other terms such as rifacimento (plural: rifacimenti) surely need to be recognized as foreign (pp. 22, 92). A few essays use italics traditionally (Bendinelli Predelli), although not consistently (Herreid): ‘rifacimenti’ appears without italics (p. 92) followed by ‘opere serie, concitato’ (p. 93) and ‘dramma per musica’ (p. 97) in the same essay. The ‘Works Cited’ format which works well at the end of a single article in a collection is highly unwieldy for a bibliography of this length. Here early editions, critical editions of principal texts and their translations, secondary criticism, music, film, and comic books are lumped together indiscriminately in a dense, thirty-six page listing. Cavallo’s ‘Resources’ (Part X) helps somewhat by grouping available sources under different subheadings, but this section naturally does not include all works cited. A similar weakness is the Index, which presents only names and titles of works. Although it is difficult and time-consuming to prepare this component of a book, given the recurrence of characters, themes, and ideas for courses across the essays, even a rudimentary Subject Index would have rendered the volume much more useful to the potential teacher of a course on Renaissance romance epic. Furthermore, the problem is exacerbated by the lack of cross-references within essays or endnotes. A rare instance is the cross-reference to Herreid within the Hanning essay (p. 272). This volume represents an undertaking that is itself quite heroic, covering a wealth of topics and uncovering new resources on Boiardo, Ariosto, and Tasso scholarship. Nonetheless, certain overlooked areas are surprising. Additional chapters could have explored the eighteenth-century’s continued reception of Ariosto and Tasso in Italy alongside that new literary phenomenon: the novel. Similarly, despite the presence of essays on the history of music and theater which mention three Handellian operas inspired by Ariosto, his setting of Rinaldo—inspired by Tasso—was omitted. Reference to modern literary retellings was mostly limited to Italo Calvino, Gianni Celati, and Italian comics (Nicosia). This chapter did not probe this subgenre deeply enough and could have included Umberto Eco’s Baudolino, a novel set at the time of the Fourth Crusade and available in translation, or the more recent two-volume English prose reworking of Orlando furioso by Linda C. McCabe, Quest of the Warrior Maiden, retold from the point of view of Bradamante.

中文翻译：

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塑造中世纪晚期英格兰的档案：历史、诗歌和表演莎拉·埃利奥特·诺瓦西奇 (Sarah Elliott Novacich)

其他术语，如 rifacimento（复数：rifacimenti）肯定需要被承认为外来的（第 22、92 页）。一些文章传统上使用斜体（Bendinelli Predelli），但并非始终如一（Herreid）：“rifacimenti”出现时没有斜体（第 92 页），然后是“opere serie, concitato”（第 93 页）和“dramma per musica”（第 92 页） . 97) 在同一篇文章中。“被引作品”格式在合集中的单篇文章末尾效果很好，对于这种长度的书目来说非常笨拙。在这里，早期版本、主要文本及其翻译的批评版本、次要批评、音乐、电影和漫画书不加区分地混在一起，形成了一个密集的 36 页列表。Cavallo 的“资源”（第 X 部分）通过在不同的子标题下对可用资源进行分组而有所帮助，但这部分自然不包括所有引用的作品。一个类似的弱点是索引，它只显示作品的名称和标题。尽管准备一本书的这一部分既困难又耗时，但考虑到在论文中反复出现的人物、主题和课程思想，即使是基本的学科索引也会使这本书对潜在的教师更有用。文艺复兴时期的浪漫史诗课程。此外，文章或尾注中缺乏交叉引用，使问题更加严重。一个罕见的例子是在 Hanning 文章中对 Herreid 的交叉引用（第 272 页）。这本书代表了一项本身就非常英勇的事业，涵盖了丰富的主题并揭示了有关 Boiardo、Ariosto 和 Tasso 奖学金的新资源。尽管如此，某些被忽视的领域还是令人惊讶。其他章节本可以探讨 18 世纪意大利对阿里奥斯托和塔索的持续接受以及新的文学现象：小说。同样，尽管有关于音乐和戏剧史的文章提到了三部受阿里奥斯托启发的汉德尔歌剧，但他的里纳尔多的背景——受塔索的启发——被省略了。对现代文学复述的引用主要限于 Italo Calvino、Gianni Celati 和意大利漫画（尼科西亚）。本章没有深入探讨这个子类型，本可以包括翁贝托·艾柯的《波多利诺》，这是一部以第四次十字军东征时期为背景的小说，可以翻译，或者最近由琳达·C·麦凯布 (Linda C. McCabe) 对奥兰多狂暴 (Orlando furioso) 的两卷英文散文改编，战士少女的任务，从布拉达曼特的角度重述。