This thesis has examined the individual accomplishments of Geoffrey Chaucer and Giovanni Boccaccio in terms of their parallel characters and stories. The Chaucerian works used in this study are three stories from The Canterbury Tales: The Knight’s Tale, The Franklin’s Tale, and The Clerk’s Tale. Chaucer’s art of story telling, as exhibited within these stories, has been directly compared to parallel characters and plots taken from the works of Giovanni Boccaccio: The Teseida, The Filocolo, and The Decameron. A direct comparison of Chaucer’s method in creation of character, suspense, and plot to those of Boccaccio has allowed a true estimate of the value of both authors.In addition, it has been possible to examine what Chaucer and Boccaccio found in separate sources but wished to treat differently, what Chaucer saw directly in the works of Boccaccio and wanted to change, and the method of treatment as related to the maturation of the separate writers.

Made available in DSpace on 2015-05-14T12:39:39Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1271241 bytes, checksum: e90695252713a7a6618d41ae69a376cb (MD5) Previous issue date: 2012-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / La presente investigación tiene el objetivo de realizar una análisis comparativa entre las personajes Peronella y Sinhá Rita, heroinas, respectivamente, del segundo cuento de la séptima jornada del Decameron, de Giovanni Boccaccio, y del cuento O caso da vara, de Machado de Assis. Nos basamos en la tipología del personaje propuesta por George Lukacs en la obra La teoría del romance, tentaremos demonstrar que las dos personajes corresponden al tercero tipo de personaje: lo de la madurez. Además, buscaremos identificar los elementos que caracterizan el anima y el mundo exterior de estas personajes y, en consecuencia, el conflicto que ellas vivencían y la manera encontrada para su adaptación a las adversidades del mundo. / A presente pesquisa tem a finalidade de realizar uma análise comparada entre as personagens Peronella e Sinhá Rita, heroínas, respectivamente, do segundo conto da sétima jornada do Decameron, de Giovanni Boccaccio, e do conto O caso da vara, de Machado de Assis. Baseando-nos na tipologia da personagem proposta por Georg Lukács na obra A teoria do romance, tentamos demonstrar que a caracterização das duas personagens corresponde ao terceiro tipo de personagem lukacsiano: o da maturidade. Além disso, procuramos identificar os elementos que caracterizam a alma e o mundo exterior destas personagens e, consequentemente, o conflito que elas vivenciam e a maneira que elas encontram para se adaptarem às adversidades do mundo.

A presente dissertação tem como objetivo principal a tradução e o estudo da Charakteristik, caracterização, escrita por Friedrich Schlegel sobre Giovanni Boccaccio, chamada Nachricht von den poetischen Werken des Johannes Boccaccio, Relato sobre as obras poéticas de Giovanni Boccaccio, de 1801, bem como o estabelecimento de sua importância para a teoria da forma narrativa breve denominada Novelle. O estudo preliminar que antecede o trabalho é dividido em duas partes, nas quais buscamos entender a importância da teoria crítica de Friedrich Schlegel, iluminar as peculiaridades da caracterização traduzida, e descrever os principais procedimentos do crítico e filósofo alemão. No estudo também procuramos analisar as teorias sobre a novela do período conhecido como primeiro romantismo alemão, tentando definir a contribuição de Friedrich Schlegel para estas teorias, e esclarecer certos aspectos de sua recepção por parte da crítica literária ocidental. A principal hipótese que formulamos é a de que a caracterização de Schlegel é um exemplo de hermenêutica literária capaz de mesclar a análise filosófica, filológica e poética em uma abordagem histórica. Desta forma, os elementos extrínsecos e intrínsecos da obra literária seriam vistos como um todo orgânico. Esta obra de arte crítica, como Schlegel costumava definir sua Charakteristik, representaria tanto o sensus spiritualis, como o sensus literalis, contemplando, em sua letra e em seu espírito, a tendência [Tendenz] da obra, que seria o resultado da análise crítica progressiva, divinatória e universal do fenômeno literário. / The main purpose of this dissertation is the translation and study of the Charakteristik characterization, written by Friedrich Schlegel about Giovanni Boccaccio, called Nachricht von den poetischen Werken des Johannes Boccaccio, Note on the poetic works of Giovanni Boccaccio, from 1801, as well as to establish its importance for the theory of the short prose narrative called Novelle. The preliminary study prior to the translation has been separated in two parts, in which we aim at understanding the importance of Friedrich Schlegels critical theory, highlight the peculiarities of the translated characterization, and describe the main procedures of the German critic. At the study we also seek to analyze the theories about the novelle from the period known as the early German romanticism, trying to define the contribution of Friedrich Schlegel for these theories, and clarify certain aspects of his reception by the Western literary criticism. The main hypothesis we formulate is that Schlegels characterization is an example of literary hermeneutics, capable of mixing a philosophical, philological and poetic analyze within a historical approach. This way, the intrinsic and extrinsic factors of the literary artwork would be seen as an organic whole. This critical artwork, as Schlegel used to define his Charakteristik, would stand for the sensus spiritualis as well as for the sensus literalis, contemplating, in its letter and spirit, the tendency [Tendenz] of the work, which would be the result of a progressive, divinatory and universal critical analyze of literary phenomenon.

