Lettura del canto X dell'«Orlando furioso»


Autoria(s): Albonico S.
Data(s)

2012

Resumo

Despite the difficulty of examining isolated cantos in Orlando Furioso and thus separating the text from the overall narrative structure, there are features present in Canto X which would encourage just such an approach. In addition to the borrowings from the Latin tradition to be found in the episode of Olimpia and the allegorical machine at work in the story of Ruggiero and Alcina, the canto evinces a consonance with the courtier spirit which was particularly active in the courts of Northern Italy and which went beyond a mere attention to heraldry and emblems. There is indeed a continuity with the figurative arts flourishing in Ferrara at the time, which saw Mantegna's antiquarian and sculpturesque works triumphed over by Titian's mythological paintings. So too with Ariosto, who after his initial "classicist" phase came to be inspired by Titian's work in a move that openly affirmed the originality and strength of his poetry.

Identificador

https://serval.unil.ch/?id=serval:BIB_33949C81BECE

isbn:0017-0496

http://www.loescher.it/riviste/giornale-storico-della-letteratura-italiana

http://my.unil.ch/serval/document/BIB_33949C81BECE.pdf

http://nbn-resolving.org/urn/resolver.pl?urn=urn:nbn:ch:serval-BIB_33949C81BECE8

reroid:0056153

Idioma(s)

it

Direitos

info:eu-repo/semantics/openAccess

Fonte

Giornale storico della letteratura italiana, no. 189, pp. 1-22

Palavras-Chave #Ariosto; Orlando furioso; Ferrara; Dosso Dossi; Tiziano
Tipo

info:eu-repo/semantics/article

article