Peire Vidal, “Bon’aventura don Dieus als Pizas” (BdT 364.14)

The poem examined here, probably composed in Italy, is mainly known for its historical interest and as a satire of the Germans. In “Bon’aventura”, in fact, Peire Vidal seems to be siding openly with the Marquis Boniface I of Monferrato and the Lombard communes, that were at war with the Emperor Henry IV, who had invaded Italy at the end of 1194. This paper, which reproduces Avalle’s edition and basically confirms the usual date between autumn 1194 and April 1195, will discuss the precise relationship between poetry and politics in Peire Vidal’s work through an analysis of the song’s value as a document in relation to contemporary sources. Thus it will examine the troubadour’s attitude to the events of his day and attempt to outline a fluid and ‘regional’ political loyalty which the poet from Toulouse shares with his contemporaries

Anonimo, “Totas honors e tuig faig benestan” (BdT 461.234)

This paper will examine an anonymous ‘planh’, “Totas honor e tuig faig benestan”, for the death of Manfred of Swabia, illegitimate son of Frederick II, who was killed in the battle of Benevento in 1266. The text is copied in a section of the ‘twin’ chansonniers I and K which contains mainly lyric laments (an exception in the troubadour manuscript tradition) and for this reason will serve as a basis for a discussion of the concept of ‘documentary series’. The paper will also consider the author’s origin, probably Italian on the basis of the linguistic and metrical evidence, and attempt to place the planh more precisely within the context of the struggle between Charles of Anjou and Manfred, as well as illustrate the role played by political troubadour poetry at the Italian court of the last Swabians

Ultrasonic distance sensor improvement using a two-level neural network

This paper discusses the performance improvement that a neural network can provide to a contactless distance sensor based on the measurement of the time of flight (TOF) of an ultrasonic (US) pulse. The sensor, which embeds a correction system for the temperature effect, achieves a distance uncertainty (rms) of less than 0.5 mm over 0.5 m by using a two-level neural network to process the US echo and determine the TOF in the presence of environmental acoustic noise. The network embeds a "guard" neuron that guards against gross measurement errors, which would be possible in the presence of high environmental noise

How to Select Knowledge Management Systems: A Framework to Support Managers

The purpose of this paper is to provide a methodological framework which could support managers in the selection of Knowledge Management Systems. The framework is based on the Analytic Hierarchy Process approach. Several aspects should draw the attention of an organization’s upper level of management seeking to implement a Knowledge Management System and many specific issues have to be considered. As such, the framework has been built by making use of an ad‐hoc hierarchical structure, where each singular specificity is described and compared, second‐order criteria are studied and analysed, and optional decisions are highlighted and evaluated. This methodological framework offers a good applicability to different business contexts, since its hierarchical arrangement suits most of the needs of numerous organizations. Consequently, it can be regarded as a holistic approach able to assist decision makers in their Knowledge Management System selection process

Il ladro di Salvagno: Una congettura per la tenzone con Forese

The paper analyses the romance sources about a character called Salvain, Selvain or Servein (italian Salvagno), and proposes a conjecture for verse 14 of Dante’s sonnet Ben ti faranno il nodo Salamone.Il contributo analizza le fonti romanze relative a un personaggio di nome Salvain, Selvain o Servein, in italiano Salvagno, e propone una congettura per il v. 14 del sonetto di Dante Ben ti faranno il nodo Salamone

La varieté lyrique du Moyen Âge à l’époque moderne

On considère généralement que la définition moderne du lyrique (lirica) comme poésie de la subjectivité est née de la réflexion des théoriciens du XVIᵉ siècle. Dans cet essai, nous voudrions démontrer que l’origine de cette définition est liée à l’idée du lyrique comme poésie caractérisée par la variété métrico-formelle qui, à partir des Étymologies d’Isidore de Séville, se répand de façon capillaire au Moyen-Âge, à l’époque moderne et qu’on trouve encore, sous la forme d’un fossile, dans l’Esthétique d’Hegel

Redazioni d’autore e varianti di tradizione. Sul sonetto dantesco della Garisenda (Rime LI; 42)

This paper analyzes the manuscript tradition of Dante’s so-called “Garisenda sonnet” (LI; 42) and proposes some alternative solutions compared to the critical edition by Domenico De Robertis (2002).Il contributo analizza la tradizione manoscritta e i problemi filologici del sonetto dantesco cosiddetto “della Garisenda” (LI; 42) e propone alcune soluzioni alternative rispetto all’edizione critica a cura di Domenico De Robertis (2002)

Petrarca, il «vario stile» e l'idea di lirica

Il saggio analizza la diffusione della definizione di lirica contenuta nelle Etymologiae di Isidoro di Siviglia, che si fondava sulla varietà formale. Si cerca quindi di dimostrare: a) il legame fra tale “varietà lirica” e il «vario stile» del sonetto proemiale del Canzoniere; b) l’esistenza di un paradigma medievale della lirica come ‘poesia metricamente e stilisticamente varia’ da accostare a quello classico di ‘poesia cantata al suono della lira’ e a quello moderno di ‘poesia come espressione dell’interiorità’. The paper analyses the circulation of the definition of lyric poetry given by Isidore of Seville in his Etymologiae, which was based on formal variety. The author tries to prove: a) the link between this “lyrical variety” and the «vario stile» in the first sonnet of Petrarch’s Rerum vulgarium fragmenta; b) the presence of a medieval idea of lyric as ‘poetry caracterized by metrical and stylistic variety’ that we propose to add to the classical (‘poetry accompanied by music’) and modern idea (‘genre which expresses personal feelings’).

Petrarca, il «vario stile» e l'idea di lirica

Il saggio analizza la diffusione della definizione di lirica contenuta nelle Etymologiae di Isidoro di Siviglia, che si fondava sulla varietà formale. Si cerca quindi di dimostrare: a) il legame fra tale “varietà lirica” e il «vario stile» del sonetto proemiale del Canzoniere; b) l’esistenza di un paradigma medievale della lirica come ‘poesia metricamente e stilisticamente varia’ da accostare a quello classico di ‘poesia cantata al suono della lira’ e a quello moderno di ‘poesia come espressione dell’interiorità’. The paper analyses the circulation of the definition of lyric poetry given by Isidore of Seville in his Etymologiae, which was based on formal variety. The author tries to prove: a) the link between this “lyrical variety” and the «vario stile» in the first sonnet of Petrarch’s Rerum vulgarium fragmenta; b) the presence of a medieval idea of lyric as ‘poetry caracterized by metrical and stylistic variety’ that we propose to add to the classical (‘poetry accompanied by music’) and modern idea (‘genre which expresses personal feelings’).

Dante e il poema allegorico medievale

Dante’s ›Commedia‹ played a very important role in the development of medieval allegorical poetry. On the one hand, Dante reworked his probable sources in a profound way, starting with the ›Roman de la Rose‹; on the other hand, he also exerted a strong influence on Boccaccio (›Amorosa Visione‹) and Petrarch (›Trionfi‹). In this essay, I propose to describe, first of all, the main innovations of the ›Commedia‹ and then to address the question of whether and to what extent these innovations were received by Boccaccio and Petrarch.Dante’s ›Commedia‹ played a very important role in the development of medieval allegorical poetry. On the one hand, Dante reworked his probable sources in a profound way, starting with the ›Roman de la Rose‹; on the other hand, he also exerted a strong influence on Boccaccio (›Amorosa Visione‹) and Petrarch (›Trionfi‹). In this essay, I propose to describe, first of all, the main innovations of the ›Commedia‹ and then to address the question of whether and to what extent these innovations were received by Boccaccio and Petrarch