Orientador: Isabella Tardin Cardoso / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T00:04:04Z (GMT). No. of bitstreams: 1 Juliani_TalitaJanine_M.pdf: 1830266 bytes, checksum: f1e4ae2eabafbc7da8469937152c8f42 (MD5) Previous issue date: 2011 / Resumo: Nossa pesquisa apresenta uma tradução parcial do De Claris Mulieribus, catálogo de biografias femininas escrito por Giovanni Boccaccio entre 1361-1362. A tradução, que é a primeira da obra no Brasil, compreende Dedicatória, Proêmio e as 40 primeiras biografias constantes da obra, e é acompanhada de um estudo introdutório, composto por três capítulos. O primeiro capítulo visa oferecer breves dados a respeito da formação do autor certaldense e do ambiente cultural de seus leitores coevos - com destaque à sua relação com a literatura greco-romana, bem como um panorama de sua produção, tanto vernácula quanto latina. No segundo capítulo, por sua vez, buscamos localizar a obra em apreço dentre as produções latinas boccaccianas, e discorrer sobre sua estrutura e composição. Por fim, no Capítulo III, guiando-nos por metodologia intertextual, dedicamo-nos brevemente à relação do texto da obra De Claris com outros textos. Nesse âmbito, como amostra da riqueza de sentidos, uma análise de biografias boccaccianas (Tisbe XIII, e Medeia XVII) será elaborada a partir de sua relação com excertos de Ovídio / Abstract: Our research presents a partial translation of De Claris Mulieribus, a collection of female biographies written by Giovanni Boccaccio between 1361-1362. The present translation, which is the very first one of its kind in Brazil, comprises Dedication, Preface and the first 40 biographies contained in his work, and it is followed by an introductory study composed of three chapters. The first chapter aims to provide concise data regarding the formation of the Italian author from Certaldo and the cultural environment of his coeval readers, focusing on his relation with the Greco-Roman literature, as well as an overview of his production, both vernacular and Latin. In the second chapter, we intended to position the work in appreciation within Boccaccian's Latin productions, and also to consider its structure and composition. Finally, in Chapter III, guided by intertextual methodology, we had briefly dedicated ourselves to the relation of the text of De Claris work with other texts. In this scope, as an illustration of the richness of meanings, an analysis of the Boccaccio's biographies (Thisbe XIII and Medea XVII) will be elaborated from its relation with excerpts from Ovid / Mestrado / Linguistica / Mestre em Linguística

Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. My analysis considers how masquerade in this way (travestimento) — or in its more radical form of cross-dressing (travestitismo) — paradoxically offers access to the more authentic aims of the protagonists. Although critics have written on deception in the Decameron, they have not dealt thoroughly with the trope of masquerade and have altogether ignored the concept of transvestism. Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World advances our understanding of gender and identity in Boccaccio’s work to show that his ideas may help us understand not only the Middle Ages, but also our own epoch.

