Interpretations, Appropriations, and Rewritings of Giovanni Boccaccio
The Department of European Literature at the University of the Republic (Uruguay) announces its 11th International Montevideana Conference, to be held virtually.
It is tempting to think of Boccaccio's most important work in relation to our current times, given that in recent months the Decameron has become a virtual meeting place through rewrites, seminars, and group readings dedicated to the text. The superposition of his pandemic with ours has become, in more than one sense, a paradoxical kind of locus amoenus, adding a new layer to the varied investigations and artistic appropriations that this Italian text has motivated in its 700 years of existence.
The English-language “Decameron Project” (The New York Times Magazine 2020), and the Uruguayan Cuentos de la peste (Fin de Siglo 2020), are only two recent additions to the list of reinterpretations that the work has provoked during the last century, and there are many others: from the Italian digital animation feature film, Fiammetta to the exhibition of Napoleonic robberies at Italian libraries that involved, among other things, a De casibus virorum illustrium (Le ruberie napoleoniche in Biblioteca Capitolare, Verona, November 2018); the North American tableaux vivants (The Decameron Retold, Adad Hannah, 2019); the latest North American (The Little Hours, by Jeff Baena, 2017), Italian (Maraviglioso Boccaccio, Paolo Taviani and Vittorio Taviani, 2015) and Cuban (Boccaccerías habaneras, Arturo Sotto, 2013) film versions; the latest and revised edition of the Decameron (Quondam, Fiorilla, Alfano [eds.], 2013); the studies of Boccaccio’s writings and drawings (Cursi, 2013); the Uruguayan volume that robustly challenges the Decameron itself (Carlos Rehermann, Dodecameron, Hum, 2008); or the Italian-Uruguayan who mercilessly erases it, leaving only its skeleton (Riccardo Boglione, Ritmo D, Gegen, 2009).
We propose the 2021 XI Montevideana International Colloquium as a space for new research on the work of the Certaldese, as well as for studies on appropriations of his work: both those appropriations carried out by him with respect to tradition (his own rewriting of Apuleyo, Virgilio, and Dante, for example), and those formulated in diverse media by other artists in the centuries that followed (from Sandro Botticelli to Lope de Vega, Franz von Suppé or Carlo Levi), and by the many translators who propose different readings of Boccaccio without neglecting his important influence on past and present thinkers (like Peter Sloterdijk, who views the Decameron as the first modern text).
Please send proposals of 1000 to 1300 words (not including bibliography) by April 1, 2021 to the following address: firstname.lastname@example.org
Papers will be accepted in Spanish, English and Italian.
Organized by: Departamento de Letras Modernas (Facultad de Humanidades y Ciencias de la Educación), Universidad de la Republica, Uruguay.