29028 - Italian Renaissance Literature (1) (LM)

Learning outcomes

At the end of this class, students are expected to demonstrate a broad knowledge of Italian Renaissance literature, using examples which usually are not explained in school textbooks. They are expected to be able to discuss Italian Renaissance literature in technical, philological and, when it is possible, interdisciplinary terms.

Course contents

Quest and Madness in the Narrative Structure of the Orlando Furioso

In Orlando Furioso, the eponymous hero is merely the maddest among the many mad characters who make up the poem’s intricate narrative. There is little need to stress that, from Ariosto’s perspective—very different from that of Boiardo, whose poem provides the material Ariosto inherits—love should be understood as the primary source of madness, as is clear from the lines placed at the very center of the poem: “E qual è di follia segno più espresso / che, per altri voler, perder se stesso”. Yet almost every other quest (quête) that helps weave the “gran tela” of the Furioso likewise results in a loss of self-command. This course, devoted to Ariosto’s romance, will follow two main lines of inquiry. The first concerns the structure of the poem as a whole and is intended to assist students who wish to take the opportunity offered by the course to undertake a complete reading of the text (not required, but strongly recommended). The second is more focused and seeks to isolate a number of narrative “threads” through which Ariosto explores themes such as the relationship between men and women, fidelity, gratitude and ingratitude, and, of course, the madness that, in his view, governs human relationships.

Readings/Bibliography

The following edition is recommended: L. Ariosto, Orlando Furioso, edited with commentary by E. Bigi (1982), revised by C. Zampese, Milan, BUR-Rizzoli, 2012. Alternatively, students may use the editions with commentary by L. Caretti (Turin, Einaudi, 1966), R. Ceserani and S. Zatti (Turin, UTET, 1997, including the Cinque canti), or C. Segre (Milan, Mondadori, 1964).

Reading the poem in its entirety is strongly recommended. The sections listed below should be studied in depth:

• Canto I (entire canto)
• Canto II (entire canto)
• Canto III, stanzas 1–19 and 24
• Canto IV (entire canto)
• Canto VI, stanzas 17–81
• Canto VII (entire canto)
• Canto VIII, stanzas 73–91
• Canto IX (entire canto)
• Canto X, stanzas 1–34 and 92–115
• Canto XI (entire canto)
• Canto XII, stanzas 1–65
• Canto XVIII, stanzas 165–192
• Canto XIX, stanzas 1–42
• Canto XXIII, stanzas 95–136
• Canto XXIV, stanzas 1–14
• Canto XXV, stanzas 22–70
• Canto XXVII, stanzas 110–140
• Canto XXVIII (entire canto)
• Canto XXIX (entire canto)
• Canto XXX, stanzas 1–4
• Canto XXXII, stanzas 10–49
• Canto XXXIV (entire canto)
• Canto XXXV, stanzas 1–30
• Canto XLIII, stanzas 40–72 and 97–104
• Canto XLIII, stanzas 1–147.

In addition to the poem itself and the materials uploaded on Virtuale, attending students are required to prepare two critical readings chosen from those listed below:

1. R. M. Durling, The figure of the poet in Renaissance epic, Harvard U.P., Cambridge (MA), 1965, pp. 112-181 (Ariosto); trad. it. a cura di I. Campeggiani: Ariosto. La figura del poeta nell’epica rinascimentale, Pisa, Pacini, 2017.

2. C. Segre, Esperienze ariostesche, Pisa, Nistri-Lischi, 1966, pp. 85-95 (Leon Battista Alberti e Ludovico Ariosto); and Id., Fuori dal mondo. I modelli della follia nelle immagini dell'al di là, Torino, Einaudi, 1990, pp. 103-114 (Da uno specchio all'altro: la luna e la terra nell'«Orlando Furioso»).

3. R. Bruscagli, Stagioni della civiltà estense, Pisa, Nistri-Lischi, 1983, pp. 15-32 e 87-126 (Stagioni della civiltà estense; and «Ventura» e «Inchiesta» fra Boiardo e Ariosto).

4. R. Ceserani, Due modelli culturali e narrativi nell'«Orlando Furioso», in «Giornale Storico della Letteratura Italiana», CLXI, 1984, pp. 481-506.

5. S. Zatti, Il «Furioso» fra epos e romanzo, Lucca, Pacini Fazzi, 1990, pp. 9-68 (Il «Furioso» fra epos e romanzo; and L’inchiesta, e alcune considerazioni sulla forma del poema).

6. S. Zatti, Il «Furioso» fra epos e romanzo, cit., pp. 113-125 e 173-212 (La psicologia del «Furioso»; and Il ruolo di Turpino: poesia e verità nel «Furioso»).

7. A. Casadei, Il percorso del «Furioso», Bologna, Il Mulino, 1993, pp. 23-86 e pp. 159-172 (or: A. Casadei, The History of the «Furioso», in Ariosto today. Contemporary Perspectives, ed. Donald Beecher, Massimo Ciavolella and Roberto Fedi, University of Toronto Press, Toronto Buffalo London, 2003, pp. 211-33).

8. G. Masi, I segni dell’ingratitudine. Ascendenze classiche e medievali nelle imprese ariostesche del «Furioso», in «Albertiana», V, 2002, pp. 141-164.

9. R. Bruscagli, Studi cavallereschi, Firenze, SEF, 2003, pp. 37-73 (Ludovico Ariosto. Le ambiguità del romanzo e Invenzione e ricominciamento nel I canto dell’«Orlando furioso»).

