El artículo teoriza las interacciones entre la "novella" codificada en el Decamerón ("forma culta") y el "cuento" tradicional ("forma simple"), difundido por la tradición oral y las colecciones de exempla; interacción que Boccaccio explota para crear de hecho un nuevo género (la novella), ampliamente teorizado en algunos puntos cruciales de la obra. Como ejemplo de tal dinámica se ofrece la "leyenda del corazón comido", que Boccaccio retoma en la novella IV, 9, extrayéndola de las vidas e razos de Guilhem de Cabestanh, donde la reformulación del tema es una readaptación a un nuevo sistema de valores con respecto, por ejemplo, a la "forma simple" atestiguada en el Novellino.

The article theorises the interactions between the "novella" codified in the Decameron ("cultured form") and the traditional "tale" ("simple form"), spread by oral tradition and collections of exempla; an interaction that Boccaccio exploits to actually create a new genre (the novella), extensively theorised in some crucial points of the work. As an example of such a dynamic, the "legend of the eaten heart" is offered, which Boccaccio takes up in novella IV, 9, drawing it from Guilhem de Cabestanh's vidas and razos, where the reformulation of the theme is a readjustment to a new system of values with respect to, e.g., the "simple form" recorded in the Novellino.

Amplia revisión del motivo del don y la ingratitud en la narrativa breve del ámbito ibérico, latino y vernáculo, tomando como punto de partida la fábula del ortolano y la serpiente del Libro de buen amor 1348-55. Los diversos textos examinados se remontan a una especie de triángulo narrativo, cuyos vértices son el benefactor (A), y el beneficiario (alternativamente B agradecido, C ingrato).

An extensive review of the motif of gift and ingratitude in the short narrative of the Iberian, Latin and vernacular area, taking as its starting point the fable of the ortolan and the snake in the Libro de buen amor 1348-55. The various texts examined can be traced back to a kind of narrative triangle, the vertices of which are the benefactor (A), and the beneficiary (alternately B grateful, C ungrateful).

El artículo examina uno de los cuentos incluidos en el Libro de buen amor, repasando todas las hipótesis genealógicas planteadas hasta el momento, ninguna de las cuales satisface plenamente, ni la de la fuente latina, ni las de origen artúrico y folclórico. Por otra parte, se presenta como novedad la extraordinaria similitud de la narración contenida en el Libro de buen amor con un cuento del Meshal haqadmoni del judío español Ibn Sahula, que vivió en la segunda mitad del siglo XIII. Las coincidencias con la obra de Juan Ruiz son casi perfectas (salvo que el autor castellano añade un tipo de muerte de más), y el cuento, como el español, se inscribe en el debate sobre la fiabilidad de la astrología judicial.

The article examines one of the tales embedded in the Libro de buen amor, reviewing all the genealogical hypotheses put forward so far, none of which fully satisfy, neither that of the Latin source, nor those of Arthurian and folkloric origin. On the other hand, the extraordinary similarity of the narration contained in the Libro de buen amor with a tale from the Meshal haqadmoni by the Spanish Jewish scholar Ibn Sahula, who lived in the second half of the 13th century, is presented as a novelty. The coincidences with Juan Ruiz's work are almost perfect (except that the Castilian author adds an extra type of death), and the tale, like the Spanish one, is part of the debate on the reliability of judicial astrology.

L’articolo punta all’individuazione di alcune fonti francesi nascoste dei vv. 99-112 del Tesoretto di Brunetto Latini. Da un lato, la leggenda diffusissima di Teofilo, forse mediata dal corrispondente miracle di Gautier de Coinci. Dall’altro la visione giocosa dell’Inferno nelle Voies de Paradis comiche che si possono esemplificare col Songe d’enfer di Raoul de Houdenc.

The article aims at identifying some hidden French sources of vv. 99-112 of Brunetto Latini's Tesoretto. On the one hand, the widespread legend of Theophilus, perhaps mediated by the corresponding miracle of Gautier de Coinci. On the other, the playful vision of Hell in the comic Voies de Paradis that can be exemplified with Raoul de Houdenc's Songe d'enfer.

Analisi del miracolo del ‘Chierico ignorante’ nella versione di Gautier de Coinci. Viene studiata la struttura narrativa speculare del testo, nella quale si oppongono ideologicamente umiltà premiata e superbia punita dei due protagonisti, il chierico ignorante e il suo vescovo. Mediatrice di questo processo la Vergine Maria, che nel pur breve racconto esplica tutte le funzioni comunemente attribuitele dalla tradizione ecclesiastica.

Analysis of the miracle of the 'Ignorant Cleric' in Gautier de Coinci's version. The text's specular narrative structure is studied, in which the two protagonists, the ignorant cleric and his bishop, ideologically oppose rewarded humility and punished pride. Mediatrix of this process is the Virgin Mary, who in the albeit brief narrative unfolds all the functions commonly attributed to her by ecclesiastical tradition.

La présence de la célèbre fable dans la littérature médiévale française et espagnole est mise en évidence. Les différents niveaux de signification attribués à la fable dans les différents recueils et textes sont étudiés, en essayant de mettre en évidence les différences de traitement dans les deux aires linguistiques et les interprétations données à la fable par rapport aux macro-textes qui la contiennent.

The presence of the celebrated fable in French and Spanish medieval literature is outlined. The various levels of meaning attributed to the tale in different collections and texts are investigated, attempting to highlight the differences of treatment in the two linguistic areas and the interpretations given to the fable in relation to the macro-texts containing it.

À partir du Testament de François Villon, la longue histoire de l'exemplum d'Alexandre le Grand et le pirate est proposée, depuis Cicéron jusqu'à la fin du XV^e siècle. Cette histoire montre l'ambivalence de la figure du héros macédonien, tyran et malfaiteur pour les uns, magnanime et tolérant pour les autres. Ces deux aspects se retrouvent dans les différentes rédactions de l'anecdote.

Beginning with François Villon's Testament, the long history of Alexander the Great and the pirate is proposed, from Cicero to more than halfway through the 15th century. This history shows the ambivalence of the figure of the Macedonian hero, for some a tyrant and villain, for others magnanimous and tolerant. Both aspects can be found in the different redactions of the anecdote.

Introduzione al tema del Seminario Internazionale Incontro di culture. La narrativa breve nella Romània medievale.

Introduction to the theme of the International Seminar Crossing of Cultures. Short Fiction in Medieval Romania.