El Orlando furioso en su contexto filosófico y literario : Pasión, locura e ironia
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Micó, José María
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261 p.
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Teixidó Vilar, A. El Orlando furioso en su contexto filosófico y literario : Pasión, locura e ironia. Universitat Pompeu Fabra; 2013. handle: http://hdl.handle.net/10803/130826
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Doctoral program
Programa de doctorat en Humanitats
Abstract
La presente tesis defiende una lectura del Orlando furioso de Ludovico Ariosto como un texto eminentemente cómico y ambivalente, en el que confluye la tradición medieval con la renacentista. Una simbiosis que se produce al revisitar desde la parodia los tópicos y motivos de la literatura europea precedente bajo el prisma renovador de una parte del pensamiento humanista. Un humanismo que cuestiona la visión tradicional del hombre como animal racional, revocando la primacía de la razón en favor de la pasión y la insensatez, estableciendo la locura como ley universal que gobierna a los hombres. Este debate se materializa en el polémico tema renacentista de la “saggezza-follia”, del que el Furioso participa, como se argumentará, ofreciendo una apología del animal pasional. Comenzando con el análisis de la dialéctica del deseo y prosiguiendo con el análisis de la locura de Orlando (a nivel textual y a nivel conceptual), la investigación demuestra cómo los conceptos de locura e ironía (constituyentes explícito e implícito del título del poema) son el eje vertebrador del clásico, determinando tanto su estilo, como su estructura y su contenido. Esta constatación nos lleva a identificar el tono irónico de la obra –la llamada ironía ariostesca (presente a un doble nivel: conceptual o estructural y literario o estilístico)– como el rasgo esencial del texto, donde reside su identidad. Una ironía que resulta inseparable de la locura en tanto que trama principal de la obra y novedad temática introducida por Ariosto, con sorna, en la materia caballeresca. En último término, la investigación nos conduce a tomar este tono irónico como la legítima clave interpretativa del Furioso, rehusando una lectura épica o solemne del poema, la cual ha sido sostenida, no obstante, por una parte significativa de la crítica.
This doctoral dissertation presents an interpretation of Ludovico Ariosto’s Orlando furioso as an eminently comic and ambivalent text, in which the Medieval and the Renaissance traditions merge. That is, Ariosto parodies the topics and stereotypes from the preceding European literature, according to the ideas defended by the most progressive humanists, who do not support the traditional vision of the human being conceived as the animal rationalis anymore. In this respect, these humanist thinkers and artists put an end to the judgement’s primacy in order to defend passion and irrationality, at the same time they establish madness as the universal law that rules the human world. This discussion takes its proper form in the contentious Renaissance matter “saggezza-follia”, in which the Furioso takes part by presenting an apology of the passional animal. By analyzing on one hand, the Dialectic of Desire and Orlando’s frenzy on the other, this research demonstrates that madness and irony (the two concepts that explicitly and implicitly form the title) are the axis of the poem, which determines not only its form but also its structure and content. The final aim seeks the ironic tone on the poem, the widely known ironia ariostesca (in his double dimension: conceptual or structural and literary or stylistic), as the main feature and the interpretative key of the whole text. This irony can not be disjointed from madness, conceived as the main plot and the novelty introduced with humour by Ariosto on the chivalry genre. This argument allows us to refuse an epic or solemn interpretation of the Orlando furioso, defended however by a significant part of experts and critics.
This doctoral dissertation presents an interpretation of Ludovico Ariosto’s Orlando furioso as an eminently comic and ambivalent text, in which the Medieval and the Renaissance traditions merge. That is, Ariosto parodies the topics and stereotypes from the preceding European literature, according to the ideas defended by the most progressive humanists, who do not support the traditional vision of the human being conceived as the animal rationalis anymore. In this respect, these humanist thinkers and artists put an end to the judgement’s primacy in order to defend passion and irrationality, at the same time they establish madness as the universal law that rules the human world. This discussion takes its proper form in the contentious Renaissance matter “saggezza-follia”, in which the Furioso takes part by presenting an apology of the passional animal. By analyzing on one hand, the Dialectic of Desire and Orlando’s frenzy on the other, this research demonstrates that madness and irony (the two concepts that explicitly and implicitly form the title) are the axis of the poem, which determines not only its form but also its structure and content. The final aim seeks the ironic tone on the poem, the widely known ironia ariostesca (in his double dimension: conceptual or structural and literary or stylistic), as the main feature and the interpretative key of the whole text. This irony can not be disjointed from madness, conceived as the main plot and the novelty introduced with humour by Ariosto on the chivalry genre. This argument allows us to refuse an epic or solemn interpretation of the Orlando furioso, defended however by a significant part of experts and critics.
Keywords
Ariosto, Lodovico, 1474-1533, Orlando furioso, Literatura italiana, S. XVI, Història i crítica
Subjects
82
Publisher
Universitat Pompeu Fabra
