Lettura del canto X dell'«Orlando furioso»

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.

«Meraviglioso diletto». La traduzione poetica del Cinquecento e le «Metamorfosi di Ovidio» di Giovanni Andrea dellʼAnguilllara

A partire dagli anni Trenta del Cinquecento la traduzione dei poeti classici in lingua volgare comincia a imporsi come un fenomeno di vasta portata nel mercato editoriale italiano. Omero, Virgilio, Stazio, ma soprattutto l'enciclopedico e lascivo Ovidio vengono liberamente riscritti e adattati per il diletto di un pubblico medio, desideroso di ritrovare i poemi antichi nel metro dell'Orlando furioso. Se molte di queste traduzioni non riuscirono a sopravvivere ai mutamenti del gusto, alcune di esse entrarono stabilmente nel canone delle versioni poetiche italiane. È il caso delle Metamorfosi ovidiane riscritte in ottava rima attorno alla metà del secolo da Giovanni Andrea dell'Anguillara, poeta della cerchia farnesiana destinato a vita tormentata ed errabonda. Digressivo, artificioso, magniloquente, l'Ovidio dell'Anguillara (cui è dedicato in gran parte questo volume) otterrà per almeno due secoli un incontrastato successo presso letterati, pittori e musicisti, da Marino a Tiepolo.

Anti-C1q autoantibodies from systemic lupus erythematosus patients activate the complement system via both the classical and lectin pathways.

Autoantibodies against complement C1q (anti-C1q) strongly correlate with the occurrence of lupus nephritis and hypocomplementemia in systemic lupus erythematosus (SLE). Although a direct pathogenic role of anti-C1q has been suggested, the assumed complement-activating capacity remains to be elucidated. Using an ELISA-based assay, we found that anti-C1q activate the classical (CP) and lectin pathways (LP) depending on the anti-C1q immunoglobulin-class repertoire present in the patient's serum. IgG anti-C1q resulted in the activation of the CP as reflected by C4b deposition in the presence of purified C1 and C4 in a dose-dependent manner. The extent of C4b deposition correlated with anti-C1q levels in SLE patients but not in healthy controls. Our data indicate that SLE patient-derived anti-C1q can activate the CP and the LP but not the alternative pathway of complement. These findings are of importance for the understanding of the role of anti-C1q in SLE suggesting a direct link to hypocomplementemia.