Italian literature finds a primary way of expression in words of love concerning women frequently subjected to a process of sublimation. This is illustrated in the works of the poets of Frederick II’s Sicilian court, Dante and Cavalcanti’s Stil novo, Petrarch’s poems and Boccaccio’s novellas, including Angelica’s figure in the Orlando furioso by Ariosto. This course covers the decisive texts, placing them in context within the specific scientific and philosophical culture of the various periods. In particular, the relation between the conception of love and the view of life is examined.
Prerequisites:
None
Attendance policy:
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
Learning outcomes:
By the end of the course, students are able to:
Identify the main themes of important Italian literary works of the Middle Ages and Humanism
Place the decisive texts in context within the specific scientific and philosophical culture of the various periods
Analyze the relation between the conception of love and the view of life
Develop skills to critically evaluate Italian literature in the historical and cultural context
Method of presentation:
Lectures, discussions, textual analysis
Required work and form of assessment:
Active class participation and class discussions (15%); written midterm exam in the form of essay-style answers (25%); final 5-7 page research paper in Italian on a topic chosen by student (contingent on professor authorization) (25%); written final exam in the form of essay-style answers (35%).
content:
The page numbers refer to the course packet
WEEK 1: THE SICILIAN SCHOOL. AN INTELLECTUALISTIC LOVE
First of all, an essential reference of Italian literature of the Duecento, that is Provençal poetry, is examined, reading in particular a poem by Guglielmo d’Aquitania and considering the treatise De Amore by Andrea Cappellano. Afterwards, starting from the classic interpretation given by Francesco De Sanctis, the intellectualistic perspective of this school is discussed through two poems by Giacomo da Lentini.
Readings:
• Guglielmo d’Aquitania, “Per la dolcezza della nuova stagione” (poem, p. 2).
• Andrea Cappellano, “De Amore” (treatise, pp. 3-4).
• Giacomo da Lentini, “Meravigliosamente” and “Io m’aggio posto in core a Dio servire” (poems, pp. 5-8).
• Francesco De Sanctis, “Storia della letteratura italiana,” 1870-1871 (critical essay, p. 9).
WEEKS 2-3: THE STIL NOVO (EXCLUDING DANTE). A SCIENTIFIC AND PHILOSOPHICAL LOVE
The starting point is a poem by Guido Guinizzelli: in this precursor text it is possible to find the philosophical and scientific essence of Stil novo itself. Afterwards, the coexistence, and at the same time the splitting, between sublimation of love and recognition of its destructive strength are examined, reading poems by Guido Cavalcanti and referring to the interpretation of classical and medieval love as illness proposed by Massimo Ciavolella.
Readings:
• Guido Guinizzelli, “Al cor gentil rempaira sempre amore” (poem, pp. 11-13).
• Guido Cavalcanti, “Voi che per li occhi mi passaste il core,” “Donna me prega,” “Noi siàn le triste penne isbigottite” and “Perch’io no spero di tornar giammai” (poems, pp. 14-22).
• Massimo Ciavolella, “La ‘malattia d’amore’ dall’Antichità al Medioevo,” 1976 (critical essay, pp. 23-25).
WEEKS 4-5: FROM THE VITA NUOVA TO THE COMMEDIA BY DANTE. BEATRICE AND THE ELEVATION OF THE SOUL
Some general references about Dante’s life and works precede the indication of the structure of the Vita nuova, with particular attention to the various phases of sublimation to which Beatrice, as elevating figure, is subjected. A canzone and a sonnet included in this work are read, referring, for the second text, to the interpretation given by Gianfranco Contini. In contrast, the reading of a poem included in the Rime permits the confrontation with a harsh love. The passage from the angel-like Beatrice of the Vita nuova to the proper woman-angel Beatrice of the Commedia is discussed, focusing on Inferno II and Purgatorio XXX. The investigation of Beatrice’s role proposed by Charles S. Singleton is also considered in relation to Erich Auerbach’s reflections on the importance of Christian figural conception in Dante’s universe.
Readings:
• Dante Alighieri, “Vita nuova” (prose and poetry): “Donne ch’avete intelletto d’amore” and “Tanto gentile e tanto onesta pare” (poems, pp. 27-30).
