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Giambattista Basile (1566–1632)

Autor von Pentameron

80+ Werke 664 Mitglieder 14 Rezensionen

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Bildnachweis: Artist unidentified.

Werke von Giambattista Basile

Pentameron (1970) 429 Exemplare
Petrosinella (1891) 117 Exemplare
Stories from the Pentamerone (2005) 13 Exemplare
Pentamerone I (1985) 8 Exemplare
Pentamerone II (1995) 5 Exemplare
L´ignorante (1997) 3 Exemplare
Le prime fiabe del mondo (2007) 2 Exemplare
Fiabe italiane sulla bellezza (1982) — Autor — 2 Exemplare
The Seven Doves 1 Exemplar
The Two Cakes 1 Exemplar
The Three Crowns 1 Exemplar
The Dragon 1 Exemplar
Fiabe italiane 1 Exemplar
The Two Brothers 1 Exemplar
Pride Punished 1 Exemplar
The Three Fairies 1 Exemplar
Rosella 1 Exemplar
The Booby 1 Exemplar
The Raven 1 Exemplar
Pintosmalto 1 Exemplar
The Goose 1 Exemplar
The Months 1 Exemplar
The Garlic Patch 1 Exemplar
The Golden Root 1 Exemplar
Sapia 1 Exemplar
The Five Sons 1 Exemplar
The Three Citrons 1 Exemplar
Le prime fiabe del mondo (1999) 1 Exemplar
CONTES NAPOLITAINS - L'OISONNE (2003) — Autor — 1 Exemplar
Corvetto 1 Exemplar
Face 1 Exemplar
The Flea 1 Exemplar
Prezzemolina e altre fiabe (1988) 1 Exemplar
Cinderela Italiana 1 Exemplar
The Myrtle 1 Exemplar
Peruonto 1 Exemplar
Vardiello 1 Exemplar
Cenerentola 1 Exemplar
Sapia Liccarda 1 Exemplar
The Merchant 1 Exemplar
Goat-Face 1 Exemplar
The Enchanted Doe 1 Exemplar
The Three Sisters 1 Exemplar
Violet 1 Exemplar
Pippo 1 Exemplar
The She-Bear 1 Exemplar
The Dove 1 Exemplar
The Young Slave 1 Exemplar
The Buddy 1 Exemplar
Cannetella 1 Exemplar
The Padlock 1 Exemplar

Zugehörige Werke

The Classic Fairy Tales [Norton Critical Edition] (1998) — Mitwirkender — 1,001 Exemplare
Great Italian Short Stories (1959) — Mitwirkender — 42 Exemplare
La gatta Cenerentola (1977) — Autor — 13 Exemplare
La Gatta Cenerentola-Libro Video (Italian Edition) (1999) — Autor — 5 Exemplare
La gatta cenerentola — Autor — 1 Exemplar

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Wissenswertes

Rechtmäßiger Name
Basile, Giambattista
Andere Namen
Abbattutis, Gian Alesio
Geburtstag
1566-02-15
Todestag
1632-02-23
Geschlecht
male
Nationalität
Italien
Kurzbiographie
Giambattista Basile (February 1566 – February 1632) was an Italian poet, courtier, and fairy tale collector. Born in Giugliano to a Neapolitan middle-class family, Basile was a courtier and soldier to various Italian princes, including the doge of Venice. By the time of his death he had reached the rank of "count" Conte di Torrone.

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Perhaps, the weirdest collection of fairy tales I've come across in my study of fairy tales. These were written in the seventeenth century, before bigger names like Grimm and Perrault. You can tell at times because most of these stories are early versions of best loved tales like Cinderella, Rapunzel Puss in Boots, and Sleeping Beauty. Unlike Grimm and Perrault, this isn't an anthology of fairy tales. This is a novel set up similar to Arabian Nights and Canterbury Tales. It's a story about telling fifty tales.

This book is not for children. Despite the fact it's fairy tales, this is for adults. Words like "bitch" and "shit" get tossed around more than once. I kind of find that interesting because this book is older than most collections, but than again, seeing this was written in the early seventeenth century I'm not surprised either. As I said before, these are like Canterbury Tales, but easier to read (well maybe that's the translator's doing).

