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Questo saggio propone un percorso sul sogno dell'amata da Petrarca a Marino, considerando l'evoluzione del tema e dei suoi motivi entro le forme dell'imitatio lirica. Oltre a rendere visibili alcune 'catene' tra testi, si mettono in rilievo quei casi particolari in cui la poetica dei singoli autori dà vita a originali modellizzazioni del tema, destinate a una certa fortuna. Si tiene conto, inoltre, del modo in cui il sogno dell'amata partecipa alla dispositio di alcuni canzonieri o alla creazione di specifiche corone testuali. Come mezzo compensatorio dell'assenza dell'amata reale, il sogno è anche analizzato in quanto forma di rappresentazione, connessa ai processi dell'imaginatio e della cogitatio, ed è pertanto confrontato con altre modalità sostitutive analoghe ma non del tutto ad esso sovrapponibili, in primis il ritratto pittorico e quello mentale. Le oscillazioni tra visio e insomnium, che mettono in discussione la tassonomia medievale, l'invocazione al Sonno, che torna a essere un dio in ambito moderno, il rinnovato interesse verso i miti di Endimione e delle porte dei sogni e una ritrovata sensualità sono solo alcune delle innovazioni quattro-cinquecentesche del tema, ricollegabili talvolta all'influenza delle correnti orfiche e neoplatoniche, talvolta al repêchage di motivi classici e umanistici.
Poésie italienne --- Rêves --- Amour --- Dans la littérature. --- Dans la littérature
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The commentary of Lettere e rime which Chiara Matraini (1515-1604) published in Venice with the editor Moretti in 1597, when she was 82, intends to provide an organic analysis of the composition, of the relationship between the genres, of the modalities of the "imitatio" and of the philosophical, social and cultural substrate acting as a background in her last chansonnier. The study also focuses on her stylistic changes over a period of forty years (1555-1597), from the adherence to Petrarch and Bembo's canon to the end-of-the-century Mannerism, as well as on the counter-reformist twist characterizing a parallel writing of philosophical and devotional nature, which can be seen here between the lines. The investigation also takes the liber of Lettere e rime as a deliberately organic and structured whole in the meeting between the letters and the poems. By virtue of its 'marginality' as well, this shows a complex work, emerging together with the many afterthoughts which animated the long, almost century-long, life of the author from Lucca.
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The commentary of Lettere e rime which Chiara Matraini (1515-1604) published in Venice with the editor Moretti in 1597, when she was 82, intends to provide an organic analysis of the composition, of the relationship between the genres, of the modalities of the "imitatio" and of the philosophical, social and cultural substrate acting as a background in her last chansonnier. The study also focuses on her stylistic changes over a period of forty years (1555-1597), from the adherence to Petrarch and Bembo's canon to the end-of-the-century Mannerism, as well as on the counter-reformist twist characterizing a parallel writing of philosophical and devotional nature, which can be seen here between the lines. The investigation also takes the liber of Lettere e rime as a deliberately organic and structured whole in the meeting between the letters and the poems. By virtue of its 'marginality' as well, this shows a complex work, emerging together with the many afterthoughts which animated the long, almost century-long, life of the author from Lucca.
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The commentary of Lettere e rime which Chiara Matraini (1515-1604) published in Venice with the editor Moretti in 1597, when she was 82, intends to provide an organic analysis of the composition, of the relationship between the genres, of the modalities of the "imitatio" and of the philosophical, social and cultural substrate acting as a background in her last chansonnier. The study also focuses on her stylistic changes over a period of forty years (1555-1597), from the adherence to Petrarch and Bembo's canon to the end-of-the-century Mannerism, as well as on the counter-reformist twist characterizing a parallel writing of philosophical and devotional nature, which can be seen here between the lines. The investigation also takes the liber of Lettere e rime as a deliberately organic and structured whole in the meeting between the letters and the poems. By virtue of its 'marginality' as well, this shows a complex work, emerging together with the many afterthoughts which animated the long, almost century-long, life of the author from Lucca.
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