The Poem Sequence before Early Modern Eyes: Printing Conventions and Notions of the Genre, Italy, 1450-1650.
An examination of incunabula and early printed editions of Petrarch's manuscript of his poem sequence, Il Canzoniere, reveals an increasing dependence on critical apparatus that privileged individual sonnets over a continuous mode of reading. A long history of layouts prioritising exegesis may have...
| Publicado en: | Parergon Vol. 33; no. 1; pp. 113 - 131 |
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| Formato: | Artículo |
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Australian & New Zealand Association for Medieval & Early Modern Studies
2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119606059&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119606059 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03136221 65HN jtl: Parergon issn: 03136221 maglogo: N pubinfo: dt: 2016 vid: 33 iid: 1 pid: 43679 pub: Australian & New Zealand Association for Medieval & Early Modern Studies artinfo: ui: 119606059 ppf: 113 ppct: 18 formats: fmt: @attributes: type: P size: 7MB tig: atl: The Poem Sequence before Early Modern Eyes: Printing Conventions and Notions of the Genre, Italy, 1450-1650. aug: au: Kambasković-Schwartz, Danijela affil: The University of Western Australia su: Petrarchism Holography Interferometry Optical diffraction Optical interference sug: subj: Petrarchism Holography Interferometry Optical diffraction Optical interference ab: An examination of incunabula and early printed editions of Petrarch's manuscript of his poem sequence, Il Canzoniere, reveals an increasing dependence on critical apparatus that privileged individual sonnets over a continuous mode of reading. A long history of layouts prioritising exegesis may have distorted our understanding of the way the genre of the poem sequence was written, read, and understood in premodern Europe. Today's critical editions of poem/sonnet sequences, in both Italian and English traditions, continue to privilege individual poems and marginalise the consecutive, narrative reading mode encouraged by the form of Petrarch's holograph manuscript of Il Canzoniere. An examination of the printing practices employed in Italian books printed between 1450 and 1650 suggests that poem sequences were visually represented as integral and narrative works closely related to other narrative genres depicting love in the first person, and this, in turn, suggests that contemporary notions of the poem sequence genre were thematic, not formal. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Parergon is the property of Australian & New Zealand Association for Medieval & Early Modern Studies and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Parergon holder: Australian & New Zealand Association for Medieval & Early Modern Studies dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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