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.

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Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T03:35:45Z (GMT). No. of bitstreams: 1 Basile_ThiagoVillela_M.pdf: 1409965 bytes, checksum: dec97225a696681958381ddc0b2b6fd8 (MD5) Previous issue date: 2015 / Resumo: Pretendemos, neste trabalho, verificar, no plano ético, a alusão presente em o Decameron, de Giovanni Boccaccio, ao epicurismo. Para isso, apresentamos a filosofia epicurista, especialmente o conceito de prazer e de clinâmen, para estabelecermos as bases necessárias de comparação. Observamos também a história da fortuna crítica de o Decameron, para entendermos o porquê de só recentemente haver um estudo aprofundado da moral do livro, feito por Marco Veglia, em seu La vita lieta. Em seguida, fazemos uma leitura da moldura narrativa do Decameron para demonstrarmos a alusão ao epicurismo, e, por fim, tentamos compreender que efeito isso traria para a releitura dessa obra de Boccaccio / Abstract: The purpose of this work is to present the Decameron through a philosophical perspective, by comparing the Epicurean philosophy and the narrative frame of the text. To achieve this, we present the Epicurean philosophy, especially the concept of pleasure and clinamen, to establish the necessary bases of comparison. We also take into consideration the history of literary criticism of the Decameron, to understand the reason why only recently there is an in-depth study of the book¿s moral, made by Marco Veglia, in his "La vita lieta". Then, we intend to do a reading of the Decameron narrative frame to demonstrate the allusion to Epicureanism, and finally, we try to understand what effect this would bring to the reading of this work of Boccaccio / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

The dissertation presents an annotated critical edition of Benvento da Imola's Expositio to the first of Valerius Maximus' books, flanked by a service edition of the recollectae of Benvenuto's Bolognese course (Part II). The Introduction (Part I), in addition to explaining criteria and methods of the edition, brings order within the manuscript tradition of the Expositio and the recollecte; special attention is given to those manuscripts that seem to convey an "intermediate" redaction of the commentary, which the present work seeks to attribute to the Paduan Ludovico Buzzacarini. The long-held view that a commentary on Valerius Maximus by Giovanni Conversini exists, preserved in ms. Correr 855, is also refuted. The Observations (Part III) highlight the differences between the Expositio and the recollecte and the structural features of the commentary. Part IV updates the relationships between Benvenuto, on the one hand, and Petrarch and Boccaccio, on the other, in light of quotations and mentions of the two Corone made in the commentary on Valerius Maximus, which are more often implicit than explicit. Finally, we note the complete absence of quotations from Dante and the Commedia in the Expositio, significant of the author's desire to root his exegesis in classical antiquity. / La tesi presenta un'edizione critica commentata dell'Expositio di Benvento da Imola al primo di libro di Valerio Massimo, affiancata da un'edizione di servizio delle recollecte del corso bolognese di Benvenuto (Parte II). L'Introduzione (Parte I), oltre a spiegare criteri e metodi di edizione, mette ordine all'interno della tradizione manoscritta di Expositio e recollecte; una particolare attenzione è data a quei manoscritti che paiono trasmettere una redazione del commento “intermedia”, che il presente lavoro cerca di attribuire al padovano Ludovico Buzzacarini. Viene inoltre confutata l'opinione a lungo invalsa che esista, conservato nel ms. Correr 855, un commento a Valerio Massimo di Giovanni Conversini. Le Osservazioni (Parte III) mettono in rilievo le differenze tra l'Expositio e le recollecte e i caratteri strutturali del commento. La Parte IV aggiorna i rapporti tra Benvenuto, da una parte, e Petrarca e Boccaccio, dall'altra, alla luce di citazioni e menzioni delle due Corone fatte nel commento a Valerio Massimo, più spesso implicite che esplicite. Si rileva infine la completa assenza di citazioni di Dante e della Commedia nell'Expositio, significativo della volontà dell'autore di radicare l'esegesi nell'antichità classica.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-11Bitstream added on 2014-06-13T18:39:52Z : No. of bitstreams: 1 andrade_acnb_me_sjrp_parcial.pdf: 95719 bytes, checksum: 3df7d500d44864c24a4be68472305a13 (MD5) Bitstreams deleted on 2015-06-03T11:42:38Z: andrade_acnb_me_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:05Z : No. of bitstreams: 1 000624271_20150811.pdf: 85704 bytes, checksum: df4eabdb828bcf26916aef6b650ceaea (MD5) Bitstreams deleted on 2015-08-13T15:38:50Z: 000624271_20150811.pdf,. Added 1 bitstream(s) on 2015-08-13T15:39:24Z : No. of bitstreams: 1 000624271.pdf: 913925 bytes, checksum: 67fbd808733c11535daa2794cda1953a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio / The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction

This dissertation examines representations of legal, theological, and medical modes of case thinking and case narration in the novella collections of four early modern authors: Giovanni Boccaccio (1313-1375), Marguerite de Navarre (1492-1549), Matteo Bandello (c.1485-1562), and Miguel de Cervantes (1547-1616). It further investigates how these collections perform and problematize practices of narrating and interpreting cases while framing such practices within the context of the navigation of daily news. Indeed, keen observers of the capacity of informal and formal networks to circulate information and opinions in unpredictable ways and on scales unprecedented, these authors also used the novella genre—and the polysemy of the term “novella”—to intervene in contemporary debates on the value of novelty and on the merits of popularizing expert knowledge. I argue that the early modern novella’s role as a literary mediator between professional forms of the case and popular forms of the news report was instrumental to its durable transnational European success. Over the course of this dissertation, I show how these collections depict the art of storytelling qua case narration as an essential ethical component of professional casuistries and of everyday information exchanges. I draw attention to specific professional inflections of the case-novella-news nexus, in order to highlight how each author conceives—and makes the case for—the indispensability of storytelling to spiritual and civic life. I demonstrate that a juridical approach to cases and novelty takes precedence in Boccaccio’s Decameron. I show that, in contrast, Marguerite de Navarre’s Heptaméron relies on distinctly theological conceptions of cases and news. I proceed to compare the type of moral casuistry found in the Heptaméron to that found in Matteo Bandello’s Novelle. Finally, I investigate the consequences of Cervantes’ predilection for a medical approach to case analysis, novelty, and news in his Novelas ejemplares. The broader ambition of this investigation is twofold: first, to contribute a literary and historical perspective to contemporary methodological debates on the value of case thinking in the human sciences and in the liberal professions, and second, to pave the way for an exploration of the casuistical foundations of modern journalism at a time when its epistemological and ethical priorities are sorely in need of being reassessed.