Orlando Innamorato


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Orlando Innamorato

Boiardo’s epic combining Carolingian chivalry and Arthurian motifs. [Ital. Lit.: Orlando Innamorato]
See: Epic
References in periodicals archive ?
Jo Ann Cavallo's Introduction focuses, not surprisingly, on the Inamoramento de Orlando (Orlando innamorato), and presents themes she has explored in her previous books.
Trite e brevi allusioni all'awenenza del giovane Rugiero erano presenti nell'Orlando innamorato nell'aggettivo "bel" ("bel Rugiero") usato in rari passi dei testo (2.22.4, v.
The great poet was the author of Orlando Innamorato, an epic poem about the adventures of the knight Orlando.
Lodovico Ariosto s Orlando Furioso ('Raging Roland') was first published in 1516 as a continuation of the narrative in Matteo Maria Boiardo's 1495 Orlando Innamorato ('Orlando in Love).
In a crucial moment in I:26, Don Quixote associates himself with the Saracen king Agramante of Boiardo's Orlando innamorato. De Armas interrogates the confusing summoning of the Muslim enemy and concludes that a significant truth is revealed to the attentive reader: "The Christian knight is at home with the Saracens" (158).
The origins of Ariosto's poem are first seen in the French chansons de geste and later in Matteo Maria Boiardo's Orlando Innamorato. Ariosto begins his narrative where Boiardo left off and though he subscribes to the established conventions of the chansons de geste as well as those of Boiardo, he also brings to the forefront the issue of gender identity and female representation in Renaissance literature.
Interessante l'ultima sezione sull'Orlando Innamorato, quando Dubrovic nota che Boiardo e il primo a intrecciare significati ambivalenti all'interno dello spazio rappresentativo della grotta, abitata si da mostri ma anche ricca di trasformazioni che aprono lo spazio sotterraneo alla luce del sole.
Don Quijote se aviene a ello, pero por lo que toca al casco estropeado, confirma y renueva el juramento de hacer vida penitente "hasta tanto que quite por fuerza otra celada tal y tan buena como esta a algun caballero." (2) Y anade todavia: "No pienses, Sancho, que asi a humo de pajas hago esto, que bien tengo a quien imitar en ello: que esto mesmo paso, al pie de la letra, sobre el yehno de Mambrino, que tan caro le cobro a Sacripante." (3) En efecto, segun se lee en el Orlando innamorato, Reinaldos de Montalban habia arrebatado en combate lo elmo affatato, che fu de Mambrino, (4) uno de los reyes africanos contra los que luchaban los caballeros de Carlomagno.
Sacchi separates the latter into concluded (finito) and open-ended (non finito), pointing to the model provided by Boiardo's unfinished Orlando innamorato. The final chapter focuses on the narrative form, using the categories of epos and romanzo (epic and romance) to broadly distinguish the poems.
Everson studies Boccaccio's Il Teseida, Luigi Pulci's Morgante, Boiardo's Orlando Innamorato, and Il Mambriano by Francesco Cieco da Ferrara, and the cultural contexts in which these works were produced, in order to understand the extraordinary success of Ariosto in the sixteenth century, who 'was in a position to achieve the fullest fusion of classical-humanist and romance elements in any poem of the genre and the Orlando Furioso thus to become the best-selling work of Italian literature' (p.
Concentrating particularly on the exigencies and consequences of 'foul custom', as exemplified in the Weeping Castle of Malory's Tristram narrative, and the Castle Cruel of Boiardo's Orlando Innamorato, and casting his net as wide as Othello and King Lear, Charles Ross explores the way in which the genre of romance, in both poetry and prose, and sixteenth-century drama expressed and contested the ideological pressures of custom.

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