117 KB30 KB198220252014Farinelli, Patriziaštevilka:1/2letnik:47str. 99-107, 124ISSN:0567-784XCOBISSID:56289634URN:URN:NBN:SI:doc-H3WHSCXPitZnanstvena založba Filozofske fakulteteActa neophilologicaBruno, Giordano, 1548-1600italijanska književnostliterarne študijePerarca, Francesco, 1304-1374PetrarchistspetrarkistiresemantizacijaresemantizationTra polemica e risemantizzazione| la posizione di G. Bruno rispetto a Petrarca, petrarchisti, antipetrarchisti|The gnoseological reflection of Giordano Bruno in De gli eroici furori (1585) is widely shaped by the use of expressive structures and images of the poetry which leads back to Petrarch and to the current referring to him. According to this hypothesis, the elements which explain this choice chiefly consist in structural analogies between the phenomenology of love as outlined in Petrarchan poetry and Bruno's conception of the relationship that connects a knowing subject and a known object (the infinite One). Even though Bruno in the end - against his intentions - highlighted exactly a certain philosophical value in Petrarch's lyrical poetry, he was not willing to recognize himself in any bond with that tradition. His radical rejection of Petrarch and those imitating and parodying him - on which prefatory pages are centered - particularly shows a necessity to differentiate between the actual object of inquiry and the most widespread profane lyrical poetry of his century (as well as the tout court lyrical poetry). Even leaving aside author's polemical position in order to rather comprehend what is evident from the text itself, the possibility to consider Bruno as much Petrarchist as Antipetrarchist nevertheless continues to elude. The reason for this is that adaptation and philosophical resemantization of that lyrical code are in Bruno's case set in a singular way compared to the then widespread relation between imitatio, inventio, emulatio; more generally, they are set outside of literary communication: that code primarily enters his work in cognitive functionGnoseološka refleksija Giordana Bruna je v delu De gli eroici furori (1585) v veliki meri oblikovana z uporabo ekspresivnih struktur in podob poezije, ki ponovno vodi do Petrarke in toka, ki se navezuje nanj. Glede na to hipotezo bi takšno izbiro lahko pojasnile zlasti strukturne analogije med fenomenologijo ljubezni, ki se prikazuje v Petrarkovi poeziji, in Brunovim pojmovanjem odnosa, ki povezuje spoznavajoči subjekt in spoznavni objekt (Eno neskončno). Čeprav je Bruno v nasprotju s svojimi nameni na koncu vendarle dejansko poudaril neko filozofično vrednost v Petrarkovi liriki, ni bil pripravljen priznati, da ima sam kakršno koli zvezo s takšno tradicijo. Njegovo radikalno zavračanje Petrarke in tistih, ki so ga posnemali in parodirali - temu so posvečene uvodne strani -, kaže predvsem na potrebo po razlikovanju med lastnim objektom proučevanja in posvetno liriko, ki je bila najbolj razširjena v njegovem stoletju (pa tudi lirika tout court). Četudi ne gledamo na polemičen položaj avtorja, da bi raje doumeli tisto, kar izhaja iz samega besedila, se možnost, da bi Bruna obravnavali v tolikšni meri kot petrarkista kakor tudi kot antipetrarkista, še vedno izmika, kajti adaptacija in resemantizacija lirskega koda v filozofskem smislu se v Brunovem primeru umeščata na poseben način v primerjavi s tedaj razširjeno zvezo med imitatiom, inventiom in emulatiom. Splošneje povedano, ker se umeščata izven književne komunikacije. Ta kod v njegovo delo vstopa predvsem v kognitivni funkcijiTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta