Studj Romanzi VIII - 1912

INDICE M. S. Garver, K. McKenzie: Il Bestiario Toscano secondo la lezione dei codici di Parigi e di LondraF. d'Ovidio: Il Ritmo CassineseV. De Bartholomaeis: Liriche antiche dell’Alta ItaliaMiscellanea: G. Bertoni: I. Intorno all'autore della versione provenzale dei Disticha Catonis. - II. Ancora Le tre scritture. - III. Correzioni al testo della Dame à la Lycome. -  IV. Il porto Delautis o De Lati

Studj di Filologia Romanza - Fascicolo XII 1889

Studj di Filologia Romanza - Fascicolo XII 188

«Non si può fare regola alcuna»: il ‘Ragionamento sopra le difficultà del mettere in regole la nostra lingua’ di Giovan Battista Gelli

In 1552, Giovan Battista Gelli published the Ragionamento sulle difficultà del mettere in regole la nostra lingua, stating the impossibility of reducing the Florentine language to a system of rules. This contribution aims to analyze Gelli’s linguistic positions, linking them to the context of the contemporary Questione della lingua and investigating the author’s perspective in relation to the thought of 16th-century Florentine authors, particularly Niccolò Machiavelli, Lodovico Martelli and Benedetto Varchi. Further space will be devoted to an examination of the author’s position regarding the authenticity of the De vulgari eloquentia, which Gelli did not consider to be Dante’s work.Nel 1552 Giovan Battista Gelli pubblicò il Ragionamento sulle difficultà del mettere in regole la nostra lingua, affermando l’impossibilità di ridurre ad un sistema di regole la lingua fiorentina. Il contributo intende analizzare le posizioni linguistiche di Gelli, collegandole al contesto della contemporanea Questione della lingua ed indagando la prospettiva dell’autore in rapporto al pensiero degli autori fiorentini del Cinquecento, in particolare Niccolò Machiavelli, Lodovico Martelli e Benedetto Varchi. Ulteriore spazio sarà dedicato all’approfondimento della posizione dell’autore riguardo l’autenticità del De vulgari eloquentia, opera ritenuta da Gelli falsamente attribuita a Dante

The taddhita affixes prescribed for pronominal stems: Analysis of pre-Pāṇinian ātI (A 5.3.34) occurrences

The present article can be inserted in a broader line of research, where specific pre-Pāṇinian occurrences of sarvanāmans + taddhita affixes are analysed to show how Pāṇini explains what in appearance was anomie and immediately transforms it into a strict norm. A previous analysis focused on several instances of the affix aka̲C (A 5.3.71), which all the translators of Ṛgveda and Śaunakīya Saṁhitā interpret as ka (A 5.3.70), with a generic diminutive meaning; even though the affix aka̲C can be understood as a pure device created by Pāṇini to deal with an internal sandhi problem in a systematic way, that is, it can be considered equivalent to ka, it is important to also consider what the several meanings aka̲C can bring (see Ferrero 2023). This regulatory process can be found also in the prescription of other taddhita affixes; for this reason, the affixes ātI / enaP / āC (A 5.3.34 – A 5.3.36) have been generally examined in this article. Moreover, some examples of the application of the affix ātI to pronominal stems have been specifically studied in the Vedic saṃhitās. The aim is to understand why Pāṇini needs to introduce these further rules in an already standardised grammatical system

Appunti sul trattato De primatu di Giovanni Francesco Fara: Cagliari, Biblioteca Universitaria, ms. 85

Si offrono qui i primi risultati di un’indagine sul De primatu di Giovanni Francesco Fara (sec. XVIex.), trattato teso a dimostrare su fondamenti storici e giuridici l’illegittimità del titolo di Primate di Sardegna e Corsica di cui si fregiava l’arcivescovo di Cagliari. Particolare attenzione è riservata in questa sede alla sorprendente genesi dell’unico testimone superstite, alla confusione sorta fra i due scritti che Fara dedicò alla questione e al travisamento degli intenti dell’autore

«È a Torino che bisogna stare, adesso». Fenomeni di adattamento nel mondo globale

We are well aware that each transposition is an independent work, that the principle of fidelity to the source of origin has been passed for a while. But taking a free hand does not always mean to follow a truly free inspiration. In the Netflix series The Leopard, based on the novel by Giuseppe Tomasi di Lampedusa’s, freedom turns out to be deceptive: on the surface unbridled, in fact bound by hegemonic trends of thought and taste. It is worth examining this issue in depth, as we try to do through the following papers: Clotilde Bertoni analyzes the series’ adherence to the most widespread vision of the novel, and its adaptation to the standards of political correctness; Giulia Carluccio, starting from the episode set in Turin, considers its relationship with the novel, with Luchino Visconti’s film based on it, and with the broader imagery superimposed on them; Stefania Rimini connects it to the recurring features of the current period dramas, then focusing on its representation of environments and landscapes.We are well aware that each transposition is an independent work, that the principle of fidelity to the source of origin has been passed for a while. But taking a free hand does not always mean to follow a truly free inspiration. In the Netflix series The Leopard, based on the novel by Giuseppe Tomasi di Lampedusa’s, freedom turns out to be deceptive: on the surface unbridled, in fact bound by hegemonic trends of thought and taste. It is worth examining this issue in depth, as we try to do through the following papers: Clotilde Bertoni analyzes the series’ adherence to the most widespread vision of the novel, and its adaptation to the standards of political correctness; Giulia Carluccio, starting from the episode set in Turin, considers its relationship with the novel, with Luchino Visconti’s film based on it, and with the broader imagery superimposed on them; Stefania Rimini connects it to the recurring features of the current period dramas, then focusing on its representation of environments and landscapes

Tra numeri e parole: alcune considerazioni sulle disuguaglianze educative nella scuola secondaria di secondo grado sarda

This paper provides a critical analysis of the Sardinian educational system, with a particular focus on upper secondary education, by examining trends, demographic shifts, and student performance data drawn from INVALSI assessments. The investigation reveals how a convergence of structural and contextual variables has, over time, contributed to the deepening of educational inequalities across the region. School dropout, both explicit and implicit, is identified as a salient indicator of such disparities. Within this context, the study argues for the necessity of transformative and systemic educational policies, moving beyond ad hoc interventions. Central to this vision is the role of comprehensive teacher training – initial and ongoing – conceived as essential for promoting inclusive, equitable, and high-quality language education, capable of addressing the complex linguistic, cultural, and social diversity characterizing Sardinian classrooms.Il presente contributo analizza la situazione del sistema scolastico sardo, con particolare riferimento alla scuola secondaria di secondo grado, attraverso l’interpretazione di dati demografici e dei risultati delle prove INVALSI. Il lavoro mette in evidenza una pluralità di fattori strutturali e contestuali che, nel corso degli ultimi decenni, hanno contribuito a determinare in Sardegna marcate disuguaglianze educative. Il fenomeno della dispersione scolastica, sia esplicita sia implicita, emerge come uno degli indicatori più critici. In questo quadro, l’articolo propone una riflessione sulla necessità di politiche trasformative, capaci di andare oltre gli interventi emergenziali, e individua nella formazione iniziale e in servizio del corpo docente un elemento chiave per garantire un’educazione linguistica inclusiva, equa e di qualità

Compounded loanwords between historical morphophonology and semantics: the ancient Greek (and Latin) names of Candragupta Maurya

