Il ritardo con cui la cultura rinascimentale arriva in Spagna e vi si insedia con graduale appros... more Il ritardo con cui la cultura rinascimentale arriva in Spagna e vi si insedia con graduale approssimazione, sposta in avanti il processo dell'intensificazione manieristica delle modalità della cultura della prima metà del Cinquecento. Cervantes nasce nel 1547, negli anni centrali del XVI secolo e, se la sua vita è proiettata verso il futuro, la sua formazione si incardina sui parametri rinascimentali o, se si preferisce, umanistico-erasmiani 1 . In Italia al dominio incontrastato del neoplatonismo, fortemente radicato nel petrarchismo, si vanno sostituendo i numerosi commenti e rifacimenti della Poetica di Aristotele e degli altri testi normativi dell'Antichità . In contemporanea, i letterati spagnoli che sono impegnati a ricollocare nella propria tradizione le suggestioni provenienti in particolare dall'Italia rispondono elaborando una loro proposta teorica (Pinciano 1596).
Actas del V Congreso Internacional de la Asociación, 2001
... Se pueden releer las Novelas ejemplares? Autores: Maria Caterina Ruta; Localización: Actas de... more ... Se pueden releer las Novelas ejemplares? Autores: Maria Caterina Ruta; Localización: Actas del V Congreso Internacional de la Asociación Internacional Siglo de Oro (AISO), Münster 20-24 de julio de 1999 / coord. por Christoph Strosetzki, 2001, ISBN 84-8489-019-8 , pags. ...
In the vast realm of 19th-century Italian music dealing with Cervantine themes, Saverio Mercadant... more In the vast realm of 19th-century Italian music dealing with Cervantine themes, Saverio Mercadante’s Don Chisciotte alle nozze di Gamaccio (1830), perused recently by Adela Presas, stands out. The sole purpose of my annotations pertaining to Ferrero’s libretto is to stress even more its relationship to Cervantes’ novel. From the point of view of reception aesthetics, similar works of arts help the reader verify the temporal vitality of a text and, possibly, new ways of reading. The results of this analysis present Don Quixote in a serious fashion, in contrast to 18th-century attitudes, wherein a ridiculous and extravagant tradition of this character prevailed. Likewise, this study stresses the changes that Sancho Panza undergoes as a dramatic character. In his libretto , Ferrero reveals a keen knowledge of the two parts of Cervantes’ Don Quixote since he mentions the novel’s most quoted passages and oftentimes remains faithful to the letter of the text.
Actas Del Xiv Congreso De La Asociacion Internacional De Hispanistas New York 16 21 De Julio De 2001 Vol 3 2004 Isbn 1 58871 048 3 Pags 499 507, 2004
... Dionisio Ridruejo entre vanguardia y retórica falangista. Autores: Maria Caterina Ruta; Local... more ... Dionisio Ridruejo entre vanguardia y retórica falangista. Autores: Maria Caterina Ruta; Localización: Actas del XIV Congreso de la Asociación Internacional de Hispanistas : New York, 16-21 de Julio de 2001 / coord. por Isaías Lerner, Roberto Nival, Alejandro Alonso, Vol. ...
Within the research promoted by the collection “Recreaciones Quijotescas en Europa” whose aim is ... more Within the research promoted by the collection “Recreaciones Quijotescas en Europa” whose aim is to disseminate critical editions and translations of rewritings or reassessments of Quijote by Miguel de Cervantes, three librettos of Italian operas from the first half of the 18th century have been published. The operas were performed at the Viennese court of Charles VI, where the poets Apostolo Zeno and Pietro Pariati, authors of the libretto Don Quixote in Sierra Morena, and Claudio Pasquini, author of Don Quixote in court of the Duchess and Sancio Panza governor of the island Barattaria, had been invited to work. In the essays preceding these editions, the specialists involved in the research describe the cultural and social environment the operas were intended for, deepen the relationships between Cervantes’ novel and the adaptations of the librettos, also commenting on their changes in the light of the new context.
Il ritardo con cui la cultura rinascimentale arriva in Spagna e vi si insedia con graduale appros... more Il ritardo con cui la cultura rinascimentale arriva in Spagna e vi si insedia con graduale approssimazione, sposta in avanti il processo dell'intensificazione manieristica delle modalità della cultura della prima metà del Cinquecento. Cervantes nasce nel 1547, negli anni centrali del XVI secolo e, se la sua vita è proiettata verso il futuro, la sua formazione si incardina sui parametri rinascimentali o, se si preferisce, umanistico-erasmiani 1 . In Italia al dominio incontrastato del neoplatonismo, fortemente radicato nel petrarchismo, si vanno sostituendo i numerosi commenti e rifacimenti della Poetica di Aristotele e degli altri testi normativi dell'Antichità . In contemporanea, i letterati spagnoli che sono impegnati a ricollocare nella propria tradizione le suggestioni provenienti in particolare dall'Italia rispondono elaborando una loro proposta teorica (Pinciano 1596).
Actas del V Congreso Internacional de la Asociación, 2001
... Se pueden releer las Novelas ejemplares? Autores: Maria Caterina Ruta; Localización: Actas de... more ... Se pueden releer las Novelas ejemplares? Autores: Maria Caterina Ruta; Localización: Actas del V Congreso Internacional de la Asociación Internacional Siglo de Oro (AISO), Münster 20-24 de julio de 1999 / coord. por Christoph Strosetzki, 2001, ISBN 84-8489-019-8 , pags. ...
