblioteca de Catalunya3) foren una part del premi del concurs en que Verdaguer es va presentar amb L'Atlantida, és a dir, de I'any 1877. De tota manera no calia que el nostre poeta posseís personalment les obres de Tasso puix que, segons que sabem per Collell, es passava llargues estones a la biblioteca episcopal llegint en el racó dels llibres de litera~ura castellana, llatina i italiana4; biblioteca que era bastant rica per l'epoca. Es allí on ell va poder llegir, si és que sabia I'italia, les obres de Tasso: Le sette giornate del mondo creato (Londres, 1780), Aminta (Londres, 1780), Gerusalemme Liberata (Londres, 1778) i L'Amadigi (Venecia, 1583). Allo que caldria saber és si coneixia prou bé I'italia per llegir La Gerusalemme (d'ara endavant GL). Sobre aquest particular hi ha un fragment d'una carta a Collell (26 d'agost 1884)s en que li comenta un fragment d'una lletra de Luigi Sunner-traductor de I'Atlantida a L'italia-, on li plantejava uns problemes de traduccio: crajunta-escriu Verdaguer-t'envio una carta de Luigi Sunner, traductor de mos versos, que m demana lo sentit de quatre paraulas catalanas, duas de las quals estan tan mal escritas que no les entench (las subrayo): si tu que coneixes lo italia las entens, t'agrairé que li donis la traducció en 10 vuyt de ma carta</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e20f7a9caaa10162fffb575957f95244" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74435950,"asset_id":61391410,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74435950/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="61391410"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="61391410"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 61391410; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=61391410]").text(description); $(".js-view-count[data-work-id=61391410]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 61391410; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='61391410']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 61391410, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e20f7a9caaa10162fffb575957f95244" } } $('.js-work-strip[data-work-id=61391410]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":61391410,"title":"La\" Gerusalemme Liberata\" de Tasso en la gènesi de\" L'Atlàntida\" de Verdaguer","translated_title":"","metadata":{"publisher":"raco.cat","grobid_abstract":"LA ((GERUSALEMME LIBERATA)) DE TASS0 EN LA GENESI DE ((L'ATLANTIDA)) DE VERDACUER Rossend ARQUES ,És un fet prou sabut dels estudiosos que Verdaguer, quan residia a can Tona, escriví una carta al seu conegut Ferran Sellares, datada els primers dies de 1867, en que li comunicava que \u003c(cada demati, entre vuit u nou horas, ja m hi veuria voste passejar amun y avall ab la Eneydu o la Geru.salem, que son las obras que may me cansí de llegir ni penso traure'm dels dits, y que han de ser la mort de la meva musa, pus veu quant esgarrifosos son, al costat dels seus, sos dibuixos.~I Josep M. de Casacuberta, en la nota 15 que comenta aquesta carta, escriu que ((L. 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C. Viada, en el treball abans citat, J. Verdaguer als Jocs Florals de Burcelonu, diu que I'accessit guanyat per Verdaguer al certamen del 1865 per la poesia L0.y minyons d'en Veciana consistí \"en un exemplar de La Geru.salemme liheruta i L'Amintu del Tasso, que devora amb frui'cio I'estudiant-poeta\", el qual en tragué un gran partit-afegeix Viada-en les seves temptatives epiques d'aquell-temps. Recordem que Jaume Collell, tan amic de Verdaguer, havia llegit la Gerusalemme: \"no tenia encara quinze anys que en 10s solitaris recons de la Gorga, prop del Esquirol, recitava en veu alta\" els seus cants (Del meu,fudrinatge, 1 1 5)~.~ Malgrat les meves indagacions, no he pogut confirmar la noticia de Viada, pero sí, en canvi, el fet que aquest dos llibres de Tasso reunits en un sol volum (que avui es troba al fons Verdaguer de la Biblioteca de Catalunya3) foren una part del premi del concurs en que Verdaguer es va presentar amb L'Atlantida, és a dir, de I'any 1877. De tota manera no calia que el nostre poeta posseís personalment les obres de Tasso puix que, segons que sabem per Collell, es passava llargues estones a la biblioteca episcopal llegint en el racó dels llibres de litera~ura castellana, llatina i italiana4; biblioteca que era bastant rica per l'epoca. Es allí on ell va poder llegir, si és que sabia I'italia, les obres de Tasso: Le sette giornate del mondo creato (Londres, 1780), Aminta (Londres, 1780), Gerusalemme Liberata (Londres, 1778) i