Auctoritas in the Proses of the Vulgar Language by Vincenzo PARDO, Alberto MANCO R

“…In the Prose della volgar lingua, Bembo chose Petrarch’s language as the perfect model to imitate in order to make the Italian “vulgar” intelligible. …”
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Emanuele Casamassima storico della scrittura e del libro by Stefano Zamponi

“…The following topics are discussed: - cataloguing manuscripts according to different models (analytical, short, shared descriptions) - restoration of manuscript and printed books - palaeographic doctrines from the late Middle Ages to the Renaissance - importance of sixteenth-century Italian writing masters for the study of the history of handwriting - aspects of the history of the handwriting in the late Middle Ages (the writing of Petrarch and Boccaccio; the humanistic graphic reform) - palaeography as a study of graphic structures, with a focus on the cursive tradition, especially during the Roman age (1st-4th centuries) and in the Middle Ages (10th-13th centuries).…”
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El soneto CXLVIII de Tetrarca traducido por Enrique de Villena: ¿original o traducción? by Joaquín Rubio Tovar

“…The translation of the sonnet which appears on pages 195-198 of the Manuscript 10186 held at the National Library in Madrid is perhaps the first trace of Petrarch’s Canzoniere in Spanish. The exegesis which accompanies this manuscript provides some ideas and concepts which help us to understand the literature written between 1400 and 1430. …”
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The Birth of Artist-Authors and the <em>negozio dell’inestimabile</em> by Corinne Lucas Fiorato

“…Already in the fourteenth century, poets such as Dante and Petrarch were unanimously considered Authors, while visual artists still had to strive hard, in the following century, to gain such recognition. …”
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I “gravissimi autori” del “Fuggilozio” by Sandra Carapezza

“…At the top of the hierarchy there stands a triad (Aristotle, Seneca and Petrarch) representing the three cultures; but the survey also shows some reluctance to rely upon recent names, as well as the surprising absence of the most renowned classical figures. …”
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Per un Diverso Decameron by Renzo Bragantini

“…It is a well known fact that Boccaccio’s The Decameron has been strongly influenced by Dante’s The Divine Comedy and Petrarch’s The Canzoniere. Yet, such an influence, particularly as Dante is concerned, is generally considered a symptom of Boccaccio’s veneration for his great predecessor. …”
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Curial e Güelfa y la prosa corta alegórica: Los Triunfos de Petrarca en la narrativa en catalán del XV by Roxana Recio

“…En este sentido, es remarcable la inspiración que supuso el Triunfo del Amor, para el autor anónimo del Curial e Güelfa, aunque también se pueden encontrar rastros en otras obras. The Trionfi of Petrarch enjoyed a wide circulation in Europe, influencing not only in literature. …”
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'Translatio studii' e 'translatio imperii.' Appunti per un percorso by Enrico Fenzi

“…This interpretation had strong nationalistic connotations, which were opposed by the great cultural utopia of the Italian humanism and its ‘dream’ (as Rico called it), and its greatest and most tireless interpreter, Petrarch.…”
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Antologizzare il proprio passato. Macrostrutture liriche e temporalità del lutto by Francesco Giusti

“…The article starts from certain theoretical reflections and an overview of the two fundamental models provided by Dante’s Vita Nova and Petrarch’s Canzoniere in order to focus on some poems from two contemporary Italian canzonieri in morte: Eugenio Montale’s Xenia (in Satura, 1971) e Milo De Angelis’ Tema dell’addio (2005). …”
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Tiempo y espacio en un cancionero petrarquista: <i>Algunas obras</i> de Fernando de Herrera by Lía Schwartz

“…Abstract The dialogue time-space in Algunas obras as recreation of a main feature of Petrarch’s Rime sparse and later canzonieri. Like his sources, Herrera builds a temporal dimension of this conception of love playing, with the disposition of poems in his collection, alluding thus to the duration of love, while at the same time he confering a spatial dimension to time.…”
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Facets of love in renaissance culture by José Eliézer Mikosz, Teresa Lousa

