Decameron (Italian Edition)

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Description 1 Significant new knowledge generated My research demonstrates crucial stages in the process by which the historical author becomes synonymous with his fictional narrators, which in turn lead to the popular image which persists today of Boccaccio as an author who is synonymous with pleasure and freedom from social constraints. I show how the merging of historical and fictional roles is promoted to audiences in unprecedented numbers through printed editions of the Decameron.

It is only by studying the presentation of the text in the context of print culture that we see the process played out through the addition of supplementary texts, e. The layout of text on the page, and the combination of written and visual elements e.

My research on the interconnections between production and reading contribute to a field currently attracting much new research: the relationship between print and orality. This is frequently discussed in relation to Ariosto; my research shows that similar issues concerning the hybridity of written and oral culture concern both the production and consumption of the Decameron. Thus, the Decameron is marketed and sold by printer-performers who align editions visually, e. My emphasis on the publishing trajectory of a single text across a century has led to new knowledge in the field of early print culture.

Taking a macro-analytical view of the Decameron's tradition has enabled me not only to identify the moments at which paratexts appear and disappear, but also to consider the locations in which paratexts are placed at different points in the development of print, both of which contribute to a larger argument about the way in which paratexts are used to authorize the work of particular printing houses and contribute to their brand identity.

Methodologically, therefore, my research emphasizes how and why paratexts are a significant area of study. By focusing on the relationship between text, paratext, and the publishing context, I have been able to distinguish the influence of the commercial pressures on the presentation of authors and texts, and therefore illustrate the dangers of interpreting para texts extracted from their originating context. The bibliographic data that I have collected from primary sources is the most up-to-date and comprehensive data currently available for printed editions of the Decameron.

I have been able to rectify errors and incomplete records in other online and printed catalogues. Equally, I conceive production and consumption contexts in terms of sociological networks. A major new research question which has been prompted by the comparison of these methodologies is the role played by networks of 'material elements' e. I am working on a theory of 'intermateriality', which complements 'intertexuality', and will provide a model for drawing connections between texts and authors which go unnoticed within conventional literary history.

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I have organized a half-day conference aimed at researchers in the Faculty of Arts, a more focused workshop with selected participants, and two one-day international conferences, using these to develop and contextualize aspects of my own research in different linguistic, historical, and generic contexts. I also presented my work at the Sixteenth Century Conference Vancouver, and from this developed contacts which has led to a proposal for another panel on Renaissance paratexts SCS, Bruges, August I have also been building relationships with library staff: in Bristol, Special Collections I have invited librarians and archivists to present aspects of their work on books, and we have worked together to organize a public workshop and exhibition using Bristol's rare books collections.

I have also had one-to-one meetings with librarians in Oxford and Cardiff to discuss my research findings and the potential for collaboration.

Wikidata:Lists/Decameron editions and translations - Wikidata

This has begun to lead to new outcomes, such as a draft catalogue of Italian Renaissance books held in Bristol, and some early discussions about a funding bid involving academics and librarians in a number of UK Universities. I was also invited to the Jubilee library in Brighton to discuss their rare books, which has since led to an invited public lecture.

Exploitation Route My project has generated a significant quantity of primary bibliographic data relating to book forms and paratexts which has not previously been accessible in digital form and brought together in the context of bibliographic work on Boccaccio. There will be scope for me to use this as a platform for a more technologically ambitious project. For example, by using software plug-ins which would allow me to create visualizations of different combinations of bibliographic elements.

This has the potential to enhance intellectual understanding of the relationships which can be created between individual editions or individual paratexts, thereby leading to new research questions. At a pedagogical level, the data will also underpin my undergraduate and postgraduate teaching in the history of the book, allowing students to access detailed primary material from their mobile devices.

Where I have identified errors and absences in established online catalogues e. Professional library staff may also wish to incorporate my dataset into existing catalogues and bibliographic records, and there is scope in the first instance to add digital facsimiles of the sixteenth-century Decameron held in Bristol. I know it ain't true.

I've read enough Italians from more than a millennia prior to put paid to that idea. This is entertaining as hell.