10. G. Forni, Ariosto e l’ironia, in «Lettere italiane», LVII, 2, 2006, pp. 208-223.

11. M.C. Cabani, Ariosto e Ovidio. Leggerezza e disincanto, in «Italianistica», XXXVII, 2008, 3, pp. 13-42.

12. F. Ferretti, Bradamante elegiaca. Costruzione del personaggio e intersezione di generi nell'«Orlando furioso», in «Italianistica», XXXVII, 2008, 3, pp. 63-75.

13. M. Praloran, Le strutture narrative dell’«Orlando furioso», in «Strumenti critici», XXIV, 1, 2009, pp. 1-24.

14. G. Sangirardi, Quanti sono i generi dell’«Orlando furioso»?, in «Allegoria», XXI, 2009, pp. 42-55.

15. D. Javitch, Reconsidering the last part of «Orlando Furioso»: Romance to the Bitter End, in «Modern Language Quarterly», LXXI, 2010, pp. 385-405, italian translation in Id. Saggi sull’Ariosto e la composizione dell’«Orlando furioso», Lucca, Maria Pacini Fazzi, 2012, pp. 117-132 (Nuove considerazioni sull’ultima parte dell’«Orlando furioso»: un romanzo fino alla fine).

16. G. Forni, «Armi» e «ali». Ironia e illusioni nel IV canto del «Furioso», in «Lettere italiane», LXII, 2, 2010, pp. 181-202

17. A. Casadei, Il finale e la poetica del «Furioso», in «Chroniques italiennes», web19, 1/2011, pp. 1-20.

18. S. Jossa, Oltre la tradizione romanzesca: Rinaldo e l’«aspra legge di Scozia» («Orlando furioso», IV-VI), in «Chroniques italiennes», web19 (1/2011), pp. 1-20.

19. F. Ferretti, Menzogna e inganno nel «Furioso», in «Versants» 59, 2, 2012, pp. 85-109.

20. G. Sangirardi, Trame e genealogie dell’ironia ariostesca, in «Italian Studies», 69/2, 2014, pp. 189-203.

21. One of the nineteen entries included in Lessico critico dell’«Orlando furioso», edited by A. Izzo, Rome, Carocci, 2016.

22. One of the forty-six canto commentaries (Cantos I–XLVI) collected in Lettura dell’«Orlando furioso», edited by G. Baldassarri and M. Praloran, Florence, SISMEL–Edizioni del Galluzzo, 2016 and 2018 (Vol. I, edited by G. Bucchi and F. Tomasi, 2016; Vol. II, edited by A. Izzo and F. Tomasi).

23. L. Bolzoni, Sulle soglie del testo: un autoritratto per immagini nelle prime edizioni del «Furioso», in Galassia Ariosto. Il modello editoriale dell'Orlando Furioso dal libro illustrato al web, Roma, Donzelli, 2017, pp. 5-33.

To provide historical context for the poem, in addition to attending lectures, students are also encouraged to read either A. Casadei, Ludovico Ariosto, in Storia letteraria d’Italia. Il Cinquecento, edited by G. Da Pozzo, Padua, Piccin-Vallardi, 2006, pp. 777–822, or S. Jossa, Ariosto, Bologna, il Mulino, 2008. Also highly useful, although devoted exclusively to the Furioso, is S. Zatti, Leggere l’«Orlando furioso», Bologna, il Mulino, 2016. NB: Reading these works is optional only for attending students; for non-attending students it is compulsory (see below).

Non-attending students

(All students who attend fewer than 20 of the 30 scheduled hours—that is, fewer than 10 out of 15 classes—are advised to consider themselves non-attending.)

In addition to the passages from the poem listed above, non-attending students must study four critical essays chosen from those listed above, together with:

• S. Zatti, Leggere l’«Orlando furioso», Bologna, il Mulino, 2016;
• and one of the following:
  • A. Casadei, Ludovico Ariosto, in Storia letteraria d’Italia. Il Cinquecento, edited by G. Da Pozzo (Padua: Piccin-Vallardi, 2006), pp. 777–822;
  • or S. Jossa, Ariosto (Bologna: il Mulino, 2008).

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en ) and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Teaching methods

The course consists of 15 two-hour lectures. Considerable time will be devoted to the reading, analysis, and discussion of the texts under examination. Please note: lectures will not be recorded by the instructor. However, all attending students will be permitted to make their own audio recordings of the lectures for strictly personal use.

Assessment methods

The final exam consists of an oral appointment (approximately 30 minutes). Attending students will be invited to reflect on some aspects analyzed during the course and will be encouraged to interact with the knowledge

acquired in class with the entrusted program for individual study. Non-attending students, however, will be examinated only on the texts, the manuals and the chosen essays. At the conclusion of the examination, during which the student will not be permitted to use computer-based aids, let alone artificial intelligence tools, a grade will be proposed. A positive or excellent score (27 to 30/30, with possible distinction) corresponds to a full mastering of technical, theoretical, historical and terminological resources of XV and XVI-Centuries Literature, and to a proved ability to make connections among single aspects of the course contents, and to show awareness of textual features with appropriate language; an average score (23 to 26/30) goes to students who reveal some lacks in one or more topics or analytical proofs, or are able to use just mechanically their ability in interpretation; a pass or low score (18 to 22/30) to students with severe lacks in one or more topics or exercises, or not enough accurate while they use or quote notions and samples. A negative score is to be assigned to students who are not able to recall general notions in a sample of text and/or in general.

Students should sign up at the AlmaEsami web site (https://almaesami.unibo.it). The registration ends two days before the oral examination.

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en ) with ample time in advance: the office will propose some adjustments, which must in any case be submitted 15 days in advance to the lecturer, who will assess the appropriateness of these in relation to the teaching objectives.

Teaching tools

The presented teaching material (literary texts, images and possibly video material) will be projected on the classroom multimedia blackboard and made available on VIRTUALE.

Office hours

See the website of Francesco Ferretti