English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

After describing the close relation between Petrarch’s and Dante’s conceptions of canzone form, this article explores the formats followed by Petrarch and his scribe Giovanni Malpaghini in their transcriptions in Vat. Lat. 3195. Giovanni’s traditional horizontal format allows for certain striking effects of collocation (as of 125-126) and for minimal page turns in canzoni; however, the vertical format of the sestinas and the vertical alignment of even-numbered verses in Petrarch’s own transcriptions of sonnets and canzoni suggest a gradually increasing sense of the possibilities of vertical format

<i>Rerum vulgarium fragmenta</i>: From Manuscript to Print