Boemondo. Figlio del Guiscardo e principe di Antiochia, Avellino 2009 (original) (raw)

La signoria di Boemondo I d’Altavilla in Puglia

in «Unde boat mundus quanti fuerit Boamundus». Boemondo I di Altavilla, un normanno tra occidente e oriente. Atti del Convegno internazionale di studio per il IX centenario della morte (Canosa di Puglia, 5–7 maggio 2011), a cura di C. D. FONSECA–P. IEVA, Bari 2015, pp. 47–72.

Un imperfetto capitano nell’epica barocca: il «Boemondo» di G.L. Sempronio come antitesi di Goffredo

AIC, 2015

This article considers the heroes’ literary form in the epic of the 17th century and their cultural and literary value since the case of the «Boemondo», one of the most important poems written after the «Gerusalemme liberata». The study of the text’s narratology and its topoi shows that the lack of confidence in the politician, as a consequence of a diffuse feeling of disillusion, affects the way of organizing the narration. Even in the epic context, the narration follows centrifugal principles that are close to Marino’s «Adone» and tends towards the condottiere’s distinctive features, without the ethical traits of Tasso’s Goffredo. The case of Sempronio testifies that the historical and cultural change of the hero in courtier is present not only in the comic writing but even in the epic one, that keep one’s distance from those positions trusting to the prince’s rectitude and typical of the 16thcentury.