I missionari e l’iconoclastia: la tela del Ritiro San Pellegrino by Guido Checchi

“…The third paragraph is just dedicated to him, who was an important catalan monk and followed Colombus in the second travel in 1493. …”
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Du bon usage de l'histoire en philologie: le dernier sirventès de Bertran de Born by Carla Rossi

“…</p><p>In spite of the manuscript tradition, which assigns to Bertran de Born the sirventès <em>Gent part nostre reis liouranda</em> (<em>BdT</em> 80, 18), recent criticism rejects this attribution, claiming that in 1196 the troubadour became a monk and entered the Cistercian Abbey of Dalon. A closer analysis both of the historical data at our disposal and of the expressive code used in the poem shows that the sirventès could actually be one of the last compositions of the Lord of Hautefort.…”
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The Short Chronicle of the priest Theophilactos Agorastos on the Venetian Conquest of the Morea (1683-1690) by Andrea Nanetti

“…This articles publishes and comments for the first time the autograph chronicle written in Demotic Greek prose by the Greek monk Theofilaktos Agorastos. The chronicle portraits a vivid picture of the events that between 1683 and 1690 brought to the constitution of the Venetian kingdom of Morea, which later, in 1699, was officially recognized to the Republic of Venice by the treaty of Carlowitz (Ottoman Empire, Poland, and Venice). …”
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«Caro padre mëo, de vostra laude» (Guido Guinizzelli) e «Figlio mio dilettoso, in faccia laude» (Guittone d'Arezzo): polemiche letterarie o sirventesi incrociati? by Isabel González Fernández

“…</p><p>ABSTRACT: <em>Caro padre mëo, de vostra laude</em> by Guido Guinizzelli and <em>Figlio mio dilettoso, in faccia laude</em> di Guittone d’Arezzo are two polemical essays, certainly made the second as a response to the first, to be cataloged at first sight as literary polemics, but also, due to their aggressive tone, as real «sirventesi» devoted to the aesthetic debate (Guinizzelli disdain the archaic Guittone and Guittone the new style of Guinizzelli) and the moral debate (Guinizzelli criticizes the ambiguous life of the monk of Arezzo, while Guittone condemns the impertinent tribute of the founder of the «Dolce stile»). …”
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