<?xml version="1.0" encoding="UTF-8"?>
<feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/">
  <title>OAR@UM Collection:</title>
  <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/126307" />
  <subtitle />
  <id>https://www.um.edu.mt/library/oar/handle/123456789/126307</id>
  <updated>2026-04-23T03:24:01Z</updated>
  <dc:date>2026-04-23T03:24:01Z</dc:date>
  <entry>
    <title>Journal of Anglo-Italian Studies : volume 6</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/126572" />
    <author>
      <name>Vassallo, Peter</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/126572</id>
    <updated>2024-09-12T09:18:02Z</updated>
    <published>2001-01-01T00:00:00Z</published>
    <summary type="text">Title: Journal of Anglo-Italian Studies : volume 6
Authors: Vassallo, Peter
Abstract: Table of Contents:; - 'With a wild Surmise': on translating Lorenzo de' Medici's Ambra two hundred years after William Roscoe: Corinna Salvadori Lonergan; - 'He that travelleth into a country ... goeth to school': il viaggio di Sir John North verso l'Italia e ritorno (1575-1579): Mariagrazia Bellorini; - Jonson, Shakespeare and the Italian Theorists: David Farley-Hills; - 'That Italian Didapper': Giordano Bruno and England: John Gatt-Rutter; - Sir Philip Sidney 'inward Sunne to Heroicke minde' and Giordano Bruno's 'sole intelligenziale' in De Gli Eroici Furori: Daniel Massa; - Italian Pride and English Prejudice: The Reception of Otherness in the Renaissance: Patricia Ellul-Micallef; - Felicia's Fantasy: The Vespers of Palermo: Roderick Cavaliero; - Figuring Disorder: Women Travellers in Italy: Jane Stabler; - 'All that I have dreamed and more': Elizabeth Barrett Browning's Florence: Alison Chapman; - Shelley's Perception of Italian Art: Lilla Maria Crisafulli; - Cathestant or Protholic? Shelley's Italian Imaginings: Michael O'Neill; - The Fallen/Unfallen Woman in Manzoni and Dickens: Allan C. Christensen; - La visita di Garibaldi a Malta ed in lnghilterra: L'euforia collettiva per un eroe scomodo: Abraham Borg; - The Rossetti siblings in the correspondence of their father: John Woodhouse; - Exiles at Home: The Case of the Rossettis: Valeria Tinkler-Villani; - 'Daughter of th' Italian Heaven!': Madame de Stael's Corinne in England: Petra Bianchi; - T. S. Eliot, W. B. Yeats and the Dantean 'familiar compound ghost' in Little Gidding: Peter Vassallo</summary>
    <dc:date>2001-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>'With a wild surmise' : on translating Lorenzo de' Medici's Ambra two hundred years after William Roscoe</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/126571" />
    <author>
      <name>Salvadori Lonergan, Corinna</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/126571</id>
    <updated>2024-09-12T09:16:53Z</updated>
    <published>2001-01-01T00:00:00Z</published>
    <summary type="text">Title: 'With a wild surmise' : on translating Lorenzo de' Medici's Ambra two hundred years after William Roscoe
Authors: Salvadori Lonergan, Corinna
Abstract: Lorenzo de' Medici's Ambra is a poem in ottava rima, forty-eight &#xD;
stanzas in all, with an inner cohesion but some contradictions and &#xD;
illogicalities because most probably it was unrevised and unfinished. As &#xD;
with all Lorenzo's longer poems, with the notable exception of the &#xD;
Rappresentazione, it is virtually impossible to date. The scant evidence &#xD;
suggests a time between 1474 and 1486, a long stretch in a remarkably &#xD;
short life. Even the title is problematical. In the manuscript tradition some &#xD;
codices bear the title Descriptio Hiemis, which is strictly applicable only &#xD;
to the opening twenty-two octaves of the poem, nine of which are a &#xD;
powerful description of a flood, while the remaining octaves tell a fabula, &#xD;