• Gianfranco Contini, “Esercizio d’interpretazione sopra un sonetto di Dante,” 1947, pp. 31-32.
• Dante Alighieri, “Rime” (poems): “Così nel mio parlar vogli’esser aspro”, pp. 33-36.
• Dante Alighieri, “Commedia” (poem): “Inferno,” canto II (lines 1-142, pp. 37-45) and “Purgatorio,” canto XXX (lines 22-54, pp. 51-52).
• Charles S. Singleton, “La poesia della Divina Commedia,” 1978 (critical essay, pp. 46-48).
• Erich Auerbach, “Farinata e Cavalcante,” 2000 (critical essay, pp. 63-68).
WEEKS 6-7: THE CANZONIERE BY PETRARCH. LAURA AND THE INNER CONFLICT
Indication of the structure of the Canzoniere follows some general references about Petrarch’s life and works. Referring to the interpretations given by Marco Santagata and Hugo Friedrich, fundamental questions connected with the representation of the sublimated woman, notably the need of religious repentance, the historical and individual value of solitude, the importance of memory, the correspondence between landscape and state of mind, the idea of beauty and the role of Laura’s death, are examined through some decisive texts. These questions are mainly considered in relation to Petrarch’s concentration on a continuous inner conflict, in order to define the literary model itself proposed by his poetry.
Readings:
• Francesco Petrarca, “Canzoniere” (poems): “Voi ch’ascoltate in rime sparse il suono,” I; “Solo et pensoso i più deserti campi,” XXXV; “Erano i capei d’oro a l’aura sparsi,” XC; “Chiare, fresche et dolci acque,” CXXVI; “In qual parte del ciel, in quale ydea,” CLIX; “Levommi il mio penser in parte ov’era,” CCCII, pp. 70-72, 75-82.
• Marco Santagata, “Dal sonetto al Canzoniere,” 1979 (critical essay, pp. 83-84).
• Hugo Friedrich, “Epoche della lirica italiana,” 1964 (critical essay, pp. 73-74). Midterm Exam (week 7)
WEEK 8: SPRING BREAK
WEEKS 9-10: THE DECAMERON BY BOCCACCIO. A NATURAL LOVE
Some general references about Boccaccio’s life and works precede the indication of the structure of the Decameron. The consideration of the Introduction to the Fourth Day shows Boccaccio’s idea of love as natural affection in relation to the insistence on the concreteness of life, but also on a new conception of art. Afterwards, referring to the interpretation given by Carlo Muscetta and Vittore Branca, the possibility of a direct expression of the rights of love by a woman, as well as the representation of another woman who symbolizes the patience of love, are examined through a novella of the Fourth Day itself and the last novella of the work.
Readings:
• Giovanni Boccaccio, “Decameron” (fiction): “Introduction” to the Fourth Day; novella of Tancredi and Ghismunda, IV, 1; novella of Griselda, X, 10, pp. 86-96, 98-106.
• Carlo Muscetta, “Giovanni Boccaccio e i novellieri,” 1987 (critical essay, p. 97).
• Vittore Branca, “Boccaccio medievale e nuovi studi sul ‘Decameron’,” 1990 (critical essay, pp. 107-108).
WEEKS 11-12: THE ORLANDO FURIOSO BY ARIOSTO. A MAD LOVE
Indication of the structure of the Orlando furioso, with particular attention to the traits that characterize the genre of chivalric poem, follows some references about Ariosto’s life and works. The consideration of the first canto permits a primary confrontation with a combination of love dimension and war dimension, as well as with Angelica’s figure. Afterwards, referring to the interpretations given by Sergio Zatti, Benedetto Croce and Walter Binni, essential questions connected with the representation of this shifty figure, notably the weight of epic elements compared to that of romance elements, and the relationship between love, madness, and the definition of harmony, are examined through some decisive episodes.
Readings:
• Ludovico Ariosto, “Orlando furioso” (poem): canto I (1-2, pp. 110-111), canto XII (4-22, pp. 117-121), canto XXIII (129-136, pp. 122-124), canto XXIV (1-3, pp. 124-125), canto XXXIV (81-87, pp. 126-128).
• Benedetto Croce, “Ariosto,” 1927 (critical essay, pp. 129-130).
