{"title":"最后一个来自里米尼的弗朗西斯卡","authors":"E. Maiolini","doi":"10.30687/ada/2421-292x/2021/01/002","DOIUrl":null,"url":null,"abstract":"The article informs about the variation in Francesca da Rimini’s explicit between the printed edition (1902) and the autographed manuscript written in the summer of 1901. The reasons of this variation are reconstructed thanks to the documents kept in the Biblioteca Nazionale Centrale of Rome, in the Archivio Eleonora Duse of the Istituto per il Teatro e il Melodramma of the Fondazione Giorgio Cini in Venice and in the Georges Hérelle collection of the Médiathèque Jacques-Chirac of Troyes.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"139 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"L’ultima variante di Francesca da Rimini\",\"authors\":\"E. Maiolini\",\"doi\":\"10.30687/ada/2421-292x/2021/01/002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article informs about the variation in Francesca da Rimini’s explicit between the printed edition (1902) and the autographed manuscript written in the summer of 1901. The reasons of this variation are reconstructed thanks to the documents kept in the Biblioteca Nazionale Centrale of Rome, in the Archivio Eleonora Duse of the Istituto per il Teatro e il Melodramma of the Fondazione Giorgio Cini in Venice and in the Georges Hérelle collection of the Médiathèque Jacques-Chirac of Troyes.\",\"PeriodicalId\":170358,\"journal\":{\"name\":\"Archivio d’Annunzio\",\"volume\":\"139 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-10-21\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Archivio d’Annunzio\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30687/ada/2421-292x/2021/01/002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Archivio d’Annunzio","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30687/ada/2421-292x/2021/01/002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The article informs about the variation in Francesca da Rimini’s explicit between the printed edition (1902) and the autographed manuscript written in the summer of 1901. The reasons of this variation are reconstructed thanks to the documents kept in the Biblioteca Nazionale Centrale of Rome, in the Archivio Eleonora Duse of the Istituto per il Teatro e il Melodramma of the Fondazione Giorgio Cini in Venice and in the Georges Hérelle collection of the Médiathèque Jacques-Chirac of Troyes.