L'Amadigi (Venecia, 1583). Allo que caldria saber és si coneixia prou bé I'italia per llegir La Gerusalemme (d'ara endavant GL). Sobre aquest particular hi ha un fragment d'una carta a Collell (26 d'agost 1884)s en que li comenta un fragment d'una lletra de Luigi Sunner-traductor de I'Atlantida a L'italia-, on li plantejava uns problemes de traduccio: crajunta-escriu Verdaguer-t'envio una carta de Luigi Sunner, traductor de mos versos, que m demana lo sentit de quatre paraulas catalanas, duas de las quals estan tan mal escritas que no les entench (las subrayo): si tu que coneixes lo italia las entens, t'agrairé que li donis la traducció en 10 vuyt de ma carta","owner":{"id":13092013,"first_name":"Rossend","middle_initials":null,"last_name":"Arques","page_name":"RossendArques","domain_name":"uab","created_at":"2014-06-19T06:08:19.763-07:00","display_name":"Rossend Arques","url":"https://uab.academia.edu/RossendArques"},"attachments":[{"id":74435950,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74435950/thumbnails/1.jpg","file_name":"67430-Text_de_larticle-86211-1-10-20070927.pdf","download_url":"https://www.academia.edu/attachments/74435950/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Gerusalemme_Liberata_de_Tasso_en_la_g.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74435950/67430-Text_de_larticle-86211-1-10-20070927-libre.pdf?1636462344=\u0026response-content-disposition=attachment%3B+filename%3DLa_Gerusalemme_Liberata_de_Tasso_en_la_g.pdf\u0026Expires=1736264127\u0026Signature=KypWXg2aUhU4Q4GIonbeXDmKyHjMti-TASZ2H2BMzACR6hIdslllrdytuhhy11wrnYLbwZRG5hhGPAE4EmIFognxrL3EYs2~aliL9LPMGcbo0F0zUqfUwQBLOfIXxAJQF47Qp8mrNXhhX1BcR4fNVC-AI2SJmK4xVCaBjUyBD4uJm5Ryw-tlBTp38S~uE7tYwaGaBfCj27GJzWQ57TP5ETLAqMRKSY1SsCxEnrn5bgYoUwJ1TJeODJJ1S0nYL1OFBg6F~950UeYnBNNZkEfL8VN9SUrBDwpp3LGE80LQMR-aWXwNoaKvKMt59YYLwejazIQRZFytX36Fk1~KD~qLkg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50546114"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50546114/El_coste_de_estar_vivo_Sobre_la_poes%C3%ADa_de_Isabella_Panfido_Antolog%C3%ADa_biling%C3%BCe_Italiano_Espa%C3%B1ol"><img alt="Research paper thumbnail of El coste de estar vivo". 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href="https://www.academia.edu/50546112/Teriomorfismo_e_malinconia_Una_storia_notturna_della_Sicilia_Nottetempo_casa_per_casa_di_Consolo">Teriomorfismo e malinconia Una storia notturna della Sicilia: Nottetempo, casa per casa di Consolo</a></div><div class="wp-workCard_item"><span>Quaderns d’Italià</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'articolo vuol essere una lettura di Nottetempo, casa per casa che prende spunto dall'analisi del sostrato mitico e iconografico delle rappresentazioni teriomorfiche più importanti del romanzo (il «luponario» e il «caprone») 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class="wp-workCard_item"><span class="js-work-more-abstract-truncated">basant-se sobretot, però no exclusivament, en el primer contacte de l'escriptor empordanès amb la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">basant-se sobretot, però no exclusivament, en el primer contacte de l'escriptor empordanès amb la península italiana tal com aquest es veu reflectit en les seves col•laboracions a diferents publicacions a principis dels anys vint. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="6834555" id="books"><div class="js-work-strip profile--work_container" data-work-id="49060270"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/49060270/Guido_Cavalcanti_Poesia_completa_edici%C3%B3n_Rossend_Arqu%C3%A9s_Madrid_C%C3%A1tedra_2021"><img alt="Research paper thumbnail of Guido Cavalcanti, Poesia completa, edición Rossend Arqués, Madrid, Cátedra, 2021" class="work-thumbnail" src="https://attachments.academia-assets.com/67451269/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49060270/Guido_Cavalcanti_Poesia_completa_edici%C3%B3n_Rossend_Arqu%C3%A9s_Madrid_C%C3%A1tedra_2021">Guido Cavalcanti, Poesia completa, edición Rossend Arqués, Madrid, Cátedra, 2021</a></div><div class="wp-workCard_item"><span>Cátedra</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La poesía de Guido Cavalcanti es una de las más intensas e innovadoras de la Italia y la Europa d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La poesía de Guido Cavalcanti es una de las más intensas e innovadoras de la Italia y la Europa de finales del siglo xiii. Determinará no solo la formación de la llamada lírica estilnovista, integrada por autores como Dante Alighieri, Cino da Pistoia o Lapo Gianni, sino la de otras vanguardias futuras, como el "modernism" de Ezra Pound y T. S. Eliot o las reflexiones narratológicas de Italo Calvino. Los componentes esenciales de esta poesía son el estilo depurado, claro y dulce, el léxico restringido habitual de las composiciones amorosas de la época y la dramatización de la interioridad alienada del amante a causa de la irrupción de la imagen del objeto amado. Una obra poética breve que, sin embargo, por su fuerza y misterio, sigue ejerciendo una gran fascinación.