• Sergio Zatti, “Il Furioso tra epos e romanzo,” 1990 (critical essay, pp. 130-131).
• Walter Binni, “Metodo e poesia in Ludovico Ariosto,” 1947 (critical essay, pp. 132-133).
WEEK 13: OTHER PERSPECTIVES
Love poetry by female authors; critical analysis of a feministic approach to men’s poetry; homoerotic strains.
Readings:
• Vittoria Colonna, “Rime” (poems): “Pria d’esser giunta al mezzo in l’erta strada” and “Sperai che ‘l tempo i caldi alti desiri”, pp. 135-136.
• Gaspara Stampa, “Rime” (poems): “Rimandatemi il cor, empio tiranno,” “Conte, dov’è andata” and “O notte, a me più chiara e più beata”, pp. 137-139.
• Marina Zancan, “‘Rime’ di Gaspara Stampa,” 1993 (critical essay, pp. 140-142), “La donna,” 1986 (critical essay, pp. 143-149).
• Michelangelo Buonarroti, “Rime” (poems): “I’ ho già fatto un gozzo in questo stento,” “Non ha l’ottimo artista alcun concetto” and “Colui che fece, e non di cosa alcuna,” pp. 150-153.
• Walter Binni, “Michelangelo scrittore,” 1964 (critical essay, pp. 154-155).
Auerbach, Erich. “Farinata e Cavalcante,” in Mimesis. Il realismo nella letteratura occidentale. Torino: Einaudi, 2000, selected pages.
Binni, Walter (ed.). Metodo e poesia in Ludovico Ariosto. Messina: D’Anna, 1947, selected pages.
Boccaccio, Giovanni. “Decameron” (texts: “Introduction” to the Fourth Day; novella of Tancredi and Ghismunda, IV, 1; novella of Griselda, X, 10).
Branca, Vittore (ed.). Boccaccio medievale e nuovi studi sul «Decameron». Firenze: Sansoni, 1990, selected pages.
Buonarroti, Michelangelo. “Rime” (texts: “I’ ho già fatto un gozzo in questo stento,” “Non ha l’ottimo artista alcun concetto,” “Colui che fece, e non di cosa alcuna”).
Cappellano, Andrea. “De Amore,” selected pages.
Cavalcanti, Guido. “Voi che per li occhi mi passaste il core,” “Donna me prega,” “Noi siàn le triste penne isbigottite,” “Perch’io no spero di tornar giammai.”
Ciavolella, Massimo (ed.). La «malattia d’amore» dall’Antichità al Medioevo. Roma: Bulzoni, 1976, selected pages.
Colonna, Vittoria. “Rime” (texts: “Pria d’esser giunta al mezzo in l’erta strada,” “Sperai che ‘l tempo i caldi alti desiri”).
Contini, Gianfranco. “Esercizio d’interpretazione sopra un sonetto di Dante” (1947), in Un’idea di Dante. Torino: Einaudi, 1970.
De Sanctis, Francesco (ed.). Storia della letteratura italiana. Torino: Einaudi, 1975 (1870-1871), selected pages.
Friedrich, Hugo (ed.). Epoche della lirica italiana. Dalle origini al Quattrocento. Milano: Mursia, 1964, selected pages.
Giacomo da Lentini. “Meravigliosamente,” “Io m’aggio posto in core a Dio servire.”
Guglielmo d’Aquitania. “Per la dolcezza della nuova stagione.”
Guinizzelli, Guido. “Al cor gentil rempaira sempre amore.”
Muscetta, Carlo. “Giovanni Boccaccio e i novellieri,” in Storia della letteratura italiana. Ed. Emilio Cecchi, Natalino Sapegno. Milano: Garzanti, 1987, selected pages.
Petrarca, Francesco. “Canzoniere” (texts: “Voi ch’ascoltate in rime sparse il suono,” I; “Solo et pensoso i più deserti campi,” XXXV; “Erano i capei d’oro a l’aura sparsi,” XC; “Chiare, fresche et dolci acque,” CXXVI; “In qual parte del ciel, in quale ydea,” CLIX; “Levommi il mio penser in parte ov’era,” CCCII).
Santagata, Marco (ed.). Dal sonetto al Canzoniere. Padova: Liviana, 1979, selected pages.
