Daniel Javitch
Biographic Data
| ID | 690466 |
|---|---|
| NAME | Daniel Javitch |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Javitch |
| SIGNATURE | JAVITCH D |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 21 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 21 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1972 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 1 |
Proclaiming a Classic
Proclaiming a Classic
In this excellent study Daniel Javitch aims to investigate how the Orlando Furioso "first entered the European poetic canon" (p.3).The author claims that canonicity "is a cultural production rather than something that literary works innately possess" (p.3); he, therefore, is not interested in ascertaining which intrinsic aspects of the poem "facilitated" or "invited some of the processes of canonization" (p.4) which can be
Il Compendio della poesia tragicomica (De la poésie tragi-comique)
Giambattista Guarini. Il Compendio della poesia tragicomica (De la poésie tragi-comique). Ed. and trans., Laurence Giavarini. Textes de la Renaissance 140. Paris: Honoré Champion Éditeur, 2008. 419pp. index. tbls. bibl. €74. ISBN: 978–2–7453–1777–3. - Volume 62 Issue 3
From Many Gods to One
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
De constitutione tragoediae
Daniel Heinsius. De constitutione tragoediae: La poétique d'Heinsius. Ed. Anne Duprat. (Travaux du Grand Siècle, 21.) Geneva: Librairie Droz S. A., 2001. 354 pp. index. €128. ISBN: 2-600-00621-4. - Volume 56 Issue 2
Lettere Poetiche
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Renaissance Dialogue
Virginia Cox. The Renaissance Dialogue: Literary Dialogue in its Social and Political Contexts, Castiglione to Galileo. (Cambridge Studies In Renaissance Literature and Culture, 2.) Cambridge: Cambridge University Press, 1992. xiii + 236 pp. $59.95. - Volume 47 Issue 3
"Proclaiming a Classic. The Canonization of the "Orlando Furioso
Proclaiming a Classic
Despite its immediate popularity and its acclaim as a modern equal of the ancient epics, Ariosto's Orlando Furioso (published in its final version in 1532) was for learned readers a perplexing work: it mixed romance, epic, and lyric poetry, poked fun at its marvelous and outmoded chivalric matter, contained many interrupted narrative threads, and included base and lowborn characters. In exploring the literary debates involved in elevating the Fur…
Romanzi di cavalleria. Il "Furioso" e il romanzo italiano del primo cinquecento
Narrative Discontinuity in the Orlando Furioso and its Sixteenth Century Critics
The many actions, characters, and various adventures of chivalric romance required multiple plot lines which had to be interrupted constantly in order for each of them to progress more or less simultaneously. So when Ariosto chose to make his Orlando Furioso a sequel to Boiardo's Orlando Innamorato, he opted for a discontinuous narrative. Moreover, the technique of entrelacement or interweaving which allowed the narrator to advance his various pl…
Milton and Ovid
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Imitation of Imitations in Orlando Furioso
Recent commentary on poetic imitation in the Renaissance has tended to emphasize competition, to value kinds of imitation that strive to surpass their models, and therefore to disregard or even deprecate modes of imitation that seem to consist of little more than respectful duplications. It has too readily assumed that imitative poets can only achieve originality by defying or somehow asserting their difference from their models. In the following…
Orlando Furioso, a cura di Emilio Bigi
The Orlando Furioso and Ovid's Revision of the Aeneid
Readers of the Orlando Furioso have recognized Ariosto's debt to Ovid ever since the first version of the poem was published in 1516. By the middle of the sixteenth century, editions of the Orlando Furioso already pointed out that such notable episodes in the poem as Bireno's abandonment of Olimpia and her ensuing lament, Ruggiero's rescue of Angelica from the monster Orca, Orlando's similar rescue of Olimpia, Fiordispina's lament upon discoverin…
Cantus Interruptus in the Orlando Furioso
One of the characteristic features of a romanzo like the Orlando Furioso is the recurring interruption of the narrative strands that make up its interwoven plot. In order to keep developing these strands in each canto, or eventually to unite some of them, Ariosto is regularly compelled to abandon one strand and take up another. The need for such interruptions becomes particularly apparent when one realizes that two strands cannot be brought toget…
Poetry and Courtliness in Renaissance England
Orlando Furioso
The Library of Drummond of Hawthornden
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Poetry and Court Conduct
The War Against Poetry
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Imitation of Imitations in Orlando Furioso
