Building on recent Petrarch scholarship and broader studies of medieval poetics, poetic narrativity, and biblical intertextuality, Peterson conducts a rigorous examination of the Fragmenta’s poetic language.
Building on recent Petrarch scholarship and broader studies of medieval poetics, poetic narrativity, and biblical intertextuality, Peterson conducts a rigorous examination of the Fragmenta’s poetic language.
Introduction 1. Petrarch Today: A Focus on Narrativity 2. Humanism and Poetic Theology 3. A History of Return Chapter 1: Historical Context and PoeticForm 1. The Poetry of the Tradition 2. Style, Genre,Structure 3. The Proem of the Fragmenta (Rvf 1–10) Chapter 2: Temporality andDesire 1. Entering the Selva of the FirstCentenary 2. The Dimension of Fable in the ‘Raccolta of 1342’ 3. Further Consequences ofFable Chapter 3: The Language of Tears (Rvf 92–122) 1. A Parable of Return 2. Nature, Landscape, Solitude 3. The Secretum and Canzone Chapter 4: In fresca riva: Landscape and History(Rvf 125–183) 1. Canzoni 125–129 2. Saint Peter and the AvignonChurch 3. Antithesis and Parallelism Chapter5: The Penitent Lover (Rvf 184–263) 1. The Fading Myth of Daphne 2. Out of the Labyrinth, Away From the World 3. APoetics of Quietude Chapter 6: Songs of Grief and Lamentation (Rvf 264–317) 1. “Quelle pietosebraccia” (264, 14) 2. “Come va ’l mondo!” (290, 1) 3. Augustinian Time and the Process ofGrieving Chapter 7: Songs of Consecration (Rvf 319–366) 1. The In Between Time of Parable 2. Friendship and Dialogue,Memory and Solitude 3. Seeds of Grace Conclusion 1. Historical Reception and the Figure of Petrarch 2. “Altr’uom” (Narrative, Style, Theology) 3. An Autopoietic Unity Notes Bibliography
Introduction 1. Petrarch Today: A Focus on Narrativity 2. Humanism and Poetic Theology 3. A History of Return Chapter 1: Historical Context and PoeticForm 1. The Poetry of the Tradition 2. Style, Genre,Structure 3. The Proem of the Fragmenta (Rvf 1–10) Chapter 2: Temporality andDesire 1. Entering the Selva of the FirstCentenary 2. The Dimension of Fable in the ‘Raccolta of 1342’ 3. Further Consequences ofFable Chapter 3: The Language of Tears (Rvf 92–122) 1. A Parable of Return 2. Nature, Landscape, Solitude 3. The Secretum and Canzone Chapter 4: In fresca riva: Landscape and History(Rvf 125–183) 1. Canzoni 125–129 2. Saint Peter and the AvignonChurch 3. Antithesis and Parallelism Chapter5: The Penitent Lover (Rvf 184–263) 1. The Fading Myth of Daphne 2. Out of the Labyrinth, Away From the World 3. APoetics of Quietude Chapter 6: Songs of Grief and Lamentation (Rvf 264–317) 1. “Quelle pietosebraccia” (264, 14) 2. “Come va ’l mondo!” (290, 1) 3. Augustinian Time and the Process ofGrieving Chapter 7: Songs of Consecration (Rvf 319–366) 1. The In Between Time of Parable 2. Friendship and Dialogue,Memory and Solitude 3. Seeds of Grace Conclusion 1. Historical Reception and the Figure of Petrarch 2. “Altr’uom” (Narrative, Style, Theology) 3. An Autopoietic Unity Notes Bibliography
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