Singleton, Charles S. (ed.). La poesia della Divina Commedia. Bologna: il Mulino, 1978, selected pages. Stampa, Gaspara. “Rime” (texts: “Rimandatemi il cor, empio tiranno,” “Conte, dov’è andata,” “O notte, a
me più chiara e più beata”).
Zancan, Marina. “La donna”, in Letteratura italiana. Le questioni. Ed. Alberto Asor Rosa, Vol. 5. Torino: Einaudi, 1986, selected pages.
---. “‘Rime’ di Gaspara Stampa,” in Letteratura italiana. Le opere. Ed. Alberto Asor Rosa, Vol. 2. Torino:
Einaudi, 1993, selected pages.
Zatti, Sergio (ed.). Il Furioso tra epos e romanzo. Lucca: Pacini Fazzi, 1990, selected pages.
Recommended readings:
Alighieri, Dante. La Commedia secondo l’antica vulgata. Ed. Giorgio Petrocchi. Milano: Mondadori, 1966-67.
---. The Divine Comedy, translated, with a commentary, by Charles S. Singleton. Princeton: Princeton University Press, 1989.
---. Rime. Ed. Domenico De Robertis. Firenze: Sismel, 2005.
Zatti, Sergio (ed.). Il modo epico. Roma-Bari: Laterza, 2000.
Brief Biography of Instructor:
Daniele Lo Cascio received an Arts degree in Modern Literature from the University of Bologna in 2000. In 2003 he received a Dottorato di ricerca (Ph.D.) in Italianistica from the University of Perugia. Since 2002 he has been holding temporary posts in some Licei and Istituti of Tuscany teaching Italian, Latin and History. He received the teaching diplomas in 2005 and in 2006. In 2005 he also became cultore della Materia at the Dipartimento di Filologia e Critica della Letteratura of the University of Siena. In 2004-2005 he taught for the Siena Program, State University of New York College at Buffalo, as well as since 2006 he has been teaching Italian literature for IES. He was the co-organizer of the Congress on “I sogni e la scienza”, Siena, November 2006, furthermore presenting a communication about Tommaso Landolfi. His main research interests include Landolfi, Massimo Bontempelli, Alberto Savinio, and in general the narration of oneiric dimensions in twentieth-century Italian literature.
Italian literature finds a primary way of expression in words of love concerning women frequently subjected to a process of sublimation. This is illustrated in the works of the poets of Frederick II’s Sicilian court, Dante and Cavalcanti’s Stil novo, Petrarch’s poems and Boccaccio’s novellas, including Angelica’s figure in the Orlando furioso by Ariosto. This course covers the decisive texts, placing them in context within the specific scientific and philosophical culture of the various periods. In particular, the relation between the conception of love and the view of life is examined.
None
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
By the end of the course, students are able to:
Lectures, discussions, textual analysis
Active class participation and class discussions (15%); written midterm exam in the form of essay-style answers (25%); final 5-7 page research paper in Italian on a topic chosen by student (contingent on professor authorization) (25%); written final exam in the form of essay-style answers (35%).
The page numbers refer to the course packet
WEEK 1: THE SICILIAN SCHOOL. AN INTELLECTUALISTIC LOVE
First of all, an essential reference of Italian literature of the Duecento, that is Provençal poetry, is examined, reading in particular a poem by Guglielmo d’Aquitania and considering the treatise De Amore by Andrea Cappellano. Afterwards, starting from the classic interpretation given by Francesco De Sanctis, the intellectualistic perspective of this school is discussed through two poems by Giacomo da Lentini.
Readings:
• Guglielmo d’Aquitania, “Per la dolcezza della nuova stagione” (poem, p. 2).
• Andrea Cappellano, “De Amore” (treatise, pp. 3-4).
• Giacomo da Lentini, “Meravigliosamente” and “Io m’aggio posto in core a Dio servire” (poems, pp. 5-8).
• Francesco De Sanctis, “Storia della letteratura italiana,” 1870-1871 (critical essay, p. 9).
