"Quasi ombra e figura de la verità". Poesia e pensiero in Torquato Tasso

"Pochi autori come il Tasso hanno suscitato interpretazioni tanto differenziate e, in molti casi, discordanti. Posto di volta in volta a chiusura di un'epoca, quella manieristica, o come anticipatore della successiva temperie barocca, egli pare aver scontato il prezzo di un'esemplarità sin troppo manifesta rispetto al proprio Zeitgeist, una stagione che vede, nella vulgata storiografica, la regola prevalere sull'afflato creativo. 'Era già critico prima di esser poeta', sentenziò il De Sanctis, che arrivava a circoscriverne pure l'esperienza biografica nel perimetro di un implacabile autodafé, definendolo 'più crudele inquisitore di sé che il tribunale dell'Inquisizione'. A ciò poi si aggiungeva l'estrinsecità della corte quale destinataria e quasi principio informativo del mondo tassiano, che sembrava legittimare, da Croce in avanti, tutta una serie di giudizi limitativi sulla sua poesia, orientati ad accentuarne la natura encomiastica, aneddotica, addirittura frivola. La critica più recente ha compiuto un'imponente e fondamentale opera di scavo all'interno della cultura tassiana, delle sue letture, della sua poetica, ma il tentativo di rettificare il profilo complessivo dell'autore mostra esiti ancora incerti. In risposta alla vecchia immagine di un Tasso sconfitto dalla cultura controriformistica e alla fine assoggettato alle sue leggi, se ne sono di recente aggiunte altre..." (Dall'introduzione)

Tintenfass und Teleskop. Galileo Galilei im Schnittpunkt wissenschaftlicher, literarischer und visueller Kulturen im 17. Jahrhundert

Die Figur Galileo Galilei ist für die europäische Wissenschaftsgeschichte, für die Kulturwissenschaften und für eine wissensgeschichtlich orientierte Literatur- und Kunstwissenschaft von großem Interesse. In diesem Band werden die Überschneidungen, Wechselwirkungen und Transferprozesse zwischen den wissenschaftlichen und kulturellen Dimensionen untersucht, die für Galileis Profilierung als frühneuzeitlicher Wissenschaftler ebenso wichtig sind wie für die im weiteren Sinn kulturelle Wahrnehmung seiner Entdeckungen und seiner Schriften – vor allem in Literatur und Kunst. Der Band ist interdisziplinär konzipiert, um die fachlichen Einzelperspektiven von Literatur-, Kunst- und Kulturwissenschaftlern sowie Wissenschaftshistorikern zusammenzuführen. Analysiert werden Formen und Funktionen der Produktion, Konzeptualisierung und Repräsentation von Wissen sowie Aspekte der Diskussion und Diffusion von Galileis Wissensansprüchen im Kontext der Frühen Neuzeit. Mit dieser Fokussierung auf die im Schnittbereich verschiedener kultureller Formationen angesiedelte Etablierung Galileis liefert der Band somit einen Beitrag zur interdisziplinären Erforschung von Galileis Rolle und Rezeption in der europäischen Kultur- und Wissensgeschichte des 17. Jahrhunderts. Sprachen: Deutsch, Englisch, Italienisch

Eosinophilic oesophagitis and proton pump inhibitor-responsive oesophageal eosinophilia have similar clinical, endoscopic and histological findings.

BACKGROUND Some patients with a phenotypic appearance of eosinophilic oesophagitis (EoE) respond histologically to PPI, and are described as having PPI-responsive oesophageal eosinophilia (PPI-REE). It is unclear if PPI-REE is a GERD-related phenomenon, a subtype of EoE, or a completely unique entity. AIM To compare demographic, clinical and histological features of EoE and PPI-REE. METHODS Two databases were reviewed from the Walter Reed and Swiss EoE databases. Patients were stratified into two groups, EoE and PPI-REE, based on recent EoE consensus guidelines. Response to PPI was defined as achieving less than 15 eos/hpf and a 50% decrease from baseline following at least a 6-week course of treatment. RESULTS One hundred and three patients were identified (63 EoE and 40 PPI-REE; mean age 40.2 years, 75% male and 89% Caucasian). The two cohorts had similar dysphagia (97% vs. 100%, P = 0.520), food impaction (43% vs. 35%, P = 0.536), and heartburn (33% vs. 32%, P = 1.000) and a similar duration of symptoms (6.0 years vs. 5.8 years, P = 0.850). Endoscopic features were also similar between EoE and PPI-REE; rings (68% vs. 68%, P = 1.000), furrows (70% vs. 70%, P = 1.000), plaques (19% vs. 10%, P = 0.272), strictures (49% vs. 30%, P = 0.066). EoE and PPI-REE were similar in the number of proximal (39 eos/hpf vs. 38 eos/hpf, P = 0.919) and distal eosinophils (50 vs. 43 eos/hpf, P = 0.285). CONCLUSIONS EoE and PPI-responsive oesophageal eosinophilia are similar in clinical, histological and endoscopic features and therefore are indistinguishable without a PPI trial. Further studies are needed to determine why a subset of patients with oesophageal eosinophilia respond to PPI.

Paradiso XXV

Lectura Dantis presso la Casa di Dante in Roma

Ancora su Hölderlin e gli scrittori di lingua italiana (da Giosue Carducci a Fabio Pusterla)

A discussion of the long-term “Hölderlinism” of Italian poets, starting from Vigolo’s essay on Hölderlin and the music (1966), moving back to Carducci’s translations, with a critical edition of his version of Hölderlin’s Achill (1874, see the leaf reproduced in the appendix), and concluding with a look at later Italian poets up to Pusterla (2004).

Giorgio Vigolo – Quali musiche suonò Hölderlin? (28 aprile 1966)

Giorgio Vigolo’s lecture Quali musiche suonò Hölderlin? (Which Pieces of Music Did Hölderlin Play?), which the Italian poet held in Rome on April 28th 1966, here edited for the first time, with notes, by Giovanna Cordibella.

ll "Pasquillus extaticus" di Celio Secondo Curione: eresia, censura, tradizione a stampa e manoscritta del testo

The essay examines the print and manuscript traditions of the "Pasquillus extaticus" by Celio Secondo Curione with a particular focus on their relation with censorship. At first, the essay investigates into the redactional evolution and into the editorial history of the dialogue and of its vernacular versions, e.g. the relation between some editions of the "Pasquillus extaticus" and of the "Pasquino in estasi" (which appeared anonymously and without typographical information) and the provisions of political and ecclesiastical censorship in the 16th century. Finally, analysing the manuscript tradition, the essay discusses Carlos Gilly’s identification of «Coelii Secundi Pasquillus, emendatus impress[us]», registered in the inventory of the private library of the Basel typographer Johannes Oporinus, with the copy preserved at the Herzog August Bibibliothek Wolfenbüttel [hab: p 1811. 8º Helmst. (1)]). The author refutes Gilly’s hypothetical attribution to Curione’s handwriting of the many marginalia present in this copy.