A new translation of Boccaccio’s Decameron.

It just goes to show View all 5 comments. Permit me to offer another roar of support for reading The Decameron. A divine mathematical structure ten parts of ten chapters with ten characters told over ten days props up this rollicking ride of classic storytelling. A modern translation this ed from J. Nichols renders the original in all its libidinous, virtuous mischief, making each page a rapturous pleasure to turn.

1st Edition

This book needs no further endorsement from me. Make arrangements to read The Decameron before your fatal heart a Permit me to offer another roar of support for reading The Decameron. Make arrangements to read The Decameron before your fatal heart attack. Apr 10, Nikki rated it it was amazing Shelves: medieval-literature , short-stories-novellas , classics , humour. The Decameron is obviously a hugely influential piece of literature actually, it's just plain huge , so it's no wonder I'd get around to it eventually. I'm not a huge fan of Chaucer, really, but I did recognise a couple of the source texts he used in this, and I imagine that the choice of frame narrative for the Canterbury Tales might've been suggested to Chaucer by The Decameron.

Certainly The Decameron was an influence, anyway. The Decameron also inspired a song by one of my favourite singers, The Decameron is obviously a hugely influential piece of literature actually, it's just plain huge , so it's no wonder I'd get around to it eventually. It's a lovely song, playful and quite in keeping with the tone of The Decameron. Despite its length, The Decameron is very easy to read.

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  • ISBN 13: 9788806177027.
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It's a collection of a hundred short stories -- or perhaps a hundred and one, if you count the frame story -- split into ten 'days' with the conceit that a group of ten young men and women meet outside Florence during the plague years, and to entertain themselves, they elect a king or queen from their number each day, who dictates a theme for the stories that they tell. The stories are quite similar at times, when they revolve around a specific theme, but overall there's a lot of different stories, often funny, and often to do with sex.

You get the impression that no women in medieval Italy with the exception of Griselda and Zinevra were ever faithful to their husbands! Being a medieval work, it's unsurprisingly not terribly good about subjects like rape or feminine strength. Sometimes it praises women to the skies and at other times blames them for what isn't their fault, or what certainly isn't a fault in all women.

Still, it didn't make me uncomfortable most of the time, and there are plenty of clever and strong women in the tales as well. The Penguin translation, by G. McWilliam, is extremely good, in the sense of always being very readable and entertaining, rather than dry, and this edition comes with a wealth of notes on context and on each specific story.

There are maps and an index, too. Even if you're not reading this for study, it's worth getting -- perhaps especially so, because it explains things clearly no matter what your level of expertise on the subject. View all 15 comments. My encounter with this book has been a delightful surprise. Expecting a dry and difficult medieval text, I was shocked to find myself unable to put it down. This is a completely rich text that is complex, yet easy and fun to read. Boccaccio has such a fun sense of humor!

I found myself laughing aloud. For me, the dirty stories stole the show, but the other stories by no means fall short. His characters and stories are so richly human and he is able to laugh at them, embrace their flaws, forgive My encounter with this book has been a delightful surprise. His characters and stories are so richly human and he is able to laugh at them, embrace their flaws, forgive them their hypocrisies. It's too bad we all can't view the world with Boccaccio's humor and sense of reason. As a side note, his description of societal breakdown prompted by the plague is really interesting.

I had the simple, but impressive realization that I was reading the actual first hand observations of someone who had lived through THE Plague. It's crazy- and so cool! Admittedly, I know there is a lot of critical study around this text that I am missing and things that I have failed to recognize, but Boccaccio's brilliance lies in the fact that he is able to create a work that is valid and entertaining.

It's the perfect combination of study and pleasure.

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Woodcut image of the narrators in The Decameron, from a c. 1492 Italian edition

I would re-read this in a heartbeat. I recommend it, especially if you doubt that you will like it. You will.

For one, he treats of nobles and peasants indifferently; and in the final and incredibly sadistic story he even asserts that these distinctions are of no importance compared with personal merit. At times Boccaccio even seems like a proto-feminist: Women are central to the book, as Boccaccio frames the collection of stories as a diversion for women who have been forced into idleness by their social position.