"Il Piacer Ch'avea Di Gire / Cercando Il Mondo": Travel and Geography in Orlando Furioso

2021 ◽  
Vol 52 (52) ◽  
pp. 187-215
Author(s):  
Alessandro Marignani
Keyword(s):  
Orlando Furioso

Proclaiming a Classic: The Canonization of Orlando Furioso.

1992 ◽  
Vol 23 (3) ◽  
pp. 596
Author(s):  
Mary R. Bowman ◽  
Daniel Javitch
Keyword(s):  
Orlando Furioso

Figures in Ariosto's Tapestry: Character and Design in the 'Orlando Furioso'

1989 ◽  
Vol 84 (4) ◽  
pp. 1005
Author(s):  
Mark Davie ◽  
Peter DeSa Wiggins
Keyword(s):  
Orlando Furioso

The Dangers and Virtues of Theatricality in Ariosto’s Orlando Furioso

MLN ◽  
2015 ◽  
Vol 130 (1) ◽  
pp. 42-62
Author(s):  
Jack D’Amico
Keyword(s):  
Orlando Furioso

Die globale Dichtung des Orlando Furioso

2012 ◽  
Vol 47 (1) ◽  
pp. 16-33
Author(s):  
Federico Italiano
Keyword(s):  
Early Modern ◽  
Hybrid Vehicle ◽  
Early Modern Europe ◽  
The West ◽  
Ludovico Ariosto ◽  
Orlando Furioso ◽  
The Earth ◽  
Epic Poem ◽  
Peter Sloterdijk ◽  
As If

AbstractThe epic poem of Ludovico Ariosto, Orlando Furioso (1516–1532), one of the most influential texts of Renaissance writing, shows not only a precise cognition of early modern cartographic knowledge, as Alexandre Doroszlaï has illustrated it in Ptolemée et l’hippogriffe (1998), but also performs a complex transmedial translation of cartographic depictions. The journeys around the globe of the Christian paladins Ruggiero and Astolfo narrated by Ariosto are, in fact, performative negotiations between literary and cartographic processes. Riding the Hippograph, the hybrid vehicle par excellence, Ruggiero and Astolfo fly over the Earth as if they were flying over a map. Their journeys do not merely transmedially translate the course to the West pursued by Early Modern Europe. Rather, by translating the map Ariosto performs a new geopoetics that turns away from the symbolic dominance of the East (or “Ent-Ostung”, as Peter Sloterdijk has usefully called it) and offers us one of the first poetic versions of modern globalization.

Renaissance Epics: Ariosto, Tasso, and Spenser

2019 ◽  
pp. 97-135
Author(s):  
Peter Mack
Keyword(s):  
Edmund Spenser ◽  
Faerie Queene ◽  
Torquato Tasso ◽  
Ludovico Ariosto ◽  
Orlando Furioso ◽  
Wide Range ◽  
The Faerie Queene

This chapter takes a look at Orlando Furioso (1516, 1532), Gerusalemme Liberata (1581), and The Faerie Queene (1596), which are the recognized epic masterpieces of their eras. They draw in succession on each other and on a wide range of classical and romance texts, many of them known to the first audiences of these three poems. The chapter investigates the ways in which Ludovico Ariosto, Torquato Tasso, and Edmund Spenser used their predecessors and the different effects they achieved from a shared heritage. It examines the ways in which a series of authors used both their immediate predecessors and their sense of a long tradition of epic writing to create something new. The chapter argues that Ariosto aimed to shock and surprise his audience. Tasso reacted to Ariosto by combining a more serious and unified epic on the lines of the Iliad. Spenser's idea of devoting each book to a hero and a virtue presents a structure which is easier to comprehend than Ariosto's, yet looser and more open to surprises than Tasso's.

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