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By Giovanni Boccaccio

Giovanni Boccaccio logró con el Decamerón, en palabras de Herman Hesse, «la primera gran obra maestra de l. a. narrativa europea». Titulado así por l. a. palabra griega que designa «diez jornadas», es uno de los grandes monumentos de los angeles literatura universal.

Siete damas y tres jóvenes se retiran a las afueras de Florencia huyendo de los angeles peste de 1348. Allí permanecen diez días con sus diez noches y, para distraerse, cada uno de ellos debe hacerse shipment de una jornada completa de entretenimiento. los angeles actividad significant se centra en los angeles narración de cuentos de amor y muerte y engaño, protagonizados por clérigos lascivos, reyes locos, amantes taimados y milagreros farsantes, entre otros.

Abre esta edición el célebre ensayo Boccaccio m edieval, donde Vittore Branca disecciona el espíritu boccacciano para reivindicar su gozosa tradición medieval y rechazar las lecturas renacentistas espurias y forzadas.

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To take one of the tradition's more intractable problems: the claim that beauty causes rape permeates the Metamorphoses and ®nds its way into later representations of the crime. '' In numerous interior monologues or, as I hope to show, by such signs as Arachne's tapestry, Medusa's snaky locks, and Philomela's bruised message to her sister, ``Ovid highlights the cruelty of sexual violation, showing the part of violence and degradation as clearly as the erotic element. ''34 Through numerous female voices in Ovid's poem and others, we see that ``beauty'' is more than merely the object of desire.

To take one of the tradition's more intractable problems: the claim that beauty causes rape permeates the Metamorphoses and ®nds its way into later representations of the crime. '' In numerous interior monologues or, as I hope to show, by such signs as Arachne's tapestry, Medusa's snaky locks, and Philomela's bruised message to her sister, ``Ovid highlights the cruelty of sexual violation, showing the part of violence and degradation as clearly as the erotic element. ''34 Through numerous female voices in Ovid's poem and others, we see that ``beauty'' is more than merely the object of desire.

I do not presume there to be a given ± or more importantly, intelligible ± phenomenon anterior to the language that gives it shape (for instance, ``woman'' or ``the female subject''). 30 The trope of a maternal body allowed each author to de¯ect and disguise the melancholic, ``male'' subject's ongoing displacement in language ± a displacement that can be grounded neither in time nor in the material world, much less in the original loss of an empirical body. This seeming thing, the maternal body, turned out to be an effect rather than a cause of the symbolic order it is said to disrupt.

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