Considerations on Huon d'Auvergne / Ugo d'Alvernia
Identifieur interne : 000E90 ( Main/Exploration ); précédent : 000E89; suivant : 000E91Considerations on Huon d'Auvergne / Ugo d'Alvernia
Auteurs : Gloria AllaireSource :
- [ 0083-5897 ]
English descriptors
- Teeft :
- Allaire, Alvemia secondo, Ancient author, Ancient history, Andrea, Andreas capellanus, Auvergne, Avemia, Barberino, Biblioteca, Boccaccio, British museum, Buoso, Carlo, Carlo martello, Chivalric, Chivalric epic, Classical authority, Classical figure, Classical legend, Classical reference, Classical source, Commedia, Conte ugone, Damned soul, Dante, Delle, Diodorus siculus, Dittamondo, Estense library, Family tree, Faulty model, Fazio degli uberti, Fictional character, Fifteenth century, First part, Florence, Florentine prose, Fols, French source, French translation, Gentile uomo, Giomale storico della letteratura italiana, Giovanni, Giovanni cronica, Giovanni maria fourteenth century, Gloria, Gloria allaire, Gloss, Gonzaga library, Guido delle colonne, Historical figure, Huon, Infernal, Infernal voyage, Inferno, Johannes maria, Juliann vitullo, Last name, Laur, Leslie morgan, Letterarie inedite, Madonna fiammetta, Marchio sessa, Martello, Medieval academy, Medieval source, Middle age, Ninfale fiesolano, Origine civitatis, Other chivalric text, Other text, Other version, Pagan god, Paulus orosius, Poemetto, Prose gloss, Prose version, Reali, Rhyme scheme, Rima, Rodolfo renier, Royal house, Secolo xiii, Seduction episode, Short cantare, Single scribe, Single source, Small body, Source text, Statius, Storia, Storie nerbonesi, Terza, Terza rima, Teseida, Testi inediti, Textual, Textual tradition, Troubadour guiraut, Ugone, Valerius maximus, Virgil.
Abstract
"Considerations on Huon d'Auvergne / Ugo d'Alvernia." This study examines an epic romance which probably originated in the twelfth century. Its complex textual tradition is represented by extant Franco-Italian manuscripts, by a striking reworking in Tuscan prose, by a later version in octaves, and by two early print editions. Scattered historical references and literary analogues provide evidence for its evolution and dating. The three-part narrative includes the protagonist's voyage to the underworld, a debt to Virgil's Aeneid that has echoes in later medieval texts such as Dante's Comedy. This study concludes by focusing on the note-worthy classicism of Andrea da Barberino's Florentine prose reworking. Unlike his French chanson de geste or Italian cantari models, Maestro Andrea cites a remarkable number of classical authors and personages and also includes unusual names and similes not normally found in Carolingian epic cycle texts. The reason for this must be sought in the literate populace of fifteenth-century Florence: religious piety and feudal devotion are now joined by a pragmatic humanism that must have appealed to Andrea's vernacular readers.
Url:
DOI: 10.1484/J.VIATOR.2.300735
Affiliations:
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Le document en format XML
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<term>Alvemia secondo</term>
<term>Ancient author</term>
<term>Ancient history</term>
<term>Andrea</term>
<term>Andreas capellanus</term>
<term>Auvergne</term>
<term>Avemia</term>
<term>Barberino</term>
<term>Biblioteca</term>
<term>Boccaccio</term>
<term>British museum</term>
<term>Buoso</term>
<term>Carlo</term>
<term>Carlo martello</term>
<term>Chivalric</term>
<term>Chivalric epic</term>
<term>Classical authority</term>
<term>Classical figure</term>
<term>Classical legend</term>
<term>Classical reference</term>
<term>Classical source</term>
<term>Commedia</term>
<term>Conte ugone</term>
<term>Damned soul</term>
<term>Dante</term>
<term>Delle</term>
<term>Diodorus siculus</term>
<term>Dittamondo</term>
<term>Estense library</term>
<term>Family tree</term>
<term>Faulty model</term>
<term>Fazio degli uberti</term>
<term>Fictional character</term>
<term>Fifteenth century</term>
<term>First part</term>
<term>Florence</term>
<term>Florentine prose</term>
<term>Fols</term>
<term>French source</term>
<term>French translation</term>
<term>Gentile uomo</term>
<term>Giomale storico della letteratura italiana</term>
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<term>Giovanni cronica</term>
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<term>Gloria</term>
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<term>Historical figure</term>
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<term>Infernal</term>
<term>Infernal voyage</term>
<term>Inferno</term>
<term>Johannes maria</term>
<term>Juliann vitullo</term>
<term>Last name</term>
<term>Laur</term>
<term>Leslie morgan</term>
<term>Letterarie inedite</term>
<term>Madonna fiammetta</term>
<term>Marchio sessa</term>
<term>Martello</term>
<term>Medieval academy</term>
<term>Medieval source</term>
<term>Middle age</term>
<term>Ninfale fiesolano</term>
<term>Origine civitatis</term>
<term>Other chivalric text</term>
<term>Other text</term>
<term>Other version</term>
<term>Pagan god</term>
<term>Paulus orosius</term>
<term>Poemetto</term>
<term>Prose gloss</term>
<term>Prose version</term>
<term>Reali</term>
<term>Rhyme scheme</term>
<term>Rima</term>
<term>Rodolfo renier</term>
<term>Royal house</term>
<term>Secolo xiii</term>
<term>Seduction episode</term>
<term>Short cantare</term>
<term>Single scribe</term>
<term>Single source</term>
<term>Small body</term>
<term>Source text</term>
<term>Statius</term>
<term>Storia</term>
<term>Storie nerbonesi</term>
<term>Terza</term>
<term>Terza rima</term>
<term>Teseida</term>
<term>Testi inediti</term>
<term>Textual</term>
<term>Textual tradition</term>
<term>Troubadour guiraut</term>
<term>Ugone</term>
<term>Valerius maximus</term>
<term>Virgil</term>
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<front><div type="abstract" xml:lang="en">"Considerations on Huon d'Auvergne / Ugo d'Alvernia." This study examines an epic romance which probably originated in the twelfth century. Its complex textual tradition is represented by extant Franco-Italian manuscripts, by a striking reworking in Tuscan prose, by a later version in octaves, and by two early print editions. Scattered historical references and literary analogues provide evidence for its evolution and dating. The three-part narrative includes the protagonist's voyage to the underworld, a debt to Virgil's Aeneid that has echoes in later medieval texts such as Dante's Comedy. This study concludes by focusing on the note-worthy classicism of Andrea da Barberino's Florentine prose reworking. Unlike his French chanson de geste or Italian cantari models, Maestro Andrea cites a remarkable number of classical authors and personages and also includes unusual names and similes not normally found in Carolingian epic cycle texts. The reason for this must be sought in the literate populace of fifteenth-century Florence: religious piety and feudal devotion are now joined by a pragmatic humanism that must have appealed to Andrea's vernacular readers.</div>
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