Letteratura francese.

Pisa, Pacini Ed. 2004, cm.14x22, pp.148, brossura copertina figurata. Coll.Studi di Letterature Moderne e Comparate,11. Il sorriso di La Fontaine, la sua scherzosa levità espressiva nascondono in realtà le inquietudini che assillano l'animo del grande favolista, come chiaramente emerge dall'analisi delle cinque favole qui prese in esame. Il confronto serrato con una vasta pluralità di antecedenti e di modelli (favolisti greco-latini e predicatori del Medio Evo, narratori europei dell'età umanistico-rinascimentale ed autori contemporanei) mostra da un lato l'assimilazione di un vastissimo patrimonio culturale, dall'altro l'efficacia, l'originalità e l'attualità di apologhi che solo in apparenza non mirano che a divertire ed a svagare.

Firenze, Olschki 2007, cm.17x24, brossura Biblioteca di «Lettere italiane» - Studi e testi, vol. 68. Si parla di Metastasio, del rapporto tra Alfieri e Chénier, Monti e Voltaire, Manzoni e Lebrun, della presenza francese nell’opera di Breme, Giordani, Salfi, o nel «Conciliatore». Ma soprattutto si indaga sulle analogie riscontrabili tra esponenti poco noti della cultura francese e autori italiani come Parini, Foscolo, Leopardi. Le analogie, per altro, non escludono le evidenti dissonanze, dovute sia al diverso temperamento degli artisti, sia alla diversa temperie culturale in cui le loro opere vedono la luce.

Contribution a` l'e´tude de la nouvelle franc¸aise de la Renaissance. Torino, G.Giappichelli 1964, cm.17x25, pp.501, brossura. Università di Torino. Pubblicazioni della Facolta di Lettere e Filosofia. Vol. 16, Fasc. 2.

Translation by Pier Carlo Bruna. Roma, Ist.Poligrafico e Zecca dello Stato- Archivi di Stato 1999, cm.15x21, pp.202, num.ill.a col.nt. brossura cop.fig.a col.

Berlin, Staatliche Museen zu Berlin Preußischer Kulturbesitz. Berlin, Staatliche Museen 1968, cm.15,5x22, pp.120,(n.n.), 96 tavole b.n. nel testo, brossura figurata a colori.

Based on Studies in the Archives of the Buonarroti Family at Florence. University of Pennsylvania Press 2002, 2 voll. cm.14,5x22,5, pp.470,448, The artistic genius of Michelangelo (1475-1564) is beyond question. One the most important figures in the history of art, his monumental paintings in the Sistine Chapel, his sculpture David in Florence, and his Pietà at St. Peter's Basilica in Rome are among the greatest human achievements of all time and remain the most visited and admired works of art in the world. Michelangelo's life has been the subject of many biographies over the centuries, but it was not until the appearance of John Addington Symonds's The Life of Michelangelo Buonarroti, in 1893, that a biographer had complete access to the artist's family archives. The Buonarroti archives were to be available to the public with the passing of the last family member, but even when that event occurred, in 1858, material from the archives remained closely guarded and only fragments emerged through the hands of family friends. The Italian government, predisposed to Symonds for his impeccable scholarship of Renaissance art, gave Symonds full access to the Buonarroti archives in the 1880s, the first independent scholar so honored. With the ability to consult the massive amount of material in the archives, Symonds produced the first documented, and considered by many still to be the best, biography of Michelangelo. Symonds's expertise as a historian and critic gives added depth to this biography, and it is here that the public first learned that translations of Michelangelo's poetry had been altered to opaque the artist's sexuality. Yet this great work, the last of Symonds's life, has largely been forgotten by students of Michelangelo. In this new edition, the first in more than fifty years, preeminent art historian Creighton E. Gilbert reintroduces Symonds's masterful study of Michelangelo to a new audience through a discussion of the historical context in which the biography appeared, a biographical sketch of Symonds, an openly gay man who worked rigorously to evaluate and promote the contributions of gay artists and scholars to mainstream life, and concludes with an appreciation of The Life of Michelangelo Buonarroti, for its scholarly and literary merits, as an account of the most brilliant painter and sculptor of the Italian Renaissance.