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Petrarch:     more books (100)

Rhetoric and philosophy in Renaissance humanism;: The union of eloquence and wisdom, Petrarch to Valla by Jerrold E Seigel, 1968 Rereading the Renaissance: Petrarch, Augustine, and the Language of Humanism (Recentiores: Later Latin Texts and Contexts) by Carol Everhart Quillen, 1998-11-15 Petrarch's Laurels by Sara Sturm-Maddox, 1992-10-01 Rerum familiarum libri, XVII-XXIV (Letters on Familiar Matters, Volume 3) by Francesco Petrarca, Francesco Petrarch, 1984-12-01 Life And Times Of Petrarch: With Notices Of Boccacio And His Illustrious Contemporaries V1 by Thomas Campbell, 2007-07-25 Petrarch's Secretum: Its Making and Its Meaning (Medieval Academy Books) by Hans Baron, 1985-09 Song and Counter-Song: Sceve's Delie and Petrarch's Rime (French Forum Monographs) by Joann Dellaneva, 1983-11 Petrarch: his life and times by H.C. HOLLWAY-CALTHROP, 1907-01-01 The Sonnet; Its Origin, Structure, and Place in Poetry: With Original Translations from the Sonnets of Dante, Petrarch, Etc., and Remarks On the Art of Translating by Charles Tomlinson, 2010-02-16 Petrarch's View of Human Life by Francesco Petrarca, 2010-01-10 Fifteen sonnets of Petrarch by Francesco Petrarca, Thomas Wentworth Higginson, et all 2010-08-01 Du Bellay and Petrarch. Rome and the Renaissance (Mimesis,) by Barbara Vinken, 2001-12 The Life of Petrarch by Dobson, Jacques-François-Paul-Aldonce De Sade, 2010-03-10 Petrarch (Past Masters) by Nicholas Mann, 1984-12

lists with details

81. Robert Baron: BERNARD SALOMON: Triumphs Of Petrarch; Petrarca, Trionfi, Emblemat
    BERNARD SALOMON'S EMBLEMS FOR THE TRIUMPHS OF petrarch. These verses reducethe scope of petrarch's classicism while underscoring the moral themes.  
    http://www.studiolo.org/BSProject/PETRARCH/TRIONFI.htm
    
    Extractions: a summary of research in progress. Modern studies of emblem books either examine the theory of the emblem or are concerned with emblems as collections of pictorial idioms of popular culture. Few investigators have assessed the process that created emblems out of the visual and literary culture of the Middle Ages, and few have studied how the forms and meanings of emblems transform from one era to the next. One unexplored facet of the development of the Renaissance emblem in France may be discerned in a series of six emblems made for Petrarch's allegorical cycle, I trionfi, which appeared in the 1547 Lyon edition of Petrarch's vernacular poems published by Jean de Tournes. In this edition, woodcuts by Bernard Salomon manifest the conclusion of a process by which medieval images are transformed into modern emblems. In contrast to Italian "Triumphs of Petrarch," which depend less on Petrarch's text than upon antique triumphal processions as interpreted by art and pageantry, the de Tournes/Salomon series derives from correspondences drawn between image and text but not from Petrarch's text. Rather, Salomon's Petrarchian devices depend upon illustrations that had been paired with verse paraphrases of the

82. From Petrarch Wyatt And Surrey: Sonnet 140
    petrarch Sonnet 140 The following literal prose literary cultures. Byspecial request petrarch's Sonnet in Italian (Rima 140). Amor, che  
    http://www4.ncsu.edu/unity/users/m/morillo/public/s140.htm
    
    Extractions: Petrarch: Sonnet 140 The following literal prose translation of Petrarch's "Sonnet 140," the poem translated by both Wyatt and Surrey, is taken from p. 9 of The English Sonnet Love, who lives and reigns in my thought and keeps his principal seat in my heart, comes like an arned warrior into my forehead, there places himself and there sets up his banner. She who teaches me to love and to suffer and who wishes that reason, modesty and reverence should restrain my great desire and burning hope, thrusts aside and disdains our ardour. Wherefore Love in terror flies to my heart, abandoning all his enterprise, and laments and trembles; there he hides himself and no more appears without. What can I do, when my lord is afraid, except stay with him until the last hour? For he makes a fine end who dies loving well. In his interesting discussion of the sonnet, Cruttwell points out that although Surrey's translation is the more "faithful" one, Wyatt has created the finer English poem. He attributes some of the challenge of translation to the "full-bodied" sound of the abstract words in Italian as opposed to English and also to different values of the aesthetic Italian and the pragmatic English literary cultures.

