On Stilnovism, Francesco Fioretti, Ethos e leggiadria. Lo Stilnovo dialogico di Dante, Guidoe Cino da Pistoia, Rome, Aracne, 2012, 224 pp., highlights the importance of Dante’s point ofview in the study of the poetry classified under this problematic label: four chapters investigatethe relationship between Dante’s lyrics and Vita nova, Dante’s late theorizing on his earlyproduction (Bonagiunta’s and Guinizzelli’s cantos in Purgatorio), the role of Guido Cavalcanti,with a new examination of Donna me prega, the question of the identity of Lapo-Lippo andthe ideological links between Dante, Cino and Guido (with a close reading of Onesto’s sonnet).Leyla M. G . L ivraghi, ‘Attardati, epigoni, “liquidatori”: passaggi di testi fra Cino da Pistoia, DinoFrescobaldi e Sennuccio del Bene’, Italianistica, 42.1:69–88, discusses Dante’s and Cavalcanti’sinfluence on the so-called ‘minor’ Stilnovo poets; see also the comparative study of ImanMasoob Basiri, ‘Gli spiriti e le anime del Dolce stil novo e nella lirica classica neopersiana’, PaT,16, 2012:13–17, and Iman Mansoob Basiri and Federico Stella, ‘La similitudine nella letteraturaclassica persiana e nel Dolce Stil Novo’, Rivista di Studi Indo-Mediterranei (online) 2, 2012.Anthony Nussmeier, ‘Dante, Guinizzelli, Guittone, and the Politics of Literary Debate’, TextualCultures, 7.2, 2012:43–72, examines debates and their organisation in manuscripts. Poeti del Dolcestil novo, ed. Donato Pirovano, Rome, Salerno, 2012, xlvii + 798 pp., is a critical edition of texts byGuido Guinizzelli, Guido Cavalcanti, Lapo Gianni, Gianni Alfani, Dino Frescobaldi, and Cinoda Pistoia.

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