the metamorphosis of the beautiful nymph, Ambra, into a rock. She &#xD;
arouses the lust of the river god, Ombrone, who pursues her and who &#xD;
calls to his aid the father river, Amo. She prays to Diana to preserve her &#xD;
chastity as a result of which she is turned into a rock and the lament of &#xD;
Ombrone who has killed the thing he loved, ends the poem. The Ambra &#xD;
of the title, for Lorenzo, was certainly his residence at Poggio a Caiano, &#xD;
which he designed with Giuliano da Sangallo, near which flows the &#xD;
Ombrone and the poem's physical setting is the surrounding countryside.</summary>
    <dc:date>2001-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>'He that travelleth into a country... goeth to school' : il viaggio di John North verso l'Italia e ritorno  (1575-1579)</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/126570" />
    <author>
      <name>Bellorini, Mariagrazia</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/126570</id>
    <updated>2024-09-12T09:13:52Z</updated>
    <published>2001-01-01T00:00:00Z</published>
    <summary type="text">Title: 'He that travelleth into a country... goeth to school' : il viaggio di John North verso l'Italia e ritorno  (1575-1579)
Authors: Bellorini, Mariagrazia
Abstract: II saggio di Francis Bacon, Of Travel, da cui la citazione e &#xD;
parzialmente tratta - la frase per intero recita: 'He that travelleth into a &#xD;
country, before he has some entrance into the language, goeth to school &#xD;
and not to travel' - appare nel primo decennio del diciassettesimo secolo &#xD;
e si pone non certo a commento di un fenomeno al suo primo apparire, &#xD;
quale appunto il viaggio di istruzione, ma piuttosto come riflessione su &#xD;
esperienze da tempo ormai affrontate dai giovani aristocratici inglesi e &#xD;
come mediazione tra estremi polemici in denigrazione o difesa del valore &#xD;
formativo delle stesse, inserite in un dibattito che aveva avuto inizio &#xD;
anni prima ed era destinato a continuare..</summary>
    <dc:date>2001-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Jonson, Shakespeare and the Italian theorists</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/126568" />
    <author>
      <name>Farley-Hills, David</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/126568</id>
    <updated>2024-09-12T09:08:36Z</updated>
    <published>2001-01-01T00:00:00Z</published>
    <summary type="text">Title: Jonson, Shakespeare and the Italian theorists
Authors: Farley-Hills, David
Abstract: Ben Jonson's poem introducing the 1623 Folio of Shakespeare's &#xD;
plays is one of the finest tributes ever penned to the friend and colleague &#xD;
he calls 'my beloved [ ... ] Mr. William Shakespeare.' But during &#xD;
Shakespeare's lifetime Jonson was on occasions much less complimentary, &#xD;
criticizing the plays from the standpoint of neo-classical critical theory &#xD;
and in particular from the standpoint of such Italian theorists as Minturno, &#xD;
Giraldi Cinthia and Ludovico Castelvetro. Jonson's reference to the laws &#xD;
of time, place and 'persons' in the prologue to Volpone (1606), for instance, &#xD;
is a reference, either directly or indirectly, to Castelvetro's Commento &#xD;
sopra Aristotele (1570), for it was Castelvetro who added the demand &#xD;
for a unity of place to Aristotle's reference to keeping 'where possible &#xD;
to within a single circle of the sun.' Castelvetro turns Aristotle's &#xD;
permissive reference to a unity of time to firm rules governing time and &#xD;
place: &#xD;
Nella tragedia lo spatio del luogo, per lo quale essa si mena a fine, e ristretto non solamente ad una citta o villa o compagna o simile &#xD;
sito, ma anchora a quella vista che sola puo apparere agli occhi di &#xD;
una persona.</summary>
    <dc:date>2001-01-01T00:00:00Z</dc:date>
  </entry>
</feed>

