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Reviews (pp. ix–xxxv), then a detailed account of the text’s evolution in ‘Histoire rédactionelle et hypothèse éditoriale’ (pp. xxxv–xciv). e first section is an updated version of Cardini’s opening address to one of the first conferences in that anniversary year of (‘Alberti scrittore e umanista’, now in La vita e il mondo di Leon Battista Alberti, vols (Florence: Olschki, ), , –). What that essay highlights is the originality of Alberti’s brand of humanism, which is different both from Petrarch’s bookish, contemplative ideal and from Bruni’s ‘civic humanism’ (there are not many laughs in Petrarch and Bruni); instead, Alberti’s humanism is something broader, embracing also mathematics, the fine arts, and humour. As for the second section, on the text’s complex evolution, Cardini shows that the Pistoia manuscript (P), famously discovered by Eugenio Garin in , is closer to the author’s final wish for the Intercenales than the Oxford manuscript (O), so he takes the former as the basis of his text here. is edition thus relegates the lengthy Defunctus and Anuli to a first appendix, and two brief pieces, Simie and Opinio, to Appendix , since none of these four pieces is present in P. So the first volume of this edition offers the reader a general and a philologically detailed introduction, the most reliable Latin text, and a fluent French translation of the Intercenales, as well as a full apparatus criticus. e second volume contains a detailed commentary on all the texts, covering philological questions, aspects of Alberti’s idiosyncratic Latin, and intertextual allusions : Cardini pioneered the idea that Alberti’s Latin was like a mosaic comprising many allusive tesserae (the image comes from Alberti himself) and that in order to analyse it one has to deconstruct the texts that compose the mosaic (‘lo smontaggio dei testi’). e commentary also covers intratextual allusions, citing the many Albertian works which deal with similar themes, and has important things to say about the structure of both the individual pieces and the nine surviving books that contain them. ese two volumes offer over pages of expert scholarship, texts, translation, and commentary, and will be the obligatory reference point for anyone who wants to study one of Alberti’s most original contributions to Renaissance literature. It is no surprise that this edition won the Prix Georges Perrot in . M C, O M ML Forms of inking in Leopardi’s ‘Zibaldone’: Religion, Science and Everyday Life in an Age of Disenchantment. By P C. (Italian Perspectives, ) Cambridge: Legenda. . xi+ pp. £. ISBN ––––. Paola Cori has come to a powerful and comprehensive synthesis of her research perspective with a monograph which was awarded the AAIS Prize for Italian Studies. is volume offers a spectrum of innovative explorations of Leopardi’s thought and, in particular, of his philosophical diary, the Zibaldone. In the past, Cori has authored a number of innovative contributions to Leopardi Studies; indeed , Ten Steps: Critical Inquiries on Leopardi (Bern: Peter Lang, ), co-edited by Cori with Fabio Camilletti, and other works such as ‘e Zibaldone as Leopardi’s MLR, ., Self-Education’ (Italica, (), –) and her multiple contributions to the Lessico Leopardiano project (Rome: Sapienza Università Editrice, – ), particularly the entries ‘Mente’ () and ‘Intelletto’ (), anticipated some of the interconnected themes which are developed in this volume, including eighteenthand nineteenth-century theories of the mind, the history of medicine, ‘Mesmerism’, and hypnotism. As Cori herself explains in the Introduction (p. ), the volume is divided into three independent parts, dedicated respectively to mathematics and religion, science , and everyday life. Mathematics and religion are addressed as ‘cognitive structures’ which are ‘the pillars of Leopardi’s thought’. Scientific imagery (electricity and magnetism in particular) provides interpretative models for Leopardi’s modes of writing. Finally, Cori shows how ‘morality as praxis’ applies to the practice of everyday note-taking, reflecting, and writing. As is evident from this short summary, Cori considers the content of Leopardi’s writing together with its form, temporality, and practice: ‘religion, science and everyday life’ are ‘generative forms [. . .] which affect or simulate Leopardi’s intellect and imagination’ (p. ). is is probably the most innovative aspect of Cori’s achievement: using material evidence...
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