Leopardi e Poe (Gli emersi narrativa) (Italian Edition)

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From , he was a Rockefeller Foundation Fellow in Humanities. From , Mandelbaum was a member of Harvard University's Society of Fellows, spending most of his appointment in Italy. In the latter years of this period abroad, he served as director of the printworks at Cassino and later directed La Tipografica at Rome. From to , he chaired the English Department, after which time he became professor emeritus. He also helped administer the Italian Literature Ph. In , Mandelbaum visited Washington University in St.

Louis as Hurst Professor of Creative Writing. In , he published his translation of a selection of poems by David Maria Turoldo. A new edition was published in , an edition which included, in place of the several drawings of Guy Davenport that adorned the edition, thirteen drawings by Barry Moser. Beginning in , Mandelbaum began to publish his three-volume verse translation of Dante's Divine Comedy in editions with Dante's Italian on the facing page.

Each volume included illustrations by Barry Moser. In , in commemoration of the centennial of the Giuseppe Ungaretti's birth, Mandelbaum published a book printed in limited edition 99 copies called Ungaretti and Palinurus. In this volume his translations of poetry by Ungaretti and Vergil, with parallel original texts in Italian and Latin, appeared along with three engravings by Marialuisa de Romans.

The second half of the introduction tells of the surprising presence of Dante in a wax museum in Cincinnati created by Francis Trollope in The book is divided into four chronological categories, each with its specific semantic significance: First, Looney briefly considers the debate between W.

Du Bois and Booker T. Washington at the turn of the century over appropriate models of education for African Americans. At the heart of the chapter is a discussion of the imitation of the Inferno in the film Go Down, Death! While Williams uses Dante as a signifier of integration, Wright uses the Comedy to mark migration, and Ellison, as Looney explains in the concluding analysis of this chapter, employs Dante both to migrate into and to integrate his work with the European canon.

During the Black Revolution, Dante continued to be seen as a powerful model of activism and emancipation as evidenced by the early work of Baraka LeRoi Jones , who employs Dante in his expression of a new kind of militant black identity. Looney argues that, unlike Ellison and Wright who see Dante as a gateway into European culture, Baraka uses Dante first to measure the growing distance between himself and European literature, and subsequently to separate himself from it completely.

Loftis, Dudley Randall, Askia M. In terms of academic significance, Freedom Readers fills a gap in the reception of Dante in America.

The chronology of African American Dante reception examined has been almost completely ignored by Dante scholars, as well as by Americanists and African Americanists. The literary imitations inspired by Dante which are examined in this book are not only useful for furthering an understanding of African American culture, but also for revealing unforeseen features of the Divine Comedy. Il primo capitolo riguarda la linguistica. Stazio assurge a esempio paradigmatico del rapporto ambiguo — e si potrebbe aggiungere poietico —col testo virgiliano.

Dante seguirebbe qui la stessa metodologia agostiniana, nella rilettura di testi classici in un nuovo sistema di significati. Si tratta di Catone, Dido ed Enea. Marchesi non solo adotta un approccio costruttivista nella sua speculazione, ma lo attribuisce allo stesso Dante, quale autore e teorizzatore del linguaggio poetico. Riferendosi al capitolo 24 del Purgatorio, Dante mostrerebbe attraverso Stazio la differenza tra una corretta lettura costruttivista e una, inappropriata, di stampo oggettivista.

Questo limite emerge soprattutto a proposito della tesi secondo cui Dante si appropria della lettura riservata al testo sacro per applicarla al suo capolavoro. Patrologia Graeca 53, Imprenscindibile in questo contesto il ruolo svolto da edizioni e traduzioni, che reintroducono nel circuito intellettuale opere di difficile accesso e talora assai rare. Negli altri due saggi, Elizabeth Fiedler discute il contesto religioso e iconografico del lavoro di Marinella, mentre Ryan Gogol si sofferma sul rapporto letterario tra la scrittrice e Cristofano Bronzini. Una, Margherita Sarrocchi, sembra essere stata un punto di riferimento per Marinella, con la sua Scanderbeide e Sin dal primo canto il lettore familiarizza con i toni elevati e le immagini potenti, come nel caso della descrizione della flotta veneziana I, 30 sgg.

