Dans notre thèse de doctorat, nous nous sommes occupée des interprétations visuelles et morales du Roland furieux au XVIe siècle, en prenant en considération les nombreuses éditions de l’époque, dont le riche paratexte (images, allégories, arguments) a eu un impact considérable sur leur réception « moralisée » et sur la circulation de l’ouvrage. En analysant l’interaction des éléments paratextuels, nous nous sommes concentrée principalement sur le concept de « vice peint », c’est à dire d’images des nains, de géants et d’animaux chargés d’un rôle moral important et ayant un fort impact visuel.Les éditeurs ont, en effet, consacré une attention particulière aux éléments paratextuels qui contribuent à faire du Roland furieux un ouvrage exemplaire du point de vue de la langue, du style, de la rhétorique et de l’éthique, en favorisant la canonisation du poème. Cette canonisation est par ailleurs passée par l’un des débats les plus acharnés de l’histoire littéraire italienne dans la seconde moitié du XVIe siècle. C’est par une nouvelle analyse des principaux traités de poétique et rhétorique du XVIe siècle que nous avons pu constater que les tenants de ce débat, les « classicistes » et les « modernistes », ont mis au cœur de leur diatribe la capacité de l’Arioste de rendre sous forme visuelle un concept, tout en associant cette puissance visuelle de l’écriture de l’auteur au discours moral du poème et à sa capacité de « delectare » pour pouvoir mieux « docere ». Ces résultats ont été également confirmés par deux lectures importantes du Roland furieux, faites par Campanella et Montaigne, qui nous offrent leur interprétation à la fois « visuelle » et « morale ».Nous avons aussi vérifié l'influence des éditions italiennes sur d’autres éditions réalisées au-delà des frontières de la péninsule. En suivant les étapes de la circulation du Roland furieux en France, en langue italienne, mais aussi en langue étrangère, nous avons pu trouver une confirmation de l’importance de facteurs paratextuels sur la diffusion et la réception de l’œuvre. En partant d’une approche textuelle (les éditions) et formelle (le paratexte) et en passant par une étude interprétative (l’analyse de la valeur « visuelle » et « morale » des éléments paratextuels), nous avons ainsi abouti à la constatation que, par le biais des éditions successives, le Roland furieux devient peu à peu un récipient de préceptes moraux et de fragments iconiques, fait de matériaux de récupération lui donnant une nouvelle cohérence tant au niveau rhétorique qu’artistique et éthique / In this doctoral thesis, consideration is given to Orlando Furioso and his visual and moral interpretations of the 16th century by examining the many editions of the period, whose rich paratext, images, allegorie, argomenti, has had a great impact on their ‘moralised’ reception et on the circulation of the work.By analysing the interaction of the paratextual elements, attention has been given to the concept of ‘depicted vice’, that is to say images of dwarfs, giants and animals charged with an important moral role and having a strong visual impact. Indeed, the editors have given special attention to all the paratextual elements qui make Orlando Furioso an exemplary work from the perspective of its language, style, rhetoric and ethics and these have contributed to the canonisation of the poem.Moreover, this canonisation went through one of the fiercest debates in Italian literary history in the second half of the 16th century. Through a new analysis of the principal treatises of the 16th century on poetry and rhetoric, it was possible to see that those involved in this debate, the ‘classicists’ and the ‘modernists’, have put at the heart of their diatribe Ariosto’s ability to bring a concept into a visual form, whilst at the same time associating this visual power of author’s writings with the moral discussion of the poem and its ability to ‘delectare’ in order to ‘docere’ better.These results have also been confirmed by two of the most important interpretations of Orlando Furioso by Campanella and Montaigne, whose interpretations are both ‘visual’ and ‘moral’.The influence of the Italian editions on other editions published beyond the peninsula’s border has also been verified. By following the phases in the circulation of the Italian version of Orlando Furioso in France, but also in a foreign language, it has been possible to confirm the importance of paratextual factors on the circulation and the reception of the work. Starting from a textual (the editions) and formal (the paratext) approach and moving through an interpretative study (the analysis of the "visual" and "moral" value of the paratextual elements), it is concluded that, through successive editions, Orlando Furioso gradually becomes a repository of moral guidance and iconic fragments – raw materials, giving it a new coherence in rhetoric, art and ethics.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. / El Renacimiento Europeo de los siglos XV y XVI se plantea como un vaso comunicante entre dos épocas: culmina los profundos cambios en la percepción y definición del mundo iniciados en el medioevo tardío, para así inaugurar gran parte de las preocupaciones de la modernidad, al punto de llevar a algunos autores a hablar de “primera modernidad” en tal período. Entre los cambios producidos en aquél se encuentra la revaloración del sujeto como entidad individual y libre inserta en la vita activa. Con ello, el trabajo de letrados laicos en el período aumentó notablemente, producto de las nuevas formas de instrucción pero sobre todo por la revaloración de las fuentes latinas. A partir de ello, los autores incorporaron nuevos modos de expresión y releyeron los tópicos latinos según las necesidades de los nuevos tiempos, generando un nuevo imaginario. Nuestro Seminario tomó los conceptos de Locura y Carnaval como acercamiento a esta nueva concepción, pues son precisamente aquéllos los que instauran un campo de acción para las innovaciones formales y conceptuales que propiciaron este cambio en la actitud del hombre del Renacimiento en sus expresiones culturales.

