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Just like many other Romance languages, Italian verbs express distinct verbal aspects by means of analytic structures such as periphrases, rather than synthetic ones; the only aspectual distinction between two synthetic forms is the one between the imperfetto (habitual past tense) and the passato remoto (perfective past tense), although the ...
Italian prosody is accentual and syllabic, much like English. However, in Italian all syllables are perceived as having the same length, while in English that role is played by feet. [1] The most common metrical line is the hendecasyllable, which is very similar to English iambic pentameter. Shorter lines like the settenario are used as well. [2]
The historians of Italian literature are in doubt whether Torquato Tasso should be placed in the period of the highest development of the Renaissance, or whether he should form a period by himself, intermediate between that and the one following. [107] In Rinaldo, he tried to reconcile the Aristotelian rules with the variety of Ariosto.
Thomas Goddard Bergin OBE (November 17, 1904 – October 30, 1987) was an American scholar of Italian literature, [1] who was "noted particularly for his research on Dante's Divine Comedy and for its translation". [2]
Terza rima (/ ˌ t ɛər t s ə ˈ r iː m ə /, also US: / ˌ t ɜːr-/, [1] [2] [3] Italian: [ˈtɛrtsa ˈriːma]; lit. ' third rhyme ') is a rhyming verse form, in which the poem, or each poem-section, consists of tercets (three-line stanzas) with an interlocking three-line rhyme scheme: The last word of the second line in one tercet provides the rhyme for the first and third lines in the ...
The term 'New Italian Epic' and the body of works to which it refers were first discussed in March 2008 during 'Up Close & Personal', a seminar on contemporary Italian literature organised by McGill University in Montreal, Canada, in which Italianists from all over North America took part.
The Storia della letteratura italiana (History of Italian Literature) is an essay written by Italian literary critic Francesco de Sanctis, published by Morano in two volumes in 1870 and 1871. It is considered the first truly complete, organic treatment of Italian literature as a whole.
During the Italian literary "period of decadence," which spanned most of the 17th century, Italian literature as a whole produced little notable work. Although the improvisatori likely continued to exist in some fashion during the 17th century, they did not contribute significantly to Italian literature for most of the century.