Inaugural dissertation, Bonn. / Issued also without thesis note. Vita. "Bibliographie": p. 161-162.

Durante o Renascimento Italiano, em meio a uma situação de guerras e de incertezas, em uma sociedade cortesã permeada de relações aparentes motivadas por interesses políticos e pessoais, surge o Orlando Furioso, uma novela de cavalaria trabalhada durante quase trinta anos por Ludovico Ariosto, literato da corte de Ferrara que dedica seu poema a Ippolito dEste, seu senhor e mecenas. Embora se trate de uma novela de cavalaria. Ariosto deixa nela marcas que nos ajudam a entender um pouco da sociedade em que autor e obra estavam inseridos, por meio, sobretudo, das reflexões do narrador, o qual se coloca como personagem pertencente a uma sociedade historicamente determinada. Essa mistura espácio-temporal acaba concedendo um caráter paródico ao texto ariostesco. Diante disso, nosso estudo tem como objetivo analisar o comportamento contraditório da voz narrativa (que ora se mostra onisciente, ora se compara aos cavaleiros carolíngios errantes) e da principal personagem feminina do Furioso, Angélica, buscando relacionar tal comportamento com o meio social em que se dá a composição da obra e ao qual o próprio narrador demonstra pertencer / During Italian Renaissance, in the midst of a war situation and uncertainties, in a courtesan society permeated with apparent relationships motivated by political and personal interests comes Orlando Furioso, a novel of chivalry worked for nearly thirty years for Ludovico Ariosto, literati at the court of Ferrara, who dedicates his poem to Ippolito dEste, his master and patron. Despite being a novel of chivalry, Ariosto leaves marks on it that help us understand a little of the society in which author and work were inserted through mainly reflections of the narrator which arises as historically determined character; this spatiotemporal mixture just granted a parodic character to the text of Ariosto. Before that, our study aims to analyze the ambiguous behavior of narrative voice (that either shows itself omniscient, or compares itself to Carolingian knights errant) and the main female character of the Furioso, Angelica, seeking to relate such behavior to the social environment in which it gives the composition of the work to which the narrator demonstrates belong

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.

Durante o Renascimento Italiano, em meio a uma situação de guerras e de incertezas, em uma sociedade cortesã permeada de relações aparentes motivadas por interesses políticos e pessoais, surge o Orlando Furioso, uma novela de cavalaria trabalhada durante quase trinta anos por Ludovico Ariosto, literato da corte de Ferrara que dedica seu poema a Ippolito dEste, seu senhor e mecenas. Embora se trate de uma novela de cavalaria. Ariosto deixa nela marcas que nos ajudam a entender um pouco da sociedade em que autor e obra estavam inseridos, por meio, sobretudo, das reflexões do narrador, o qual se coloca como personagem pertencente a uma sociedade historicamente determinada. Essa mistura espácio-temporal acaba concedendo um caráter paródico ao texto ariostesco. Diante disso, nosso estudo tem como objetivo analisar o comportamento contraditório da voz narrativa (que ora se mostra onisciente, ora se compara aos cavaleiros carolíngios errantes) e da principal personagem feminina do Furioso, Angélica, buscando relacionar tal comportamento com o meio social em que se dá a composição da obra e ao qual o próprio narrador demonstra pertencer / During Italian Renaissance, in the midst of a war situation and uncertainties, in a courtesan society permeated with apparent relationships motivated by political and personal interests comes Orlando Furioso, a novel of chivalry worked for nearly thirty years for Ludovico Ariosto, literati at the court of Ferrara, who dedicates his poem to Ippolito dEste, his master and patron. Despite being a novel of chivalry, Ariosto leaves marks on it that help us understand a little of the society in which author and work were inserted through mainly reflections of the narrator which arises as historically determined character; this spatiotemporal mixture just granted a parodic character to the text of Ariosto. Before that, our study aims to analyze the ambiguous behavior of narrative voice (that either shows itself omniscient, or compares itself to Carolingian knights errant) and the main female character of the Furioso, Angelica, seeking to relate such behavior to the social environment in which it gives the composition of the work to which the narrator demonstrates belong