WEEKS 2-3: THE STIL NOVO (EXCLUDING DANTE). A SCIENTIFIC AND PHILOSOPHICAL LOVE
The starting point is a poem by Guido Guinizzelli: in this precursor text it is possible to find the philosophical and scientific essence of Stil novo itself. Afterwards, the coexistence, and at the same time the splitting, between sublimation of love and recognition of its destructive strength are examined, reading poems by Guido Cavalcanti and referring to the interpretation of classical and medieval love as illness proposed by Massimo Ciavolella.
Readings:
• Guido Guinizzelli, “Al cor gentil rempaira sempre amore” (poem, pp. 11-13).
• Guido Cavalcanti, “Voi che per li occhi mi passaste il core,” “Donna me prega,” “Noi siàn le triste penne isbigottite” and “Perch’io no spero di tornar giammai” (poems, pp. 14-22).
• Massimo Ciavolella, “La ‘malattia d’amore’ dall’Antichità al Medioevo,” 1976 (critical essay, pp. 23-25).
WEEKS 4-5: FROM THE VITA NUOVA TO THE COMMEDIA BY DANTE. BEATRICE AND THE ELEVATION OF THE SOUL
Some general references about Dante’s life and works precede the indication of the structure of the Vita nuova, with particular attention to the various phases of sublimation to which Beatrice, as elevating figure, is subjected. A canzone and a sonnet included in this work are read, referring, for the second text, to the interpretation given by Gianfranco Contini. In contrast, the reading of a poem included in the Rime permits the confrontation with a harsh love. The passage from the angel-like Beatrice of the Vita nuova to the proper woman-angel Beatrice of the Commedia is discussed, focusing on Inferno II and Purgatorio XXX. The investigation of Beatrice’s role proposed by Charles S. Singleton is also considered in relation to Erich Auerbach’s reflections on the importance of Christian figural conception in Dante’s universe.
Readings:
• Dante Alighieri, “Vita nuova” (prose and poetry): “Donne ch’avete intelletto d’amore” and “Tanto gentile e tanto onesta pare” (poems, pp. 27-30).
• Gianfranco Contini, “Esercizio d’interpretazione sopra un sonetto di Dante,” 1947, pp. 31-32.
• Dante Alighieri, “Rime” (poems): “Così nel mio parlar vogli’esser aspro”, pp. 33-36.
• Dante Alighieri, “Commedia” (poem): “Inferno,” canto II (lines 1-142, pp. 37-45) and “Purgatorio,” canto XXX (lines 22-54, pp. 51-52).
• Charles S. Singleton, “La poesia della Divina Commedia,” 1978 (critical essay, pp. 46-48).
• Erich Auerbach, “Farinata e Cavalcante,” 2000 (critical essay, pp. 63-68).
WEEKS 6-7: THE CANZONIERE BY PETRARCH. LAURA AND THE INNER CONFLICT
Indication of the structure of the Canzoniere follows some general references about Petrarch’s life and works. Referring to the interpretations given by Marco Santagata and Hugo Friedrich, fundamental questions connected with the representation of the sublimated woman, notably the need of religious repentance, the historical and individual value of solitude, the importance of memory, the correspondence between landscape and state of mind, the idea of beauty and the role of Laura’s death, are examined through some decisive texts. These questions are mainly considered in relation to Petrarch’s concentration on a continuous inner conflict, in order to define the literary model itself proposed by his poetry.
Readings:
• Francesco Petrarca, “Canzoniere” (poems): “Voi ch’ascoltate in rime sparse il suono,” I; “Solo et pensoso i più deserti campi,” XXXV; “Erano i capei d’oro a l’aura sparsi,” XC; “Chiare, fresche et dolci acque,” CXXVI; “In qual parte del ciel, in quale ydea,” CLIX; “Levommi il mio penser in parte ov’era,” CCCII, pp. 70-72, 75-82.
• Marco Santagata, “Dal sonetto al Canzoniere,” 1979 (critical essay, pp. 83-84).
• Hugo Friedrich, “Epoche della lirica italiana,” 1964 (critical essay, pp. 73-74). Midterm Exam (week 7)
WEEK 8: SPRING BREAK
WEEKS 9-10: THE DECAMERON BY BOCCACCIO. A NATURAL LOVE
Some general references about Boccaccio’s life and works precede the indication of the structure of the Decameron. The consideration of the Introduction to the Fourth Day shows Boccaccio’s idea of love as natural affection in relation to the insistence on the concreteness of life, but also on a new conception of art. Afterwards, referring to the interpretation given by Carlo Muscetta and Vittore Branca, the possibility of a direct expression of the rights of love by a woman, as well as the representation of another woman who symbolizes the patience of love, are examined through a novella of the Fourth Day itself and the last novella of the work.
