Il realismo di un nuovissimo medio evo: Boccaccio in the age of neorealism

After the war Italian artists and intellectuals saw a significant and necessary confluence between their political desire to create a "new." Italy and their cultural ambition to re-invigorate the study of medieval Italy. This tendency is particularly evident, I argue, in the post-war scholarly and critical focus on Boccaccio, and especially Boccaccio’s Decameron. Not only within the academy but also in the popular press, Boccaccio was granted pride of place in the canon, venerated as the pioneer of socially conscious vernacular literary realism, the archetype for the pursuit of artistic truth in the face of social upheaval. As a result, I wish to suggest, Italian neorealism, which rose to prominence in the first years after the Second World War, was in a significant sense imbued with and realised through a profound engagement with the work of Boccaccio. In turn, the cultural currents affiliated with neorealism influenced Boccaccio studies, whose operative notions of medieval «realism» were to a perhaps surprising degree stimulated by approaches to the neo-realist poetics at work in the Italian films, novels, and criticism of the 1940s and ’50s. Situating the critical discourse surrounding Boccaccio within the post-war Italian context can therefore serve to shed unexpected light on both the cultural affirmation of neorealism and the disciplinary configuration of Italian medieval studies.

West is east: the Irish Saracens in 'Of Arthour and of Merlin'

Among the more striking episodes in the Middle English poem Of Arthour and of Merlin is an invasion of England by, amongst others, an army of gigantic Irish pagans. Adapted from the French Estoire de Merlin, the English poem’s depiction of the Irish represents one of the more intriguing points of divergence between the two versions. Of Arthour and of Merlin paints the Irish in a highly negative light and repeatedly refers to them as ‘Saracens’. The French text, by contrast, depicts the Irish as gigantic, but it does not suggest that they are ignoble or pagan. Although, the term ‘Saracen’ was sometimes applied to non-Islamic enemies of England, such as the Vikings, this appears to be its only application to a historically Christian people dwelling west of England. This paper argues that the depiction of the Irish in the poem reflects a complex of ideas about Ireland in circulation in England in the period. In particular, the influential writings of Gerald of Wales lay great emphasis on supposed Irish heterodoxy and repeatedly link the Irish Occident with the Orient as the furthest extremities of the world, abounding in marvels but rendered barbaric by their isolation