This study brings together the works of Giovanni Boccaccio (1313-1375) and Gratian’s Decretum, the 12th-century textbook that became foundational to the teaching of medieval canon law. Boccaccio studied canon law for six years, and the Church’s legal system deals with many of the issues that interested Boccaccio: marriage, sexuality, adultery, consent, coercion, and gendered forms of violence. Boccaccio and Gratian each showed close attention to women’s interior perspectives and a marked emphasis on the importance of consent. This dissertation illuminates the intertextual connections between Boccaccio’s works and Gratian’s Decretum, and argues that Boccaccio understand the law much better than has previously been recognized. In fact, Boccaccio’s most perceptive insights on the nature of debt, obligation, and consent derive from legal sources. The first chapter of this project introduces the figures of Boccaccio and Gratian. Boccaccio’s own works and a few surviving documents attest to his years of legal study in Naples as well as his lifelong engagement with the law, both in politics and his personal life. Little is known of Gratian’s biography, but his Decretum became a standard teaching tool in the curriculum of canon law. Boccaccio undoubtedly read the Decretum, and the following chapters show the extent to which its innovative cases and viewpoints influenced him. Chapter 2 begins with the “conjugal debt,” the idea in canon law that spouses incur a mutual sexual obligation by virtue of being married. Boccaccio expands the concept of sexual debt to include metaphorical usury and theft, drawing on medieval economic theory and offering an economic model of human relationships. Though Boccaccio’s view is transactional, it does not reduce human beings to commodities; rather, the economic system expresses relationships of trust and obligation. Chapter 3 extends the legal-economic discourse to several stories in the Decameron that deal with adulterous relationships, demonstrating that Boccaccio’s idiosyncratic application of legal theories is nevertheless solidly grounded in his reading of canon law. Chapter 4 focuses on Boccaccio’s treatment of consent in matters of marriage and legislation. Relying heavily on Gratian’s treatment of error and mistaken identity, as well as the legal principle of quod omnes tangit, Boccaccio argues for women’s right to offer informed consent to decisions that concern them. Chapter 5 continues the discussion of consent in the context of sexual violence, exploring the idea of vis (force) in Gratian’s Decretum as well as Boccaccio’s Decameron and Ninfale fiesolano. Canon law emphasizes women’s right to consent to marriage; Boccaccio extends this principle to matters of sex and violence, recuperating the power of women’s consent in an area where medieval law often faltered.

Submitted by MIRIAN SALVESTRIN null (miriansalvestrin@yahoo.com.br) on 2017-03-09T02:54:46Z No. of bitstreams: 1 Dissertacao_VERSAO_FINAL_Mirian_Salvestrin_Bonetto.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-14T16:43:39Z (GMT) No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Made available in DSpace on 2017-03-14T16:43:39Z (GMT). No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) Previous issue date: 2017-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem obrigatoriamente a sexualidade, mas eles não desejam renunciar efetivamente a esse aspecto que é inerente à vida humana. / One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio’s treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle’s rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life. / CAPES: 3300415-3

Ce travail vise à tracer l’évolution de la question des « erreurs » de Boccace, du XVIe siècle jusqu’à nos jours, selon différentes approches : historique, ecdotique, linguistique et stylistique. Le travail se compose d’un premier chapitre divisé en trois sous-parties. Les deux premières sont consacrées à la perception du modèle de Boccace pendant les querelles linguistiques du XVIe siècle. La troisième vise à réfléchir sur la façon dont les lettrés de l’époque ont associé la définition d’ « erreurs » à la syntaxe du Décaméron.Nous nous attarderons sur les commentaires de Ruscelli, Borghini, Salviati et Beni. Le deuxième chapitre porte sur la tradition manuscrite du Décaméron et sur les propositions ecdotiques les plus récentes émises par les philologues modernes. Le troisième chapitre est entièrement consacré à la description des phénomènes de répétition de « che », du « che » suivi d’un infinitif, de la parahypotaxe et de la coordination entre subordonnées aux modes personnels et impersonnels, selon une approche comparative en italien ancien et ancien français. Le dernier chapitre se propose de réfléchir sur la présence (et l’absence) de ces constructions syntaxiques dans le Décaméron, afin de comprendre les choix de Boccace écrivain, selon les contextes d’élocution et les niveaux diégétiques des nouvelles. / The present work aims to describe the evolution of Boccaccio’s “mistakes” from 16th century on through the use of different approaches (namely historical, ecdotic, linguistic, and stylistic). The dissertation starts with a chapter divided in three sections: the first two sections deal with the perception of Boccaccio’s model in the linguistic controversy characterizing the 16th century. The third section analyses how the syntax of the Decameron came to be considered incorrect by scholars of the time.I will concentrate on the commentaries by Ruscelli, Borghini, Salviati and Beni. The second chapter is about the manuscript tradition of the Decameron and on the most recent ecdotic theories formulated by modern philologists on the issue. In the third chapter I focus on such linguistic phenomena as the repetition of “che”, para-hypotaxis, “che” followed by the infinitive, and the coordination between dependent clauses with both finite and nonfinite verbs. In this part of my dissertation, I make use of a comparative method, bringing together Old Italian and Old French. In the last chapter I intend to reflect on the presence (and absence) of these linguistic phenomena in the Decameron, in order to understand Boccaccio’s writing choices, and taking into account other elements such as elocution and the different diegetic levels acting in the novellas.

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