El laberinto está presente en la literatura de los siglos XIV y XV como alusión clásica o imagen poética plurivalente, pero es con el Laberinto de fortuna (1444) cuando Juan de Mena construye el primer gran laberinto del imaginario literario hispánico, convirtiéndolo en la base conceptual del poema, la inspiración de su estética y el centro de gravedad de su sistema alegórico. Todos los escritores peninsulares posteriores que tratan el tema del laberinto escriben bajo la influencia de este magno poema.

The labyrinth is present in the literature of the 14th and 15th centuries as a classical allusion or a plurivalent poetic image, but it is with the Laberinto de fortuna (1444) that Juan de Mena constructs the first great labyrinth of the Hispanic literary imagination, making it the conceptual basis of the poem, the inspiration of his aesthetics, and the center of gravity of his allegorical system. All subsequent peninsular writers who deal with the theme of the labyrinth write under the influence of this great work.

El ms. 2497 de la Biblioteca Universitaria de Salamanca, del siglo XIV, contiene en los 137 primeros folios una versión portuguesa de la Crónica general de Alfonso X, seguida de tres folios de anotaciones de una mano de principios del siglo XV, en las que se pueden leer, entre otras cosas, unas estrofas del Libro de buen amor, unos versos del Libro de Alexandre y diversas canciones populares. Esta sección es difícil de interpretar en el marco de la historia cultural de la época; se podría pensar que el compilador anónimo seleccionó material que leyó en la biblioteca y que, por tanto, estaba vinculado a círculos eruditos o universitarios.

A Portuguese version of Alfonso X’s Crónica general is copied in the first 137 folios of the 14th-century ms. 2497 of the University Library of Salamanca; it is followed by three folios of annotations by an early 15th-century hand – here we read, among other things, some stanzas from the Libro de buen amor, verses from the Libro de Alexandre, and various popular songs. This section is difficult to interpret in the context of the cultural history of the time; one might think that the anonymous compiler was selecting materials he read in the library and was thus connected to scholarly or university circles.

La monumentale edizione delle Rime dantesche, completata da De Robertis al termine di un cinquantennale percorso di studi, è rilevante da molti punti di vista: grazie a un’innovativa proposta di ordinamento, alla ridefinizione del corpus e all’accettazione di un certo grado di alterità linguistica. si disegna una nuova idea di Dante lirico. Nel primo volume si offre inoltre, attraverso l’attento censimento dei codici danteschi, il migliore strumento di inventariazione della tradizione lirica italiana antica ad oggi disponibile

The monumental edition of Dante’s Rime, completed by De Robertis at the end of a fifty-year course of study, is relevant from many points of view: thanks to an innovative proposal of ordering, the redefinition of the corpus and the acceptance of a certain degree of linguistic diversity, a new idea of lyrical Dante is drawn. The first volume also offers, through the careful census of Dante’s codices, the best tool for inventorying the ancient Italian lyric tradition available to date.

Un lien intertextuel très fort unit la première strophe des chansons BDT 457 di Uc de Saint-Circ et RS 1821 de Hugues de Berzé, datant vraisemblablement des années 1210. La direction de l’emprunt est loin d’être certain, mais l’hypothèse la plus probable est que la chanson française soit à l’origine de la chanson occitane, à une époque où la diffusion de la poésie d’oïl dans le Midi est en bon route.

A strong intertextual link unites the songs BDT 457 by Uc de Saint-Circ and RS 1821 by Hugues de Berzé, probably dating from the 1310s. The direction of the borrowing is far from certain, but the most likely hypothesis is that the French song is the source of the Occitan song, at a time when the spread of oïl poetry in the Midi is advancing.

Dans le second hémistiche v. 59 de la Chanson de saint Alexis, «cum fort pecet m’apresset »  – leçon du ms. L, préférable à celle des mss. A et P « si grant pechie» – fort doit être compris comme un adverbe renforçant apresset et pecet doit être écrit en majuscules, puisqu’il s’agit d’une personnification du Péché. La vision pessimiste de l’auteur de l’Alexis est influencée par l’Épître aux Romains dans laquelle saint Paul expose sa doctrine du péché, tyran et démon de l’homme.

In the second hemistich v. 59 of the Chanson de saint Alexis «cum fort pecet m’apresset» – reading of ms. L, to be preferred to that of mss. A and P «si grant pechie»; fort should be understood as a reinforcing adverb of apresset and pecet should be capitalized, since it is a personification of Sin. The Alexis author’s pessimistic view is influenced by the Epistle to the Romans in which St. Paul expounds his doctrine of sin, the tyrant and demon of man.

I venti termini italoromanzi di ambito culinario che compaiono in forma di glossa nel dizionario enciclopedico Arukh di Natan b. Yeḥi’el da Roma, secondo la lezione del ms. Add. 26881 della British Libray (ante 1150), si rivelano, a un’analisi approfondita, per un terzo di origine centro-meridionale e per il resto cultismi, germanismi o voci di difficile collocazione. Questi risultati confermano come l’Accademia talmudica romana di Natan sia stata, nell’ultimo quarto dell’XI secolo, un centro di incontro di uomini e tradizioni culturali provenienti dalle regioni meridionali d’Italia e dal mondo franco-germanico.

The twenty Italo-Romance culinary terms that appear in gloss form in the Arukh encyclopedic dictionary of Natan b. Yeḥi’el from Rome, according to the British Libray ms. Add. 26881 (ante 1150), turn out, on close analysis, to be one-third of central-southern origin and the rest cultisms, Germanisms or entries of difficult collocation. These findings confirm how the Roman Talmudic Academy of Natan was, in the last quarter of the 11th century, a meeting center of men and cultural traditions from the Italian southern regions and the Franco-Germanic world.