Readings:
• Giovanni Boccaccio, “Decameron” (fiction): “Introduction” to the Fourth Day; novella of Tancredi and Ghismunda, IV, 1; novella of Griselda, X, 10, pp. 86-96, 98-106.
• Carlo Muscetta, “Giovanni Boccaccio e i novellieri,” 1987 (critical essay, p. 97).
• Vittore Branca, “Boccaccio medievale e nuovi studi sul ‘Decameron’,” 1990 (critical essay, pp. 107-108).
WEEKS 11-12: THE ORLANDO FURIOSO BY ARIOSTO. A MAD LOVE
Indication of the structure of the Orlando furioso, with particular attention to the traits that characterize the genre of chivalric poem, follows some references about Ariosto’s life and works. The consideration of the first canto permits a primary confrontation with a combination of love dimension and war dimension, as well as with Angelica’s figure. Afterwards, referring to the interpretations given by Sergio Zatti, Benedetto Croce and Walter Binni, essential questions connected with the representation of this shifty figure, notably the weight of epic elements compared to that of romance elements, and the relationship between love, madness, and the definition of harmony, are examined through some decisive episodes.
Readings:
• Ludovico Ariosto, “Orlando furioso” (poem): canto I (1-2, pp. 110-111), canto XII (4-22, pp. 117-121), canto XXIII (129-136, pp. 122-124), canto XXIV (1-3, pp. 124-125), canto XXXIV (81-87, pp. 126-128).
• Benedetto Croce, “Ariosto,” 1927 (critical essay, pp. 129-130).
• Sergio Zatti, “Il Furioso tra epos e romanzo,” 1990 (critical essay, pp. 130-131).
• Walter Binni, “Metodo e poesia in Ludovico Ariosto,” 1947 (critical essay, pp. 132-133).
WEEK 13: OTHER PERSPECTIVES
Love poetry by female authors; critical analysis of a feministic approach to men’s poetry; homoerotic strains.
Readings:
• Vittoria Colonna, “Rime” (poems): “Pria d’esser giunta al mezzo in l’erta strada” and “Sperai che ‘l tempo i caldi alti desiri”, pp. 135-136.
• Gaspara Stampa, “Rime” (poems): “Rimandatemi il cor, empio tiranno,” “Conte, dov’è andata” and “O notte, a me più chiara e più beata”, pp. 137-139.
• Marina Zancan, “‘Rime’ di Gaspara Stampa,” 1993 (critical essay, pp. 140-142), “La donna,” 1986 (critical essay, pp. 143-149).
• Michelangelo Buonarroti, “Rime” (poems): “I’ ho già fatto un gozzo in questo stento,” “Non ha l’ottimo artista alcun concetto” and “Colui che fece, e non di cosa alcuna,” pp. 150-153.
• Walter Binni, “Michelangelo scrittore,” 1964 (critical essay, pp. 154-155).
WEEK 14: FINAL EXAM
Alighieri, Dante. “Commedia” (texts, selected passages: “Inferno”, canto I; “Purgatorio”, canto XXX).
---. “Rime” (text: “Così nel mio parlar vogli’esser aspro”).
---. “Vita nuova” (texts: “Donne ch’avete intelletto d’amore,” “Tanto gentile e tanto onesta pare”).
Ariosto, Ludovico. “Orlando furioso” (texts, selected passages: canto I, canto XII, cantos XXIII-XXIV, canto XXXIV).
Auerbach, Erich. “Farinata e Cavalcante,” in Mimesis. Il realismo nella letteratura occidentale. Torino: Einaudi, 2000, selected pages.
Binni, Walter (ed.). Metodo e poesia in Ludovico Ariosto. Messina: D’Anna, 1947, selected pages.
Boccaccio, Giovanni. “Decameron” (texts: “Introduction” to the Fourth Day; novella of Tancredi and Ghismunda, IV, 1; novella of Griselda, X, 10).