Risulta insomma fondamentale ritornare in possesso di, e avere a disposizione, questo tassello del mosaico epico italiano e della letteratura seicentesca. La stagione epica non era tramontata: Pare si dilettasse di poesia epica anche Giovan Battista Marino. Fra i molti su questo argomento che furono scritti nel Seicento si veda quello sulla translatio della Santa Casa di Loreto dalla Palestina ai colli lauretani: Il tempio peregrino, poema sacroeroico di Giulio Acquaticci, recentemente edito a cura di Dino S.

Cervigni, Roma, Aracne, , pp. Come questa meritoria edizione riconferma. The Controversy of Renaissance Art. I rarely come across studies that truly debunk long-established assumptions about their own field of research. In The Controversy of Renaissance Art, Alexander Nagel meditates on Renaissance scholarship, on theoretical assumptions that have been — perhaps — too often taken for granted, and argues for a new interpretation of the artistic works of this period.

It is well before those years, in fact, that the connections between sacred iconography and lay painting were subject to a profound scrutiny on the part of many Italian painters, who found new ways of depicting lay themes by reworking, reinterpreting sacred images. From sacred iconography to the role of art itself, whether instrumental to the delight of private individuals or to form a collective conscience, virtually everything is scrutinized. He argues for the need to look at the research of religious historians to understand artistic texts in an utterly different way.

This is a part of the Renaissance less studied and less taken for granted, particularly in Southern Europe — Italy, that is. Nagel convincingly argues that there did not exist a specific program that addressed nudity or improper visual interpretations of sacred images. Everything was placed in the hands of the individual surveyors and their artistic sensibility.

When, then, did artistic license become a problem? Idolatry comes as a result of putting certain esthetic criteria on a scale, a scale that is a product of society. As such, its connotation varies from Florence to Northern Europe. What is recognizable in the Netherlands i. Doubling — the character and the real person who modeled for it — produces a theatrical effect The widespread use of wax effigies in Florence at the time has a role in the passage between inserting portraits of real people of the time into paintings representing sacred images.

Ghirlandaio is a good example of creating balance between sacred figures and portraits of Florentines of his time in his Tornabuoni chapel How do you avoid idolatric worshiping, then? How do you rethink image? The scholar addresses this issue from multiple points and perspectives. In the pre-Council of Trent period, we had the debate about the supremacy of sculpture over painting, with different positions taken by Castiglione, Bronzino, and Benedetto Varchi, respectively, but not exclusively.

They all recognized the importance of sculpture for the urban landscape. The illustrations in this volume are superb. The layout of the book renders justice to the masterpieces with which and of which Nagel is conversing. The challenge in question deals with the hidden aspects of the Rinascimento.

Nagel offers such an enjoyable and refreshing look at this complex period that I truly suggest this read to scholars, for he proves the fallacy of some aspects of art history and its connections to the society of the period, thus making manifest the dynamic force of scholarly criticism.

But it is always, and especially, a critical reading of the reality a painting interprets. Kissing the Wild Woman. This work has been overlooked by early modern and contemporary scholars alike. With Kissing the Wild Woman, Nissen provides a welcome and discerning examination of Urania, considering the literary, historical, and art-historical contexts surrounding the author. Nissen devotes particular attention to Boccaccio, whose Fiammetta and Filocolo helped shape the prose romance genre in Italian. In the end, the fictional Urania and the historical Bigolina are in many ways corresponding figures.

While dominant male voices in the century would argue that a woman should achieve self- expression by posing for paintings, Bigolina counters that women can find a more appropriate outlet by harnessing the written word. By devoting due attention to a complex and neglected early modern prose romance, and by writing in a language accessible to scholars and students in all fields, Nissen gives Bigolina the voice she deserves. Drama and Painting in Renaissance Italy. Following her introduction, Kristin Phillips-Court has divided her book into five main chapters, each dealing with a different play.

This structure allows her to cover a range of genres: Her focus on textual analysis is supplemented by examination of works of the visual arts: The Perfect Genre is a welcome and necessary study with a truly interdisciplinary orientation. While this approach is not unusual in Italian histories of drama, it is under-represented in Anglo-American publishing.

Phillips-Court organizes her investigations by first giving a close reading of select passages from the literary work under consideration. Her quotations appear in the original and in English, an intelligent choice that will make her work accessible both to university students and to scholars of English drama, who will see the relevance to the development of theater and the visual arts in a wider context. In addition, she examines the biblical and classical sources of Italian Renaissance drama.

Phillips-Court does not adequately justify overlooking the seminal productions of Bibbiena and Ariosto, presented with splendid sets by Peruzzi and Raphael. Although her interest is not in artists who were involved in mounting theatrical productions, it would have strengthened her art historical readings to have addressed this field of artistic exchange. Her examination of Tasso is rich and original. Tasso, like Dante and Boccaccio, inspired many artists, but Phillips-Court is concerned to demonstrate the productive dialectical relationship between word and image.

The final chapters on Tasso and Bruno deal with philosophical and metaphysical debates. Phillips-Court shows that she is equally at home with cultural history and political theory. Phillips-Court analyzes the self-fashioning of Paul III Alessandro Farnese and of his family members, in which Titian played so important a role as portraitist, while Caro filled the position of humanist secretary.

Rather, Titian took the unprecedented step of depicting a pope with his head uncovered in one of the two versions of the famous portrait, where Paul is not bald nor is his tonsure in evidence. Earlier in the sixteenth century, Raphael set a precedent in his portrait of Pope Julius II, which he followed in his subsequent portrait of Leo X.

This precedent influenced Sebastiano del Piombo in several versions of Pope Clement VII, yet all of these depictions emphasized the ceremonial role of the papacy by outfitting the pope in his appropriate headgear. Phillips-Court uses different registers of theoretical language in her study: The use of film studies is informative and judiciously handled, resulting in a greater appreciation of the technical advancements of Renaissance artists and writers. Occasionally the theory overwhelms the analysis.

Was it Brunelleschi who designed the theatrical machinery? Readers of The Perfect Genre will find themselves turning to the plays and visual works in question for a closer look — an admirable achievement worthy of the best tradition of humanist exegesis. Both the black-and-white images and the color plates are nicely produced. Women Warriors and the Dynastic Imagination in the Orlando furioso. Classical intertextuality in the Furioso has been thoroughly examined on both sides of the Atlantic.

Stoppino takes into consideration various kinds of intertextuality and the importance of gender and female genealogy within the Furioso. In the first chapter, Stoppino concentrates on Bradamante as a female warrior in the Furioso and recalls her appearance as such in the cantari and poemi cavallereschi. The primary texts discussed in this chapter include two late fifteenth-century works: The Ariostean incarnation of the Amazon-like figure was inspired by previous epic poetry Virgil, Pulci, Boiardo as well as by travel narratives e. In chapter 4, Stoppino examines how genealogy is transmitted through prophecy in the poem.

Melissa, for example, imparts prophetic knowledge about the future Este dynasty to Bradamante. The author carefully traces the relationship of Bradamante to medieval literary figures of the sorceress and the sibyl. The role of females within dominant patrilineal narratives becomes the main topic of this section. Specifically, she discusses how Ariosto challenges traditional patrilineal prophecy by making Bradamante the addressee of future Este dynastic knowledge.

The notion of women as political subjects becomes especially apparent in marriage when loyalty is split between a family of origin and an acquired family. In the Rocca di Tristano episode, Bradamante becomes the female founder of the Este lineage. Ariosto is able to revitalize classical tales through their medieval representations within the Furioso. The most striking is the introduction of the beauty contest for the women, absent from the French models.

Gender plays an important role, and female warriors recall the longstanding but often overlooked tradition of the genealogy of gender. Her research is precise, well-documented and uncovers several intertextual references to medieval romance narratives in the Furioso.

Medieval and Renaissance Texts and Studies Arizona Center for Medieval and Renaissance Studies, This edition of Florentine Sacre rappresentazioni gathers some of the religious plays by Feo Belcari and Castellano Castellani and places itself among recent works dedicated to a rediscovery of this genre. The sacre rappresentazioni, plays representing the lives of saints or biblical episodes, now attract the interest of scholars since the elaboration of biblical and hagiographical models can provide significant insights into the cultural environment in which they were produced.

