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[null,"1.","Record Nr.",null,"UNINA9910154758403321"]
[null,null,"Autore",null,"Caro Annibal <1507-1566.>"]
[null,null,"Titolo",null,"The scruffy scoundrels (Gli straccioni) / / Annibal Caro ; translated with an introduction and notes by Massimo Ciavolella and Donald Beecher"]
[null,null,"Pubbl/distr/stampa",null,"Waterloo, Ontario, : Wilfrid Laurier University Press, 1980"]
[null,null,"ISBN",null,"9780889208650"]
[{"$nulls":4},"0889208654"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (126 p.)"]
[null,null,"Collana",null,"Carleton Renaissance plays in translation"]
[null,null,"Disciplina",null,"852/.4"]
[null,null,"Soggetti",null,"Italian fiction"]
[{"$nulls":4},"Italian literature"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","A play."]
[{"$nulls":4},"Translation of: Gli straccioni."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"\"\"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\"\""]
[null,null,null,"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 of Caro’s comic genius."]