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a7aeb204a3721cfd3107f34d77d7d6d5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67451269,"asset_id":49060270,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67451269/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49060270"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49060270"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49060270; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49060270]").text(description); $(".js-view-count[data-work-id=49060270]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49060270; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49060270']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 49060270, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a7aeb204a3721cfd3107f34d77d7d6d5" } } $('.js-work-strip[data-work-id=49060270]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49060270,"title":"Guido Cavalcanti, Poesia completa, edición Rossend Arqués, Madrid, Cátedra, 2021","translated_title":"","metadata":{"abstract":"La poesía de Guido Cavalcanti es una de las más intensas e innovadoras de la Italia y la Europa de finales del siglo xiii. 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Carte ridenti I: XIV secolo, a cura di Rossend Arqués e Marcello Ciccuto, Firenze, Cesati editore, 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/54446518/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34580770/Dante_Visualizzato_Carte_ridenti_I_XIV_secolo_a_cura_di_Rossend_Arqu%C3%A9s_e_Marcello_Ciccuto_Firenze_Cesati_editore_2017">Dante Visualizzato. Carte ridenti I: XIV secolo, a cura di Rossend Arqués e Marcello Ciccuto, Firenze, Cesati editore, 2017</a></div><div class="wp-workCard_item"><span>Dante Visualizzato. Carte ridenti I: XIV secolo, a cura di Rossend Arqués e Marcello Ciccuto, Firenze, Cesati editore, 2017</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Questo volume ha come obiettivo ripercorrere la storia delle illustrazioni che hanno rappresentat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Questo volume ha come obiettivo ripercorrere la storia delle illustrazioni che hanno rappresentato la Commedia di Dante e i suoi commenti dal XIV al XVI secolo. Si tratta di una tradizione secolare che sarà analizzata e approfondita tentando di sceverare i sensi, le caratteristiche, i mezzi e le funzioni attraverso l’importante tradizione di manoscritti, di stampe e di altre forme artistiche come affreschi, pitture, sculture, ecc. che si ispirano alla volontà di riprodurre iconograficamente la poesia dantesca. Si ripercorre in queste pagine la traccia dei testimoni dal punto di vista materiale, storico, filologico e artistico. Ormai la complementarità tra testo e iconografia nelle lettere e nelle arti del Medioevo non ha più bisogno di essere dimostrata. 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Questa è la prima volta che viene intrapresa una ricerca comparatista fra le traduzioni e le diverse forme di ricezione dell'opera dantesca nell'ambito delle lingue neolatine. L'iniziativa s'inserisce nel campo degli studi che le università catalane stanno portando avanti già da molti anni e nasce dalla necessità di approfondire l'analisi delle traduzioni dell'opera e, più in generale, il dialogo stabilito con il grande poeta fiorentino nel corso dei diversi periodi culturali. Questo congresso si propone anche di recuperare lo spirito che animò le manifestazioni culturali promosse nel 1921 da Ramon d'Alòs-Moner, segretario generale dell'Institut d'Estudis Catalans, in occasione del sesto centenario della morte di Dante. CALL FOR PAPERS v Gli interventi non devono superare i 20 minuti e possono essere presentati in qualsiasi lingua romanza o in inglese. v Le proposte di comunicazione (titolo e un riassunto di max. 500 parole) dovranno pervenire entro il 15 maggio 2021 all'indirizzo: <a href="mailto:dante.traduccions@upf.edu" rel="nofollow">dante.traduccions@upf.edu</a> v L'accettazione delle proposte, valutate dal comitato scientifico, verrà comunicata il 15 giugno 2021.