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L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte ». / The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining.

The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.

This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.

Il presente studio ha posto come obiettivo di delineare gli sviluppi della commedia plautino-terenziana nel periodo post-tridentino esaminando le commedie di Luigi Groto il Cieco di Adria (1541-1585). Il periodo di primo Cinquecento vide il «recupero» e la «reinvenzione» della commedia che partì dal modello plautino, adattando ai bisogni del tempo e del pubblico del Rinascimento. All'inizio del Cinquecento prevalse la commedia «motoria» di Plauto basata sull'intreccio, sulle beffe e sull'azione. quando la struttura della commedia iniziò a irrigidirsi, il modello pralutino venne approfondito usando elementi della «stataria», di modello terenziano, basata sullo studio dei caratteri. Tale cambiamento avvenne anche all'interno di alcuni letterati del secolo, Angelo Beolco e Pietro Aretino, entrambi fondamentali per la presente analisi. Le tre commedie in questione, composte da Luigi Groto sono molto diverse tra di loro. Ogni capitolo del presente studio analizzerà una sola commedia e ciascuna da un solo punto di vista. Il primo capitolo avrà come oggetto la proposta linguistica del Groto presentata nella sua prima commedia, intitolata La Emilia, opera di stampo chiaramente ariostesco. Nel secondo capitolo potremo conoscere il quadro offerto dal confronto di diverse concezioni della donna. Nella seconda commedia del Groto, intitolata Il Thesoro, infatti, saranno confrontate una vasta gamma di personaggi femminili, tra cui la più trasgressiva, Licinia, la giovane malmaritata. Questa commedia, chiaramente, è di stampo aretinesco. Il terzo capitolo esaminerà la struttura «hedonistica» de La Alteria, una metacommedia per eccellenza di stampo formalmente terenziano, ma con influssi dei tre maestri: Ariosto, Beolco e Aretino. / The aim of the present study is to define the development of the comedy of Plauto-Terencian origin after the Council of Trent. It will examine the comedies of Luigi Groto, comparing them with other comedies of the Sixteenth Century. There was a reinvention of the comedy based on the Plautian model in the first half of the Cinquecento. The model (called motoria), which was full of effects and lively with action, was adapted to the needs of the era and the public taste. Subsequently this model was enriched by patterns of the Terencian comedy called stataria. The stataria, differently from the motoria, gave more room to characters and to reflections of the comedy itself. Some playwrights, i.e. Angelo Beolco and Pietro Aretino, both fundamental for the study, followed this development in their plays. The three comedies that we are going to analyse, differ from each other. Every chapter is going to examine only one comedy and only from one point of view. In the first chapter, we are going to analyse the language of comedy that Groto proposed in the La Emilia (1579). This play is based on Ludovico Aroisto's elaboration of Plautus. In the second chapter, we are going to look at different perceptions of female characters in the Il Thesoro (1583), Groto's second comedy. We will see how the change in the importance of women on stage modified the other characters. In the last chapter we are going to interpret how the La Alteria (1587), based on Terence and Aretino, became a pure metacomedy, and how its hedonistic structure was influenced by Ariosto, Aretino and Beolco.

Miguel de Cervantes’s novel El Ingenioso Hidalgo Don Quijote de la Mancha Part One (1605) and Part Two (1615) has delighted readers for centuries. The literary criticism analyzing just this one product of Cervantes’s literary genius is voluminous. In particular, the novel’s structure has received significant scrutiny, and discussions regarding its unity, or lack thereof, abound. This debate rages today with Cervantine experts still espousing various theories. Puzzling over this quandary and asking why a truly convincing explanation regarding the structure has not emerged, we arrive at a partial answer. We believe that there is unity in the Quijote and that Cervantes created a unified work by ingeniously taking full advantage of the elements of both the “Byzantine” and the chivalric literary traditions, combining them in a harmonizing synthesis. Moreover, he resolved the problem of unity within variety by establishing thematic consistency throughout. The purpose of our study is to explore the confluence of the “Byzantine” and chivalric literary traditions in works that precede Cervantes and to examine how Cervantes innovatively worked with this element in the Quijote of 1605. We present a panoramic view of works written between the thirteenth and the mid-sixteenth centuries, which reveal writers’ efforts to combine, consciously or unconsciously, the various characteristics of the “Byzantine” and chivalric literary traditions. For this project, we look at six representative works written in Spanish or Italian that represent significant antecedents to the Quijote and Cervantes’s unique method of synthesizing the traditions: Libro de Apolonio, Libro del caballero Zifar, Orlando innamorato, Orlando furioso, Palmerín de Olivia, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea. We investigate each author’s approach at coupling the two traditions and determine his/her degree of success in merging them artistically to produce a coherent whole. Our analysis reveals that not only does Cervantes systematically integrate the two literary traditions in his parody, but he also skillfully devises a way to unify thematically the delightful variety in his work. To wit, Cervantes embraces the theme of literature (fiction) and life (reality) and explores the need for distinguishing judiciously between them. / text