Pochi anni dopo lrsquo;ingresso del Decameron nellrsquo;indice dei libri proibiti; il baezano Francisco Truchado propone la traduzione di unrsquo;altra raccolta di novelle italiane che segue il modello di Boccaccio: Le piacevoli notti di Straparola. In un periodo in cui la censura colpiva i libri che contenessero rimandi alle arti magiche e alla sfera erotica; lrsquo;Honesto entretenimiento sembra eludere i controlli della Santa Inquisizione; soprattutto grazie alle strategie del traduttore: Truchado pare sfidare il tribunale ecclesiastico al nascondere eventuali tracce di materiale censurabile grazie a unrsquo;attenta selezione di novelle ndash; tra le quali una egrave; del Doni ndash; o con nuovi inserimenti testuali; per poi celare la malizia degli enigmi conclusivi dietro allusive ambiguitagrave; semantiche. La fortuna editoriale di questa traduzione ndash; che ad oggi vanta otto edizioni tra il XVI e il XVII secolo ndash; sembra sancire la vittoria di Truchado oltre che annoverare il materiale offerto tra le traduzioni europee che piugrave; si avvicinano alla trasposizione integrale della raccolta italiana. Una relazione tematica con La lozana andaluza; tracce di intertestualitagrave; con il Guzmaacute;n de Alfarache e il Patrantilde;uelo; e un rimando al furto del giumento di Sancho nel Quijote; fanno di questrsquo;opera un testo basilare per lo studio dellrsquo;influenza della novella italiana nella letteratura spagnola del Rinascimento e dei Secoli drsquo;Oro.Marco Federici egrave; professore a contratto e titolare di un assegno di ricerca in Letteratura Spagnola allrsquo;Universitagrave; degli Studi di Napoli ldquo;Lrsquo;Orientalerdquo;. Attualmente sta ultimando lrsquo;edizione dellrsquo;opera di Pedro de Salazar; Historia de la guerra y presa de Africa (Napoli; Mattia Cancer; 1552). Ha conseguito il titolo di Dottore di Ricerca a la Sapienza Universitagrave; di Roma; con una tesi sulla traduzione castigliana de Le piacevoli notti di Straparola. Autore di vari articoli per alcune importanti riviste di ispanistica italiane e straniere; si egrave; occupato anche di letteratura contemporanea: in ambito peninsulare della poetessa Francisca Aguirre; e in ambito sudamericano di El hablador di Mario Vargas Llosa.
#3468644 in eBooks 2012-01-17 2012-01-17File Name: B00J86V9UC
Review
1 of 1 people found the following review helpful. Worth Waiting ForBy LeighGreat read. A balanced; thorough history that was a perfect segue to Ned Sublettes book. Very grateful Sr. Acosta had this published in English.8 of 9 people found the following review helpful. 100 Years of Cuban Jazz RevisitedBy Pena ThomasWhen Leonard Acosta began conducting his research on the history of Cuban jazz 30 years ago; there were virtually no written or phonographic reference materials available in Cuba. As Acosta states; "I practically started from zero.""Practically;" with the exception of one crucial fact. Acosta was an accomplished saxophonist (circa 1950s to the 1970s) and an active participant in the history of Cuban jazz.Needless to say; this paved the way for his research; which is based on 60 testimonials acquired directly from the musicians and other knowledgeable individuals.Essentially; Acosta`s objective was; "To get to know - even if only in a broad sense - the names of many of the musicians forgotten today; and to learn which bands and groups; soloists and jazz styles existed in Cuba and when. Its also important to know the places where they played; whether as part of their work or as part of that world of the jam session..."Along the way Acosta uncovered some startling revelations. For example; the legendary Chano Pozo performed as a soloist in a show presented at the Alkazar theatre with Mario Santanas jazz quartet. This implies that Chano Pozo played with jazz groups and had an understanding of jazz prior to his arrival in the U.S. - dispelling the notion that Chano Pozo was; "just another drummer who had a lucky break" (when he was introduced to Dizzy Gillespie).As the title implies; Cubano Be; Cubano Bop (100 Years of Cuban Jazz) begins with encounters between Cuban music and jazz at the turn of the last century and concludes with a chapter on the current musical trends in Cuba today.Acostas research has uncovered an enormous amount of information; which will be of invaluable assistance to writers; musicians; journalists and music aficionados.In addition; Cubano Be; Cubano Bop is a welcome addition to the bibliography of jazz as a whole.Despite the significance of his contribution; Acosta strongly feels that there is still a vacuum with respect to the history of Cuban jazz. Consequently; he is an avid supporter of ongoing research in this area.This is an indispensable read for anyone who is seriously interested in the history and development of Cuban jazz; or Latin jazz; as it is currently known.Leonard Acosta is the author of more than a dozen books on music and literary criticism; as well as fiction and poetry; he resides in Havana; Cuba.2 of 5 people found the following review helpful. Essential StarterBy Irene MoralesI have yet to finish reading this book; but it was referenced several times in my Afro-Cuban Jazz class so I bought it. If it was good enough for my very critical teacher/musician; its good enough for me. :)
