|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910154758403321 |
|
|
Autore |
Caro Annibal <1507-1566.> |
|
|
Titolo |
The scruffy scoundrels (Gli straccioni) / / Annibal Caro ; translated with an introduction and notes by Massimo Ciavolella and Donald Beecher |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Waterloo, Ontario, : Wilfrid Laurier University Press, 1980 |
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Edizione |
[1st ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (126 p.) |
|
|
|
|
|
|
Collana |
|
Carleton Renaissance plays in translation |
|
|
|
|
|
|
Altri autori (Persone) |
|
CiavolellaMassimo <1942-> |
BeecherDonald |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Italian fiction |
Italian literature |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
A play. |
Translation of: Gli straccioni. |
|
|
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references. |
|
|
|
|
|
|
Nota di contenuto |
|
""THE SCRUFFY SCOUNDRELS""; ""Acknowledgements""; ""Introduction""; ""Life""; ""Literary Production""; ""History of the Text""; ""The Play""; ""Plot""; ""Characters""; ""The Language""; ""A Note on the Translation""; ""Select Bibliography""; ""Notes to the Introduction""; ""THE SCRUFFY SCOUNDRELS""; ""Dramatis Personae""; ""Prologue""; ""ACT I""; ""ACT II""; ""ACT III""; ""ACT IV""; ""ACT V""; ""Notes"" |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
The Scruffy Scoundrels by Annibal Caro offers the student, scholar, and general reader a sixteenth-century masterpiece in modern English translation. From one vantage point, The Scruffy Scoundrels would appear to be no more than a series of unrelated scenes and sketches grouped around a highly conventionalized and loosely structured love plot: the arrival of Pilucca and Tindaro in Rome abounding in topical references; the appearance of the two ragged brothers so arbitrarily related to the rest of the events of the play; the love squabble between two servants that leads to Nuta’s memorably comic invective; the stock farcical routines of the Mirandola episodes; the long pathetic tale of Tindaro so little of which actually takes place on the stage. There is a sense, however, in which each scene contains its own ethos and milieu and hails from a particular comic genre, each with its own topoi and character types. This efficient management of plot is simply a measure |
|
|
|
|