In the vast realm of 19th-century Italian music dealing with Cervantine themes, Saverio Mercadant... more In the vast realm of 19th-century Italian music dealing with Cervantine themes, Saverio Mercadante’s Don Chisciotte alle nozze di Gamaccio (1830), perused recently by Adela Presas, stands out. The sole purpose of my annotations pertaining to Ferrero’s libretto is to stress even more its relationship to Cervantes’ novel. From the point of view of reception aesthetics, similar works of arts help the reader verify the temporal vitality of a text and, possibly, new ways of reading. The results of this analysis present Don Quixote in a serious fashion, in contrast to 18th-century attitudes, wherein a ridiculous and extravagant tradition of this character prevailed. Likewise, this study stresses the changes that Sancho Panza undergoes as a dramatic character. In his libretto , Ferrero reveals a keen knowledge of the two parts of Cervantes’ Don Quixote since he mentions the novel’s most quoted passages and oftentimes remains faithful to the letter of the text.
Actas Del Xiv Congreso De La Asociacion Internacional De Hispanistas New York 16 21 De Julio De 2001 Vol 3 2004 Isbn 1 58871 048 3 Pags 499 507, 2004
... Dionisio Ridruejo entre vanguardia y retórica falangista. Autores: Maria Caterina Ruta; Local... more ... Dionisio Ridruejo entre vanguardia y retórica falangista. Autores: Maria Caterina Ruta; Localización: Actas del XIV Congreso de la Asociación Internacional de Hispanistas : New York, 16-21 de Julio de 2001 / coord. por Isaías Lerner, Roberto Nival, Alejandro Alonso, Vol. ...
Within the research promoted by the collection “Recreaciones Quijotescas en Europa” whose aim is ... more Within the research promoted by the collection “Recreaciones Quijotescas en Europa” whose aim is to disseminate critical editions and translations of rewritings or reassessments of Quijote by Miguel de Cervantes, three librettos of Italian operas from the first half of the 18th century have been published. The operas were performed at the Viennese court of Charles VI, where the poets Apostolo Zeno and Pietro Pariati, authors of the libretto Don Quixote in Sierra Morena, and Claudio Pasquini, author of Don Quixote in court of the Duchess and Sancio Panza governor of the island Barattaria, had been invited to work. In the essays preceding these editions, the specialists involved in the research describe the cultural and social environment the operas were intended for, deepen the relationships between Cervantes’ novel and the adaptations of the librettos, also commenting on their changes in the light of the new context.
Ruta, MC (2009). El encuentro de dos poetas: Gérard de Nerval y Leopoldo de Luis. Vivir es volver... more Ruta, MC (2009). El encuentro de dos poetas: Gérard de Nerval y Leopoldo de Luis. Vivir es volver. Studi in onore di Gabriele Morelli, 2009, 463-475. ... Edizione critica della traduzione manoscritta da parte del poeta Leopoldo de Luis del sonetto di Gerard de Nerval "El ...
Jorge Urrutia, Sera presente lo que ya es pasado (Antologia 1966-2016), Introduccionde Consuelo T... more Jorge Urrutia, Sera presente lo que ya es pasado (Antologia 1966-2016), Introduccionde Consuelo Trivino Anzola
espanolLa cultura italiana desarrolla un papel peculiar en la formacion de Cervantes dejando huel... more espanolLa cultura italiana desarrolla un papel peculiar en la formacion de Cervantes dejando huellas evidentes en toda su produccion, desde La Galatea hasta el Persiles. La presencia de las lecturas de autores italianos se estudia esencialmente en el sentido del dialogo que los autores entretienen con los textos que forman el paradigma en el que se funda la nueva obra, al mismo tiempo respetandolos y superandolos. Siendo Ariosto y Tasso los autores mas mencionados, otros nombres de varios ambitos han salido a la luz en trabajos mas recientes. EnglishItalian culture plays a particularly relevant role in Cervantes’s literary development, leaving clear marks throughout his works, from La Galatea to Persiles. The influence of readings from Italian authors is here studied from the perspective of the dialogue they establish with the texts that serve as grounds for the new work, concurrently respecting and exceeding them. Although Ariosto and Tasso are the authors most often mentioned, oth...
A Jorge Urrutia se le ha incluido en la ca-tegoría de los poetas profesores y, si acep-tamos la ... more A Jorge Urrutia se le ha incluido en la ca-tegoría de los poetas profesores y, si acep-tamos la división en generaciones, en la Generación de los Setenta o del lenguaje. En el grupo de escritores que la integran se subraya una constante reflexión sobre el uso y dominio del lenguaje para expre-sar con suficiente eficacia las situaciones interiores y exteriores del sujeto poético. Como señala la escritora Consuelo Tri-viño Anzola en la "Introducción" de la Antología 1966-2016, el poeta se sitúa en la atmósfera cultural de su generación, generación que tuvo la tarea de renovar el lenguaje poético, liberándolo de los límites de una poesía comprometida, que ya en los poetas de los Cincuenta habían empezado a vacilar. Abiertos a los modelos europeos, en los años setenta los jóvenes poetas, entre los cuales se incluyen a Guillermo Carnero, Jaime Siles, Jenaro Taléns, Andrés Sánchez Robayna, César Antonio Molina y Fanny Rubio, quisieron explorar nuevos caminos, para llegar a un concepto de poética "que se plasmó en una postura ética de ruptura estética "("Introducción", 11). La portada de la función desarrollada por estos poetas, sin embargo, no fue comprendida adecua-damente por los contemporáneos, como RESEÑAS
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