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#Boccaccio
thesobsister · 6 months
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Rockwell Kent, illustration for The Decameron (1949)
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nobrashfestivity · 6 months
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Boccaccio , Genealogy of the Gods , Paris, A. Vérard, 1498-1499,
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federer7 · 8 months
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Sophia Loren in "Boccaccio '70 - La Riffa". 1962
Photo: Klaus Colliguon (attr.)
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yiddishknights · 10 months
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I recently read an article about the first Yiddish translation of the Decameron from 1710. Apparently it was a Yiddish translation of a Dutch translation of a French translation of the Italian original. The translator was a Dutch Jew who spoke Dutch Yiddish and wanted to make his translation accessible to other Dutch Jews, but also to Jews who spoke German Yiddish. And, for some reason, he wanted to avoid using Hebrew loan words (of which Yiddish had a considerable number by that point). So, he basically worked up his own dialect of Yiddish to try to meet all of these criteria. The end result, apparently, was that no one really liked it and it didn’t sell well.
It sounds like a linguistic hot mess all around, and I want to read it for that exact reason.
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kusurrone · 7 months
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Antonia meeting Boccaccio in 1350
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hercorrupterofwords · 2 months
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Lisabetta da messina
if you want to buy prints (or totes or stickers or pins)
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Égide Charles Gustave Wappers (Belgian-Dutch, 1803–1874) Boccaccio reading from the Decameron to Queen Johanna of Naples, 1849 Royal Museums of Fine Arts of Belgium
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eucanthos · 5 months
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Botticelli  (Florence, 1445 - 1510) 
Nastagio degli Onesti (1st episode detail: Nastagio meets the ghosts of woman and knight in Ravenna's pine forest), ca. 1483. Tempera on panel 83 x 138 cm. Museo del Prado, Madrid
Nastagio degli Onesti is the protagonist in one of the one hundred short stories contained in Boccaccio's Decameron. The 8th story of the 5th day, tells of the unrequited love of the nobleman Nastagio for a girl who will eventually be induced to accept Nastagio's affection by the appearance of a rejected lover and her beloved.
Nastagio failing to forget the girl, attempted suicide several times. Then, following the advice of friends and relatives, goes away to Ravenna.
Walking in a pine forest in early May, Nastagio sees a girl running naked in tears, hunted by a Knight and his two dogs. Nastagio tries to defend her, but the knight presents himself as Guido of Anastagi and tells of how he once loved the unresponsive woman before committing suicide. When the girl died without any regrets for the misery she had inflicted on her admirer, she was sentenced to being hunted and killed every Friday for as many years as the months of her rejection lasted [projected from Hell]
Nastagio understands the events to be of divine will and decides to prepare a lavish banquet in the same place, the following Friday. At the end of the dinner the horrifying scene is repeated with the same harrowing and pitiful consequences. With this he gets the desired effect: after the hunter once again explains the reasons for the girl's fate to all of those present at the dinner, the girl loved by Nastagio realizes she had stepped on the love felt by Nastagio and, for fear of suffering the same fate of the victim before her, she immediately agrees to marry Nastagio in Sunday.
Botticelli made a series of four episodes of the story, thought to have been commissioned by Lorenzo the Magnificent in 1483 as a gift to Giannozzo Pucci at his marriage to Lucrezia Bini of that year.
BOTTICELLI (allegorical paintings and beginning of religious pathos, from 1483 to 1488). Post on The Artistic Adventure of Mankind blog (Historiographies on Art)
https://en.wikipedia.org/wiki/Nastagio_degli_Onesti
https://arsartisticadventureofmankind.wordpress.com/tag/botticellis-venus-and-mars/
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jikimo-world · 28 days
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songbird-is-crying · 3 months
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normalizing mixing time periods. reading 14th century italian literature while listening to disco. normalize whatever this is.
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matkatkitkat · 29 days
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i am hilarious. spawn from a convo with my bf
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upennmanuscripts · 16 days
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The Schoenberg Institute is delighted to announce the next SIMS Online Lecture on Friday, April 26. See below for details.
Principles of Manuscript Poetics Francesco Marco Aresu, University of Pennsylvania Friday, April 26, 2024, 12:00 - 1:30 pm EDT @ Virtual
This talk offers a reflection on the interactions between textuality and materiality, message and medium, visual-verbal discourse and its physical support through readings of Giovanni Boccaccio’s Teseida and Francesco Petrarca’s Rerum vulgarium fragmenta. Each of these texts is read as an interaction between conceptual, linguistic, rhetorical, and material elements. In a manuscript poetics, the container and the content, the book and the text, share a material and symbolic solidarity. The book represents the primary idea of the text, and the text, conceptually, assumes the material shape of a book. A manuscript poetics informed the Teseida and the Rerum vulgarium fragmenta: operating within the manuscript culture of late medieval Italy, Boccaccio and Petrarca evaluated and deployed the tools and strategies of scribal culture to shape, signal, and layer meanings coextensive to those they conveyed verbally in their written texts.
More information and a link to register are available here:
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talesofpassingtime · 5 months
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He once called her his basil plant; and when she asked for an explanation, said that basil was a plant which had flourished wonderfully on a murdered man’s brains.
— Mary Ann Evans, Middlemarch
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trecciolinoooooo · 5 months
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another doodle dump bc school is boring
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vintage-ukraine · 1 year
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Selling the Barrel. Illustration of the novels of Boccaccio -The Decameron by Heorhii Malakov, 1966
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about to cry in my uni's library because of petrarch and boccaccio's letters
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and if in the best life, after that passage which we call death, friends are loved, I believe that he loves me and will love me, certainly not because I deserved it, but because he used to keep with him whom he once regarded as his: and I was his for more than forty years
Boccaccio, epistula XXIV
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