“…The theme of love finds a fertile narrative in the Renaissance, present in the poetry of Dante, Petrarch, and Colonna, which will greatly influence the visual arts. …”
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Horacio cristiano. El De musica de San Agustín en la obra poética de fray Luis de León by Séverine Delahaye-Grélois

“…These were widely used by all Renaissance poets, following Petrarch’s example, but are unrecognized because they were usually not included in poetic treatises. …”
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L’immagine onirica come ‘feticcio’ dell’Eros. Uno sguardo sulla lirica del Rinascimento, tra Italia e Spagna by Cristina Acucella

“…Attention has been paid to the differences with the Petrarch RVF, as well as to the manner of reinventing and reinterpreting the theme of the maestros italianos by Spanish Petrarchism.…”
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Georges Mounin, pionnier de la traductologie française by Christian Balliu

“…Georges Mounin was indeed first of all a field man, who translated Dante, Petrarch, Machiavelli or Pasternak. …”
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From Sicily with Love: Does the Sonnet make you an offer you can’t refuse? by Samya Brata Roy

“…For convenience, I have limited my sample size to four poems by poets who I consider to be representational: Petrarch, Shakespeare, Milton and Hopkins. It does come from Sicily, and apparently, with ‘Love’ but does it stay like that? …”
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From pain to pleasure: The troping of elegy in the renaissance Italian madrigal by Medić Milena

“…The aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch’s, Torquato Tasso’s, and Battista Gurini’s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance. …”
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Middle Ages University: context of intellectual and cultural traditions. Part II by M.A. Kornienko

“…Fine literature fades into the background in comparison with theology and scholastic philosophy, interest in it is muted (the situation will be changed by the 14th century, a century of high style, fruitful for philosophy and theology, which prepared the intellectual upheaval of the 15th and 16th centuries, associated with the name of Petrarch, «prince of eloquence»). The role and specifics of lectures and disputes are revealed, the potential of commenting and questioning methods (quaestio) in university education of the Middle Ages is characterized.…”
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“Chiosar con altro testo”. Le Tre Corone per un commento rinascimentale ai “Topica” di Cicerone by Guglielmo Barucci

“…Infine, analizzando il differente approccio delle due opere, si suggerisce che il commento risponda alla Topica di Giulio Camillo, per quanto ancora inedita.In 1556, the printer Gabriel Giolito published a commentary written by Pompeo della Barba on Cicerones’ Topica, whose main feature was an exemplification based on Dante, Petrarch and Boccaccio. The article investigates the cultural milieu of the commentator, illuminating how Pompeo conformed to the cultural programs of translation, popularization and tutelage of the Tuscan volgare typical of Cosimo’s circle. …”
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Ut pictura poësis. L’iconografia del Cupido Giustiniani di Caravaggio e la poesia classica by Luigi Agus

“…Art historians have proposed different readings of this work, from those they consider the objects surrounding Amor symbols that refer to the arts of the quadrivium, but incompletely; others that make it generically included among the emblematic paintings or connect it to the patron whose intellectual and military qualities it would exalt; still others connect it to the Trionfi of Petrarch or to the poetry of the same period, or give it a soteric value linked to the reformed Catholic doctrines; finally, some identify a homoerotic matrix linked to the author or even to the client's environment. …”
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Allegory of the self: Boccaccio's Buccolicum carmen by De Oliveira Fonseca Junior, A

“…Reflecting Boccaccio’s theoretical approach towards pagan literature, developed especially in the Genealogie deorum gentilium (ca. 1359–74), the Buccolicum engages with the classical tradition, and particularly with Virgil’s Eclogues, to support an autofictional narrative of conversion. In the wake of Petrarch’s own Bucolicum carmen, Boccaccio presents the pastoral world as the earthly world of temporary pleasures, sin and sorrow. …”