Branca, Vittore (ed.). Boccaccio medievale e nuovi studi sul «Decameron». Firenze: Sansoni, 1990, selected pages.
Buonarroti, Michelangelo. “Rime” (texts: “I’ ho già fatto un gozzo in questo stento,” “Non ha l’ottimo artista alcun concetto,” “Colui che fece, e non di cosa alcuna”).
Cappellano, Andrea. “De Amore,” selected pages.
Cavalcanti, Guido. “Voi che per li occhi mi passaste il core,” “Donna me prega,” “Noi siàn le triste penne isbigottite,” “Perch’io no spero di tornar giammai.”
Ciavolella, Massimo (ed.). La «malattia d’amore» dall’Antichità al Medioevo. Roma: Bulzoni, 1976, selected pages.
Colonna, Vittoria. “Rime” (texts: “Pria d’esser giunta al mezzo in l’erta strada,” “Sperai che ‘l tempo i caldi alti desiri”).
Contini, Gianfranco. “Esercizio d’interpretazione sopra un sonetto di Dante” (1947), in Un’idea di Dante. Torino: Einaudi, 1970.
Croce, Benedetto (ed.). Ariosto. Bari: Laterza, 1927, selected pages.
De Sanctis, Francesco (ed.). Storia della letteratura italiana. Torino: Einaudi, 1975 (1870-1871), selected pages.
Friedrich, Hugo (ed.). Epoche della lirica italiana. Dalle origini al Quattrocento. Milano: Mursia, 1964, selected pages.
Giacomo da Lentini. “Meravigliosamente,” “Io m’aggio posto in core a Dio servire.”
Guglielmo d’Aquitania. “Per la dolcezza della nuova stagione.”
Guinizzelli, Guido. “Al cor gentil rempaira sempre amore.”
Muscetta, Carlo. “Giovanni Boccaccio e i novellieri,” in Storia della letteratura italiana. Ed. Emilio Cecchi, Natalino Sapegno. Milano: Garzanti, 1987, selected pages.
Petrarca, Francesco. “Canzoniere” (texts: “Voi ch’ascoltate in rime sparse il suono,” I; “Solo et pensoso i più deserti campi,” XXXV; “Erano i capei d’oro a l’aura sparsi,” XC; “Chiare, fresche et dolci acque,” CXXVI; “In qual parte del ciel, in quale ydea,” CLIX; “Levommi il mio penser in parte ov’era,” CCCII).
Santagata, Marco (ed.). Dal sonetto al Canzoniere. Padova: Liviana, 1979, selected pages.
Singleton, Charles S. (ed.). La poesia della Divina Commedia. Bologna: il Mulino, 1978, selected pages. Stampa, Gaspara. “Rime” (texts: “Rimandatemi il cor, empio tiranno,” “Conte, dov’è andata,” “O notte, a
me più chiara e più beata”).
Zancan, Marina. “La donna”, in Letteratura italiana. Le questioni. Ed. Alberto Asor Rosa, Vol. 5. Torino: Einaudi, 1986, selected pages.
---. “‘Rime’ di Gaspara Stampa,” in Letteratura italiana. Le opere. Ed. Alberto Asor Rosa, Vol. 2. Torino:
Einaudi, 1993, selected pages.
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Daniele Lo Cascio received an Arts degree in Modern Literature from the University of Bologna in 2000. In 2003 he received a Dottorato di ricerca (Ph.D.) in Italianistica from the University of Perugia. Since 2002 he has been holding temporary posts in some Licei and Istituti of Tuscany teaching Italian, Latin and History. He received the teaching diplomas in 2005 and in 2006. In 2005 he also became cultore della Materia at the Dipartimento di Filologia e Critica della Letteratura of the University of Siena. In 2004-2005 he taught for the Siena Program, State University of New York College at Buffalo, as well as since 2006 he has been teaching Italian literature for IES. He was the co-organizer of the Congress on “I sogni e la scienza”, Siena, November 2006, furthermore presenting a communication about Tommaso Landolfi. His main research interests include Landolfi, Massimo Bontempelli, Alberto Savinio, and in general the narration of oneiric dimensions in twentieth-century Italian literature.