There's a movie version I recommend watching before this book. Most times I'd say to read the book first, but the movie help me figure out what some of the tales were like beforehand. The movie isn't a frame story like the book, but it has some of the weirder tales. It's a good introduction what you'll except. The movie is R too, which I thought was a little off, but than I actually read the book...

I kind of wish this collection wasn't so underrated on Goodreads though. So many people like fairy tales, but so many people I see ignore or don't know this book exists. Even though I'm giving this a high ratting, this isn't the best book in the word, it's not even that well written, but it's great for people actually interested in studying fairy tales. Penguin's edition has a ton of notes and tales you which fairy tales are similar with each tale. This book would make a great book to study in college or a class about fairy tales too, I think.
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Ghost_Boy | 5 weitere Rezensionen | Aug 25, 2022 |
When a pregnant woman is caught stealing parsley from her ogress-neighbor's garden in this classic fairy-tale from Naples, the unfortunate lady is forced to promise her unborn child as payment, in order to avoid death. Taking the child into the forest, the ogress imprisons her in a tall tower, where she grows to womanhood. When a handsome prince (naturally) happens by and discovers Petrosinella, the two fall in love, eventually escaping. But can they outrun the ogress...?

Recorded some two hundred years before the more famous Rapunzel, from the Brothers Grimm - it was contained in Giambattista Basile's 1637 Pentamerone, often considered the first collection of European fairy-tales - this Neapolitan variant of the classic tale has always been a favorite of mine. I owned this edition as a girl, and must have read it a hundred times! The story here is engaging, exciting, and ultimately heart-satisfying. Rereading as an adult, I particularly liked the inclusion of the three magic acorns, which give Petrosinella more agency than her fairy-tale "sister" Rapunzel. The artwork from Diane Stanley is simply gorgeous - like Evelyn Andreas' Cinderella, I pored over this book as a child - perfectly capturing Petrosinella's beauty and the ogress' malice. Highly recommended to all fairy-tale lovers, and to anyone who appreciate lovely picture-book art.… (mehr)
 
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AbigailAdams26 | 4 weitere Rezensionen | Jul 6, 2019 |
In 'The Tale of Tales' Princess Zosa is cursed to marry only Tadeo, the Prince of Round-Field, who is enchanted to sleep forever unless a woman fills a pitcher with tears in three days. Zosa falls alseep before the end of the third day and the remainder of the vessel is filled by a Moorish slave girl who takes the Prince for her own.

In folk-tale fashion Zosa, with magical help, infects the now pregnant Queen with "a burning desire to hear tales". Fifty tales are to to be told over five days by ten sharp-tongued old women. Zosa plans to use these tales to show Tadeo his wife's treachery and win him for herself.

Giambattista Basile collected these folk tales in southern Italy in the early 17th century. Most of them are the earliest known versions of these tales, including 'Rapunzel', 'Sleeping Beauty' and 'Puss in Boots'. While many of these stories ring familiar, they are overwhelmed with rape, greed, murder, theft and diarrhea. These stories make the original 'Grimm's Fairy Tales' look like a picnic, hot iron dancing shoes and all.

It took me over a year to finish this, mostly because the style of fairy tales can get monotonous and because this edition is loaded with academic and translator notes pointing out word play that didn't translate and unpicking the cultural references of 400 years ago. Most of the humor involves poop, but everything else needed explanation.

These is such a wealth of information here. The baroque court of Naples and thriving artistic community comes alive with the high use of metaphor - the sun and the moon are personified in at least sixty different ways, sweeping away stars, depositing daylight, etc. - and the reactions and commentary of the 'Tales' audience. The stories themselves reveal a complicated world where people live and die at the whims of royalty, and monsters are often your neighbors.

Reflecting a very specific place in the Europe of 400 years ago, there is no cultural sensitivity here. At most there is occasional sympathy given to the impoverished. From story to story families can forgive each other or murder each other without the moral being affected. A king will do many things to please his queen, murdering her to marry the next thing is acceptable. Ogres are Others and, even when they are helpful or completely justified in their anger, no one bats an eye at murdering them. Our villain, the Moorish slave girl turned Queen, is a loathsome caricature but the reader flinches when reading of her ultimate fate.

