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Sintassi e retorica tra sonetto e madrigale nelle "Rime" di Luigi Groto

100%
Galavotti J.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2017
|
issue 9(1) "Gli orizzonti dell’italianistica: tradizione, attualita e sfide di ricerca"
224-236
IT
L’articolo analizza alcuni aspetti della prima parte delle Rime di Luigi Groto Cieco d’Adria (1541–1585), uno dei più interessanti poeti del manierismo letterario veneziano. Attraverso l’analisi del rapporto tra metrica e sintassi, l’autore descrive affinità e differenze tra madrigali e sonetti. I madrigali sono più improntati alla ricerca del concettismo, mentre i sonetti sono caratterizzati da artifici retorici geometrici. Questi due differenti stili fanno entrambi parte di un generale ripensamento del petrarchismo.
PL
Artykuł analizuje wybrane aspekty pierwszej części Rime autorstwa Luigiego Groto Cieco d’Adria (1541–1585), jednego z najbardziej interesujących poetów weneckiego manieryzmu literackiego. Poprzez analizę relacji między metrum a składnią autor opisuje podobieństwa i różnice między madrygałami i sonetami. Madrygały wyróżnia w większym stopniu cechujący je konceptyzm podczas gdy sonety charakteryzują się przewagą geometrycznych figur retorycznych. Oba style zaklasyfikować można jako trendy nawiązujące do petrarkizmu.
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Genologia i finezja. Najkrótsze pieśni Jana Kochanowskiego

89%
Buszewicz E.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2020
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vol. 20
59-75
RU
The purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian‑origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w popiół prawie), II 16 (Nic po tych zbytnich potrawach…) and II 23 (Nie zawżdy, piękna Zofija…). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke.
DE
The purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian‑origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w popiół prawie), II 16 (Nic po tych zbytnich potrawach…) and II 23 (Nie zawżdy, piękna Zofija…). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke.  
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