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7e1abe7d99118839bddeee2eed78721d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66390628,"asset_id":47139524,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66390628/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="47139524"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="47139524"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47139524; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=47139524]").text(description); $(".js-view-count[data-work-id=47139524]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 47139524; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='47139524']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 47139524, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7e1abe7d99118839bddeee2eed78721d" } } $('.js-work-strip[data-work-id=47139524]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":47139524,"title":"Convegno Internazionale Traduccions i Recepció de Dante en les Llengües Romàniques","translated_title":"","metadata":{"abstract":"L'obiettivo di questo congresso, organizzato in occasione delle celebrazioni per il settimo centenario della morte di Dante Alighieri (1265-1321), è lo studio della ricezione e delle traduzioni dell'opera dantesca nelle diverse lingue romanze, dall'epoca medievale fino ai giorni nostri. 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Questa è la prima volta che viene intrapresa una ricerca comparatista fra le traduzioni e le diverse forme di ricezione dell'opera dantesca nell'ambito delle lingue neolatine. L'iniziativa s'inserisce nel campo degli studi che le università catalane stanno portando avanti già da molti anni e nasce dalla necessità di approfondire l'analisi delle traduzioni dell'opera e, più in generale, il dialogo stabilito con il grande poeta fiorentino nel corso dei diversi periodi culturali. Questo congresso si propone anche di recuperare lo spirito che animò le manifestazioni culturali promosse nel 1921 da Ramon d'Alòs-Moner, segretario generale dell'Institut d'Estudis Catalans, in occasione del sesto centenario della morte di Dante. CALL FOR PAPERS v Gli interventi non devono superare i 20 minuti e possono essere presentati in qualsiasi lingua romanza o in inglese. v Le proposte di comunicazione (titolo e un riassunto di max. 500 parole) dovranno pervenire entro il 15 maggio 2021 all'indirizzo: dante.traduccions@upf.edu v L'accettazione delle proposte, valutate dal comitato scientifico, verrà comunicata il 15 giugno 2021.","internal_url":"https://www.academia.edu/47139524/Convegno_Internazionale_Traduccions_i_Recepci%C3%B3_de_Dante_en_les_Lleng%C3%BCes_Rom%C3%A0niques","translated_internal_url":"","created_at":"2021-04-21T00:42:22.351-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":13092013,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":36458513,"work_id":47139524,"tagging_user_id":13092013,"tagged_user_id":6926041,"co_author_invite_id":null,"email":"m***y@upf.edu","affiliation":"Pompeu Fabra University","display_order":1,"name":"Marta Marfany","title":"Convegno Internazionale Traduccions i Recepció de Dante en les Llengües Romàniques"}],"downloadable_attachments":[{"id":66390628,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66390628/thumbnails/1.jpg","file_name":"Convegno_DANTE_TraduccioUPF_italiano.pdf","download_url":"https://www.academia.edu/attachments/66390628/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Convegno_Internazionale_Traduccions_i_Re.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66390628/Convegno_DANTE_TraduccioUPF_italiano-libre.pdf?1618993080=\u0026response-content-disposition=attachment%3B+filename%3DConvegno_Internazionale_Traduccions_i_Re.pdf\u0026Expires=1736264127\u0026Signature=KLlm5TOvhawh35QIJtfuZ7sZJqYqr1CiBlhCYbwQlvkjix0-lLEsqS2lczpZPwQRDXz4bD18Ii9mtvUSi5mlU0U2okutL5ULqgRP64y-G2mUdHAphlvQwBgVPZ0xAmAin11u-hj7TsFoQTne5T0AwSVr3oauY6JdqjkkQAi2gQYRYFLymIXYeCJ848BnE1LDMoq4kUZNmmS0YhJQ~GHoZvKD0aPIlxjayEScBBnKPb-eWoHMnrUwQLZo~ucCK~HlMKgPpPHVU03tsKu9u-vF1NL3S08-jtlxRZ5klmDDKi8mh3jZb9RLtOwB-e~MQcJamVCYUFi24Zu10f9t~PP8cg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Convegno_Internazionale_Traduccions_i_Recepció_de_Dante_en_les_Llengües_Romàniques","translated_slug":"","page_count":2,"language":"it","content_type":"Work","summary":"L'obiettivo di questo congresso, organizzato in occasione delle celebrazioni per il settimo centenario della morte di Dante Alighieri (1265-1321), è lo studio della ricezione e delle traduzioni dell'opera dantesca nelle diverse lingue romanze, dall'epoca medievale fino ai giorni nostri. 