83. Petrarch
    petrarch 130474, Italian poet and humanist, one of the great figuresof Italian literature. He spent his petrarch. 1304-74, Italian  
    http://www.slider.com/enc/41000/Petrarch.htm
    
    Extractions: Petrarch 1304-74, Italian poet and humanist, one of the great figures of Italian literature. He spent his youth in Tuscany and Avignon and at Bologna. He returned to Avignon in 1326, may have taken lesser ecclesiastic orders, and entered the service of Cardinal Colonna, traveling widely but finding time to write numerous lyrics, sonnets, and canzoni. At Avignon in 1327 Petrarch first saw Laura, who was to inspire his great vernacular love lyrics. His verse won growing fame, and in 1341 he was crowned laureate at Rome. Petrarch's friendship with the republican Cola di Rienzi inspired the famous ode Italia mia. Secretum, a dialogue, Petrarch revealed the conflict he felt between medieval asceticism and individual expression and glory. Yet in his poetry he ignored medieval courtly conventions and defined true emotions. In his portrait of Laura he surpassed the medieval picture of woman as a spiritual symbol and created the image of a real woman. He also perfected the sonnet form and is considered by many to be the first modern poet. He influenced contemporary historiography through his epic Africa

84. Longing For Laura - Petrarch Translations By A. M. Juster - Review By Beth Houst
    Book Review by Beth Houston (page 4). In poem 23, the sequence’s longmiddle poem, petrarch fully recounts his fall and its consequences.  
    http://www.ablemuse.com/critique/b-houston_juster-review-4.htm
    
    Extractions: by A. M. Juster Book Review by Beth Houston (page 4)             In poem 23, the sequence’s long middle poem, Petrarch fully recounts his fall and its consequences.   “While blaming sunlight that had fled, / I gave my melancholy tears free rein / and let them fall wherever they would run; / no snow has ever vanished in the sun / or felt like me as I slipped down a drain / and near a beech became a fountainhead. / I kept pursuing where this wet trail led. / Who ever heard of men becoming springs?  / And yet I speak of clear and famous things.”  Metaphors and famous myths like those of men becoming springs represent universal truths that are as clear as water.             Unlike Professor Maio, I do not think that Petrarch’s “deepest torments are shockingly foreign and mysteriously antiquated.”  Most of the people I know have experienced some form of intense, and often prolonged, unrequited love, be it romantic or parental.  Many of us, Christian or otherwise, have engaged in bitter dispute with God (by whatever name) over issues that involve the core integrity of our being.  Certainly many poets have deeply felt the emotional frustration, melancholy, confusion, and lack of control that stem from intense grappling with life’s riddles.

85. Longing For Laura - Petrarch Translations By A. M. Juster - Review By Beth Houst
    Given that petrarch is second only to Shakespeare as the most widely translated Renaissancewriter, and that his Canzoniere contains many of world’s greatest  
    http://www.ablemuse.com/critique/b-houston_juster-review.htm
    
    Extractions: by A. M. Juster Book Review by Beth Houston             Given that Petrarch is second only to Shakespeare as the most widely translated Renaissance writer, and that his Canzoniere contains many of world’s greatest and most popular love poems, it might seem redundant to add yet another translation to the stacks.  But A.M. Juster’s new translation is notable not only for its masterful handling of the poetry but for his choice from the Canzoniere ’s 366 poems of the 24 poems he has titled Longing for Laura             Any translation, even prose, is difficult, because there is rarely a true one-to-one correspondence between a word and its equivalent in another language.  Much is lost when the original language uses allusion, pun, or any kind of verbal strategy that invests the word with more than its literal value.  Poetry is impossible to translate in any absolute sense because of its heavy use of word play and symbolism, its sculpted compression, and the musical textures used to charge the sensuousness of its imagery.

86. Petrarch
    http://www.utexas.edu/courses/hannibal/petrarch.html

87. Tudor Owners Of Petrarch
    Tudor owners of petrarch. 199) is a petrarch identified as petrarcha inmagno volumine (Venice, 1501. fol. There may be others in the list.  
    http://palimpsest.stanford.edu/byform/mailing-lists/exlibris/1992/10/msg00185.ht
    
    Extractions: Date Prev Date Next ... Thread Index The mention of Cuthbert Tunstall in the original query brings to mind a pertinent article appearing in the latest issue of Papers of the Bibliographical Society of America, 85 (September 1991), 235-296: "The Library of Cuthbert Tunstall, Bishop of Durham: British Library Add. 40,676." The date of the periodical is correct: they are more than a year behind in publication. Briefly, a manuscript inventory of this library has been found and ascribed to Tunstall. The entire list of 483 item is appended, and at least one (no. 199) is a Petrarch [identified as "Petrarcha in magno volumine (Venice, 1501. fol.] There may be others in the list. An interesting article in any case. Robert Beasecker Special Collections Grand Valley State University Allendale, Michigan 49401 beaseckr@gvsu.edu Prev by Date: Re: Tudor owners of Petrarch Next by Date: thanks for marbling info Prev by thread: Re: Tudor owners of Petrarch Next by thread: ExLibris subject matter, subscribers, and flames

