By G. Boccaccio
Escrita entre 1349 y 1351, es una colección de cien cuentos de variada procedencia donde el autor muestra su inigualable destreza de narrador, perspicacia psicológica, certera pincelada satírica y magnífica descripción de las costumbres de aquel tiempo. Los cuentos son relatados por un grupo de diez jóvenes que se retiran a las afueras de Florencia para protegerse del contagio de los angeles peste que asolaba los angeles ciudad; allí, durante diez días, cada uno de ellos tiene que gestionar una jornada y todas sus actividades; entre éstas destacas especialmente las reuniones donde, para pasar el tiempo, los presentes tienen que contar un cuento. Los temas son muy variados, abundan los licenciosos, pero también se narran historias sentimentales, trágicas y moralizantes. En esta edición Anna Girardi, especialista en l. a. obra de Boccaccio, propone una selección de los mejores relatos de Decamerón según los angeles espléndida traducción de Pilar Gómez Bedate.
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Additional resources for Decamerón: Edición y guía de lectura de Anna Girardi (Clásica)
10. Lisa Jardine, Still Harping on Daughters: Women and Drama in the Age of Shakespeare (Sussex, 1983), p. 72). Barbara Freedman, Staging the Gaze (Ithaca, 1991); Kent Cartwright, Shakespearean Tragedy and Its Double: The Rhythms 1" Audience Response (Pennsylvania, 1991); Katherine Eisaman Maus, 'Horns of Dilemma: Jealousy, Gender and Spectatorship in English Renaissance Drama', EUl, 54 (1987): 561-83. ), The Appropriation of Shakespeare, pp. 163-81; Lorraine Helms, 'Acts of Resistance: The Feminist Player', in Dympna C.
The New Feminist Criticism (1986), pp. 125-43; 'Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism', in Parker and Hartman, Shakespeare and the Question of Theory, pp. 77-94; 'Miranda's Story', in Showalter, Sister's Choice: Tradition and Change in American Ui>fIlen~ Writing (Oxford, 1991); see also for a negotiation of some of the central questions surrounding the male imagining of women, Jeanne Addison Preface to the Second Edition xlvii Roberts, The Shakespearean Wild (Lincoln, Nebraska, 1991).
The next battle I want to see waged is about how to write. 69 I wanted both in Shakespeare and the Nature of J%men and in Alice to the Lighthouse: Children's Books and Radical Experiments in Art (1987), to write for a readership outside the academy as well as within it. I always wrote Shakespeare and the Nature of J%men with a reader in my head, almost always a particular reader. One was the Shakespearean scholar, the late H. V. D. Dyson, Fellow of Merton College, Oxford. He had a special way of criticising pretension.
Decamerón: Edición y guía de lectura de Anna Girardi (Clásica) by G. Boccaccio