Among Classical sources (Phylarcus, Strabo, Arrian, Plutarch, Justin, and Orosius), there seems to be no common spelling of Candragupta’s name. The spelling Σανδρόκοττος (i.e., the canonical one) is used by Phylarchus (FGrHist 81 F 35b), Strabo (II.1.9; XV.1.53; XV.1.57), and Justin (Epit. XV.4.13) in its Latin transcription Sandrocottus. Then, the spelling Σανδράκοττος is adopted by Arrian (Anab. V.6.2; Ind. 5.3; 9.9), whereas that of Ἀνδρόκοττος by Mnaseas (fr. 14 FHG), Plutarch (Alex. 62.4; Mor. 542d), Appian (Syr. 55.282), and Orosius (III.23) in its Latin transcription Androcottus. This article aims at investigating the reasons behind these different spellings in the light of a wider dynamic involving morphophonological and semantic processes towards compounded loanwords in ancient Greek (and Latin). In order to do that, we carry out an in-depth analysis of the different spellings of Candragupta’s name in Classical sources within the framework of the language-contact linguistics: after focusing on the socio-historical context underlying the language-contact dynamic, we take into account several elements that may contribute to justify the lack of uniformity in the various spellings (e.g., the compounded nature of the name, the constituents’ semantics, and the accent pattern). Finally, we conclude that the spellings of the Classical sources depend on ancient Greek morphophonological processes involving (compounded) loanwords, that end up with a process of folk etymology, thanks to which Candragupta’s name is definitely integrated in the ancient Greek compound system

Fabio Vasarri (ed.), Scrivere l’impotenza e la frigidità. Crisi di genere dall’Ottocento a oggi

Review of Scrivere l’impotenza e la frigidità. Crisi di genere dall’Ottocento a oggi edited by Fabio Vasarri.Recensione del libro Scrivere l’impotenza e la frigidità. Crisi di genere dall’Ottocento a oggi a cura di Fabio Vasarri

L'Oratorio della Vergine d’Itria e l’architettura confraternale a Cagliari nel Seicento

During the Counter-Reformation, the Church undertook a process of spiritual renewal, which culminated in the consolidation of communal religious practices. In the Seventeenth-century Cagliari, confraternities emerged as pivotal agents of both social and religious reforms, instigating significant architectural innovations also in architectural field. Between 1590 and 1620, the city experienced a quick proliferation of religious buildings which contributed to redesign the urban pattern, particularly in the historic districts of Marina, Stampace, and Villanova. The Oratory of the Virgin of Itria, built from 1608, fits into this context as a paradigmatic example of confraternal architecture production during Counter-Reformation. Its single-nave plan, the central role of the altar, and the formal austerity of its interior spaces all embody the Church's intent to promote liturgical and spiritual purity, according to Conciliar orders which favored the participation of worshippers. The building of the chapel was directed by the masters Monserrato Marras and Giovanni Antonio Pinna which intertwined cleverly the Iberian architectural traditions with the emerging classical sensibilities, making an interesting union among counter-reformist sobriety and the affirmation of new aesthetic shapes.Nel contesto della Controriforma, la Chiesa intraprese un processo di rinnovamento spirituale culminato nel rafforzamento di esperienze religiose comunitarie. Le confraternite divennero, nella Cagliari del Seicento, protagoniste di un rinnovamento sociale e religioso, generando importanti innovazioni anche in ambito architettonico. Tra il 1590 e il 1620, la città conobbe una rapida proliferazione di edifici religiosi che contribuirono a ridisegnare il tessuto urbano, soprattutto nei quartieri storici di Marina, Stampace e Villanova. L’oratorio della Vergine d’Itria, costruito a partire dal 1608, si inserisce in tale contesto come esempio paradigmatico della produzione confraternale nel contesto della Controriforma. La pianta ad aula unica, la centralità dell’altare e la semplicità formale degli spazi interni, riflettono l’intento della Chiesa di promuovere la purezza liturgica e spirituale, in linea con gli ordinamenti conciliari che favorivano la partecipazione attiva dei fedeli. La fabbrica dell’oratorio fu coordinata dai maestri Monserrato Marras e Giovanni Antonio Pinna che sapientemente intrecciarono la tradizione iberica con le nuove sensibilità estetiche classiciste creando un interessante connubio tra la sobrietà controriformista e l’affermarsi di nuove forme estetiche