88. Petrarca, Francesco. Selected Volumes From The Petrarch Collection At Cornell Un
    Petrarca, Francesco. Selected Volumes from the petrarch Collection at CornellUniversity. Millwood, NY KrausThomson Organization, 1974. 178 reels.  
    http://www.library.utoronto.ca/robarts/microtext/collection/pages/petrarch.html
    
    Extractions: [Main Index] [Microform Search] [Site Map] [Microtext Section Home] ... [U of T Home] Petrarca, Francesco. Selected Volumes from the Petrarch Collection at Cornell University . Millwood, NY: Kraus-Thomson Organization, 1974. 178 reels. COVERAGE The collection includes thirty-two works selected from the Petrarch Collection at Cornell University. Included are important editions and translations of Petrarch's works, many of them heavily annotated, dating from the fifteenth through the 19th centuries. The collection also contains an extensively illustrated 17th century edition of Tomasini's life of Petrarch, Malipiero's Counter-Reformation "Spiritualization" of the Canzoniere and two annotated bibliographies. Materials are in Latin, Italian, Spanish, English, French, and German. Part II includes works about Petrarch. ACCESS Consult the catalogue listed below. It provides author, translator, commentator, illustrator and title index. For further information contact staff at the Reformation and Renaissance Centre Library, Victoria College. BIBLIOGRAPHIC ACCESS Cornell University Libraries.

89. Study Sheet: Petrarch
    Prof. G. Steinberg Study Sheet petrarch. We owe petrarch a lot both goodand bad. petrarch is generally seen as the first truly Renaissance figure.  
    http://gsteinbe.intrasun.tcnj.edu/tcnj/worldlit/petrarch.htm
    
    Extractions: We owe Petrarch a lot both good and bad. Petrarch is generally seen as the first truly Renaissance figure. He was the first major figure to look back on the ancient past and perceive it as removed from the present. He thought of time as a line that can be measured and divided into sections. He viewed history as divided into the ancient world, the "Middle Ages," and the present. The ancient world seemed to have accomplished so much compared to the Middle Ages and the present in art, in science, in politics. Petrarch wanted to recapture those ancient accomplishments. He and others like him called for a rebirth of ancient learning, and that's how the Renaissance got its name ("renaissance" is French for "rebirth"). Petrarch studied classical Latin with great care and became a renowned scholar of the language (as well as of ancient Greek). He despised many of his scholarly contemporaries for not having a very good grasp, in his eyes, of Latin grammar and vocabulary, and he really worked hard to improve understanding of the language through his meticulous linguistic research. Petrarch also tried to revive classical Latin literature by writing a Latin epic (called the Africa ) in imitation of Virgil. Like Dante before him, Petrarch relied a great deal on Virgil as a model of a great poet. Before Dante and Petrarch, Virgil was much honored and admired, but Ovid was the poet that most people actually imitated. Dante began the first steps in replacing Ovid with Virgil as the model of the poet, but Petrarch was the one who would bring the changeover to complete fruition. Petrarch was appalled (as, to a lesser extent, Dante had been before him) that writers no longer aspired to the kind of grand, ambitious writing to which Virgil had aspired. The lack of epic grandeur in his contemporaries seemed to Petrarch just another sign of how degraded humans had become since the days of ancient Greece and Rome.

90. Petrarch's Sonnet-Petrarchan Sonnet-Sonnet Of Petrarca-Rhyme Of Petrarch's Sonne
    petrarch's sonnetpetrarchan sonnet-Sonnet of Petrarca-Rhyme of petrarch'ssonnet-Form of petrarch's sonnet-petrarch. Learn about  
    http://www.stevedenning.com/Petrarchan_sonnet.html
    
    Extractions: Francesco Petrarca is usually credited with having introduced lyric poetry in Europe. His collection of Italian verses, Rime in vita e morta di Madonna Laura (after 1327), translated into English as Petrarch's Sonnets, are said to be inspired by Petrarch's passion for Laura (probably Laure de Noves), a young woman Petrarca first saw in church.

91. United Chemical Technologies
    Flash Chromatography Columns Finally flash chromatography columns are availablethat are compatible with Biotage® FlashMaster® Flash systems.  
    http://www.unitedchem.com/

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