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O presente trabalho tem como objetivo destacar a importância da presença do personagem de cavalaria Orlando nas relações intertextuais que existem entre a obra de Italo Calvino e os clássicos da literatura italiana. Para tanto elaborou-se um histórico do personagem ao longo dessa tradição literária desde as canções de gesta até O Castelo dos Destinos Cruzados, tendo em vista o levantamento de características comuns entre as obras e os temas do amor e da loucura, que demonstram como tais variantes são retomadas ou modificadas ao longo do tempo, ou seja, a seleção dos elementos que apontam para uma reescritura da tradição literária cavaleiresca italiana. Mais especificamente foram analisados três poemas: La Chanson de Roland (1100), Orlando innamorato (1483) e Orlando furioso (1516), e duas narrativas escritas por Italo Calvino, La pazzia dOrlando, publicada no livro Orlando Furioso raccontato da Italo Calvino (1970), e História de Orlando louco de amor, em O castelo dos Destinos Cruzados (1973). / This study aims to show the importance of the presence of the cavalry character Orlando in an intertextual relation between Italo Calvinos literary work and the Italian literary classics. In order to reach this goal we elaborate the character history through out this literary tradition from the chanson de geste to The Castle of Crossed Destinies, regarding to mapping common features between the literary works and the literary topic of love and madness, that demonstrate how those variants are resumed or modify over time, in other words, the selection of elements that point to a rewriting of the Italian cavalry literary tradition. More specifically we analyzed three poems from the literary tradition: La Chanson de Roland (1100), Orlando innamorato (1483), Orlando furioso (1516), and two narratives written by Italo Calvino, La pazzia dOrlando, published in Orlando Furioso raccontato da Italo Calvino (1970), and Storia dellOrlando pazzo per amore, in the book The Castle of Crossed Destinies (1973).

O presente trabalho tem como objetivo destacar a importância da presença do personagem de cavalaria Orlando nas relações intertextuais que existem entre a obra de Italo Calvino e os clássicos da literatura italiana. Para tanto elaborou-se um histórico do personagem ao longo dessa tradição literária desde as canções de gesta até O Castelo dos Destinos Cruzados, tendo em vista o levantamento de características comuns entre as obras e os temas do amor e da loucura, que demonstram como tais variantes são retomadas ou modificadas ao longo do tempo, ou seja, a seleção dos elementos que apontam para uma reescritura da tradição literária cavaleiresca italiana. Mais especificamente foram analisados três poemas: La Chanson de Roland (1100), Orlando innamorato (1483) e Orlando furioso (1516), e duas narrativas escritas por Italo Calvino, La pazzia dOrlando, publicada no livro Orlando Furioso raccontato da Italo Calvino (1970), e História de Orlando louco de amor, em O castelo dos Destinos Cruzados (1973). / This study aims to show the importance of the presence of the cavalry character Orlando in an intertextual relation between Italo Calvinos literary work and the Italian literary classics. In order to reach this goal we elaborate the character history through out this literary tradition from the chanson de geste to The Castle of Crossed Destinies, regarding to mapping common features between the literary works and the literary topic of love and madness, that demonstrate how those variants are resumed or modify over time, in other words, the selection of elements that point to a rewriting of the Italian cavalry literary tradition. More specifically we analyzed three poems from the literary tradition: La Chanson de Roland (1100), Orlando innamorato (1483), Orlando furioso (1516), and two narratives written by Italo Calvino, La pazzia dOrlando, published in Orlando Furioso raccontato da Italo Calvino (1970), and Storia dellOrlando pazzo per amore, in the book The Castle of Crossed Destinies (1973).

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.

L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique. / Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model.