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Les cartes qui rient III : 1450-1500", Tours-Paris, CESR-Société dantesque de France, 31 mai-3 juin 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/53112111/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32995938/Colloque_International_Dante_visualis%C3%A9_Les_cartes_qui_rient_III_1450_1500_Tours_Paris_CESR_Soci%C3%A9t%C3%A9_dantesque_de_France_31_mai_3_juin_2017">Colloque International "Dante visualisé. Les cartes qui rient III : 1450-1500", Tours-Paris, CESR-Société dantesque de France, 31 mai-3 juin 2017</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://iehca.academia.edu/SabrinaFerrara">Sabrina Ferrara</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uab.academia.edu/RossendArques">Rossend Arques</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82fc5ef474ed3c41e606517cfc125a23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53112111,"asset_id":32995938,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53112111/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32995938"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32995938"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32995938; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32995938]").text(description); $(".js-view-count[data-work-id=32995938]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32995938; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32995938']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32995938, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "82fc5ef474ed3c41e606517cfc125a23" } } $('.js-work-strip[data-work-id=32995938]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32995938,"title":"Colloque International \"Dante visualisé. 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Carte ridenti III: XV secolo. Seconda parte, a cura di Rossend Arqués Corominas e Sabrina Ferrara, Firenze, Cesati, 2019" class="work-thumbnail" src="https://attachments.academia-assets.com/61487083/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41268001/Dante_visualizzato_Carte_ridenti_III_XV_secolo_Seconda_parte_a_cura_di_Rossend_Arqu%C3%A9s_Corominas_e_Sabrina_Ferrara_Firenze_Cesati_2019">Dante visualizzato. Carte ridenti III: XV secolo. Seconda parte, a cura di Rossend Arqués Corominas e Sabrina Ferrara, Firenze, Cesati, 2019</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://iehca.academia.edu/SabrinaFerrara">Sabrina Ferrara</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uab.academia.edu/RossendArques">Rossend Arques</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il volume, terzo della fortunata collana «Dante visualizzato», indaga la tradizione illustrata di...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il volume, terzo della fortunata collana «Dante visualizzato», indaga la tradizione illustrata di quel periodo di snodo della cultura europea e umanistica che è la seconda metà del XV secolo nel quale l’invenzione della stampa ha permesso di affiancare ai manoscritti miniati l’inedito manufatto costituito dagli incunaboli illustrati.<br />La rivoluzione generata dalla moderna editoria determina una rinnovata temperie intellettuale e artistica che, pur mantenendo sempre stretti certi legami concettuali e immaginifici con il Medioevo declinante, annuncia un nuovo rapporto tra esegesi e figurazione, modifica il rapporto con l’utenza a cui i prodotti sono destinati: si perde l’unicità dell’oggetto ma si allarga al contempo la fruibilità dei lettori, spingendo gli illustratori a sperimentare nuove tecniche di rappresentazione artistiche che si affermano soprattutto nelle xilografie.<br />Che questa seconda metà del XV secolo sia realmente una stagione di feconda articolazione tra due tipologie di manufatti è attestato dal magnifico codice Urbinate Latino 365, commissionato da Federico da Montefeltro a Guglielmo Giraldi nel 1474, e che «conclude la stagione della produzione miniata dei codici della Commedia» (Cieri Via), solo di qualche anno dunque precedente al primo incunabolo illustrato.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9514c19eb8b3e850abb14dd01777ed00" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61487083,"asset_id":41268001,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61487083/download_file?st=MTczNjI2ODc5Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41268001"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41268001"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41268001; 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