These are not for the faint of heart, but anyone interested in the evolution of the story in the European tradition or in cultural history should give these stories a go.
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ManWithAnAgenda | 5 weitere Rezensionen | Mar 13, 2019 |
This obscure and wonderful collection of fairytales is not, perhaps, quite as filthy as you might expect from something called Lo cunto de li cunti, but it's still full of bizarre and scatological delights. Written in the early 1600s – before the Grimms, before Perrault – it contains the first known versions of famous tales like Cinderella, Rapunzel, Hansel & Gretel, or Sleeping Beauty, all of them dramatically different from how they're told today, and throws in for good measure a host of more recondite folk-stories that I had never heard before.

Their author, Giambattista Basile, was a kind of itinerant courtier and sometime soldier from outside Naples, who wrote in an elaborate, rococo form of Neapolitan as well as (elsewhere) in standard Italian. In The Tales of Tales, Basile gathers his stories together under a frame narrative, in a half-parodic imitation of Boccaccio: the tone is set early when a princess gets a curse put on her for laughing at an old woman's vagina, as a distant result of which it becomes necessary – don't ask why – for ten women to tell five stories each across the space of five days. Hence the alternative title of the Pentamerone.

Each story is no more than four or five pages long, which makes this an easy book to read, despite its length. And each begins with a helpful one-paragraph synopsis. I can give you an idea of the kind of thing we're dealing with by quoting one of these in its entirety – here's the précis of tale 5.1, ‘The Goose’:

Lilla and Lolla buy a coin-shitting goose at the market. A neighbor asks to borrow it, and when she sees that it's the opposite of what it should be, she kills it and throws it out the window. The goose attaches itself to a prince's ass while he's relieving himself, and no one but Lolla can remove it; for this reason the prince takes her for his wife.

Yep. The scene where the prince is trying to wipe his arse on the dead goose's neck is particularly to be recommended.

And this flair for the Rabelaisian is put to surprisingly effective use within the stories, generating some impressive insults and metaphors. ‘Why don't you shut that sewer hole, you bogeyman's grandmother, blood-sucking witch, baby drowner, rag shitter, fart gatherer?’ yells one character, while another is dismissed as ‘a flycatcher who wasn't worth his weight in dog sperm’. Someone else is described as being so terrified that ‘they wouldn't have been able to take an enema made of a single pig's bristle’.

Basile's obscurity, at least in the English-speaking world, is due in no small part to the lack of decent translations, which makes this new rendering from Nancy L Canepa – the first since the 1930s – extremely welcome. More than welcome; it feels staggeringly overdue. Most previous editions have been based on Benedetto Croce's ‘not always faithful’ 1925 translation into Italian, whereas Canepa is working straight from the original Neapolitan. To show what a difference it makes, let's return to that coin-shitting goose we met earlier. A line from the original tale runs:

Ma, scoppa dì e fa buono iuorno, la bona papara commenzaie a cacare scute riccie, de manera che a cacata a cacata se ne ’nchiero no cascione.

The previous complete English translation – from Penzer in 1932, working from Croce's Italian – translated this like so:

But dawn comes and it turns out to be a fine day: the worthy goose began to make golden ducats, so that, little by little, they filled a great chest with them…

But Canepa's translation restores the forceful vulgarity of the original:

And when morning breaks it's a nice day, for the good goose began to shit hard cash until, shitload upon shitload, they had filled up a whole chest.

You can see that it really feels like we're hearing Basile for the first time now. This gives a wonderful sense of discovery to Canepa's translation, even if for my own taste she sometimes seems to favour word-for-word accuracy over English readability (with the convenient, if believable, justification that Basile's own Neapolitan must have been quite a challenge even to contemporaries). Any quibbles are more than made up for by the wealth of notes and other apparatus, which give generous citations of the original and explain those flourishes of wordplay or references that Canepa has not attempted to modernise.

Taking this fabulous, irreverent tour of seventeenth-century life is an exhilarating experience, and even an uplifting one. Although he deals with violence, revenge and death, Basile is not especially interested in tragedy or cruelty; it's impossible to imagine him other than with a smile on his face. And indeed impossible to read him without one, either.
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Widsith | 5 weitere Rezensionen | May 7, 2018 |

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