Recent commentary on poetic imitation in the Renaissance has tended to emphasize competition, to value kinds of imitation that strive to surpass their models, and therefore to disregard or even deprecate modes of imitation that seem to consist of little more than respectful duplications. It has too readily assumed that imitative poets can only achieve originality by defying or somehow asserting their difference from their models. In the following…
Poetry and Court Conduct
Poetry and Court Conduct
The War Against Poetry
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Library of Drummond of Hawthornden
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Orlando Furioso
Poetry and Courtliness in Renaissance England
Cantus Interruptus in the Orlando Furioso
One of the characteristic features of a romanzo like the Orlando Furioso is the recurring interruption of the narrative strands that make up its interwoven plot. In order to keep developing these strands in each canto, or eventually to unite some of them, Ariosto is regularly compelled to abandon one strand and take up another. The need for such interruptions becomes particularly apparent when one realizes that two strands cannot be brought toget…
Orlando Furioso, a cura di Emilio Bigi
The Orlando Furioso and Ovid's Revision of the Aeneid
Readers of the Orlando Furioso have recognized Ariosto's debt to Ovid ever since the first version of the poem was published in 1516. By the middle of the sixteenth century, editions of the Orlando Furioso already pointed out that such notable episodes in the poem as Bireno's abandonment of Olimpia and her ensuing lament, Ruggiero's rescue of Angelica from the monster Orca, Orlando's similar rescue of Olimpia, Fiordispina's lament upon discoverin…
The Imitation of Imitations in Orlando Furioso
Recent commentary on poetic imitation in the Renaissance has tended to emphasize competition, to value kinds of imitation that strive to surpass their models, and therefore to disregard or even deprecate modes of imitation that seem to consist of little more than respectful duplications. It has too readily assumed that imitative poets can only achieve originality by defying or somehow asserting their difference from their models. In the following…
Milton and Ovid
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Narrative Discontinuity in the Orlando Furioso and its Sixteenth Century Critics
The many actions, characters, and various adventures of chivalric romance required multiple plot lines which had to be interrupted constantly in order for each of them to progress more or less simultaneously. So when Ariosto chose to make his Orlando Furioso a sequel to Boiardo's Orlando Innamorato, he opted for a discontinuous narrative. Moreover, the technique of entrelacement or interweaving which allowed the narrator to advance his various pl…
Romanzi di cavalleria. Il "Furioso" e il romanzo italiano del primo cinquecento
Proclaiming a Classic
Despite its immediate popularity and its acclaim as a modern equal of the ancient epics, Ariosto's Orlando Furioso (published in its final version in 1532) was for learned readers a perplexing work: it mixed romance, epic, and lyric poetry, poked fun at its marvelous and outmoded chivalric matter, contained many interrupted narrative threads, and included base and lowborn characters. In exploring the literary debates involved in elevating the Fur…
"Proclaiming a Classic. The Canonization of the "Orlando Furioso
The Renaissance Dialogue
Virginia Cox. The Renaissance Dialogue: Literary Dialogue in its Social and Political Contexts, Castiglione to Galileo. (Cambridge Studies In Renaissance Literature and Culture, 2.) Cambridge: Cambridge University Press, 1992. xiii + 236 pp. $59.95. - Volume 47 Issue 3
Lettere Poetiche
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
De constitutione tragoediae
Daniel Heinsius. De constitutione tragoediae: La poétique d'Heinsius. Ed. Anne Duprat. (Travaux du Grand Siècle, 21.) Geneva: Librairie Droz S. A., 2001. 354 pp. index. €128. ISBN: 2-600-00621-4. - Volume 56 Issue 2
From Many Gods to One
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Proclaiming a Classic
In this excellent study Daniel Javitch aims to investigate how the Orlando Furioso "first entered the European poetic canon" (p.3).The author claims that canonicity "is a cultural production rather than something that literary works innately possess" (p.3); he, therefore, is not interested in ascertaining which intrinsic aspects of the poem "facilitated" or "invited some of the processes of canonization" (p.4) which can be
Il Compendio della poesia tragicomica (De la poésie tragi-comique)
Giambattista Guarini. Il Compendio della poesia tragicomica (De la poésie tragi-comique). Ed. and trans., Laurence Giavarini. Textes de la Renaissance 140. Paris: Honoré Champion Éditeur, 2008. 419pp. index. tbls. bibl. €74. ISBN: 978–2–7453–1777–3. - Volume 62 Issue 3
Proclaiming a Classic
Art (17 works) · History (10 works) · Renaissance Literature and Culture (10 works) · Renaissance and Early Modern Studies (8 works) · History (7 works) · Art history (6 works) · Humanities (6 works) · Literature (6 works) · The Renaissance (5 works) · Poetry (4 works)