The project behind this volume is ambitious and undoubtedly significant in the field of Renaissance studies. The sacre rappresentazioni were not aimed at the learned but at a wider public, and therefore their form and content mirror the language, tastes and social habits of the average Florentine citizen. Successori Le Monnier, This version is the most comprehensive to this day but it cannot be considered authoritative. Perhaps new revised editions based on the manuscripts and the early prints are now necessary to substantiate or improve on the nineteenth-century versions.

Such editions might, for example, be more accurate and free of ambiguities caused by either typographical or editorial errors. For example, two sentences are grammatically incorrect but they are translated without issues: The volume regrettably lacks also a complete bibliography at the end, although the footnotes provide bibliographical references, which at times appear not to be accurate or do not supply all the necessary data.

If, on one hand, Castellani satirizes the celebrated carnival songs, which probably represent to him the epitome of Medicean moral corruption Santa Maria Maddalena , p.

Letteratura romantica - Wikipedia

The English translation is fluent, clear, and an excellent tool to understand especially the most difficult idiomatic sentences of this variant of Italian vernacular. With some improvements, the volume could be an authoritative and indispensable text in this area of studies. Ashgate Publishing Company, It was prepared for press, as editors Juliann Vitullo and Diane Wolfthal note in their Introduction, right before the global economy began its turn towards a recession and waves of protest voiced their outrage with corporate wealth and greed 1.

Several centuries beforehand, during the rise of the monetary economy between the thirteenth and seventeenth centuries , the accumulation and the expenditure of individual and institutional capital were debated in moral and ethical terms. Avarice, and not pride, increasingly began to be viewed as the root of all evils, as articulated by Thomas Aquinas in his gloss of 1 Timothy 6: This volume focuses on the competing values that emerged during the rise of the new monetary economy during the thirteenth century, a century during which mercantile Christians, for instance, had to reckon with the example of St.

The nine essays, which are pan- European and interdisciplinary, reveal the ways in which mercantile activity co- existed with prevalent views of usury and avarice. Money, Morality and Culture consists of an introduction and nine chapters divided evenly into three parts: Sturges shows that the texts reveal how workers who attempted to participate in the benefits of a new monetary economy were disempowered by restraints imposed by the landed gentry. Murray attends to the ambivalent views toward moneychangers in the Low Countries from the thirteenth through the sixteenth centuries and to the tension between the economic and social moral status of the profession.

Moulton also draws a comparison between Aretino and court poets, and prostitution. Though the play The Changeling does not stage international trade mimetically, Bradley D. Miller and Laurie Taylor-Mitchell offer a lucid presentation of the commercial activities of the order in all of its apparent contradictions and reconciliations with religious piety. The Humiliati, despite criticism, were able to engage in commercial activity in ways that were seen to benefit Christian society. Artists were able as well to deflect the idea that usury was an infertile practice through portraiture of merchant husbands and wives.

Analyzing a range of documents, music, plays, poetry and prose, together with an impressive treatment of medieval and early modern iconography, Money, Morality and Culture in Late Medieval and Early Modern offers a timely and well-rounded consideration of how these debates evolved in clerical and lay spheres. It will undoubtedly be of use to scholars in a large range of fields and disciplines, not only those under examination in these essays.

Atti del convegno internazionale di studi. Rovereto, dicembre A cura di Marco Allegri.

Letteratura romantica

Accademia roveretana degli Agiati, Contributi non peregrini, data la natura poliglotta e transnazionalista di questo autore, che compose le Scintille in quattro lingue e compose saggi in francese, poesie in greco e latino, testi in illirico. CLXXI, , pp. Donatella Rasi affronta il rapporto decennale di Tommaseo con le riviste di area veneta: Tommaseo e la letteratura veneta: In questo libro Erminia Ardissino analizza le conoscenze scientifiche di Galileo esaminando la corrispondenza epistolare che Galileo aveva con i familiari, gli amici e i colleghi.

Nelle lettere abbiamo un Galileo che esprime se stesso in maniera libera e disinvolta e che discute non solo di problemi scientifici ma anche di questioni della vita domestica.

Galileo fin da bambino venne introdotto alla musica dal padre Vincenzo, cantautore, suonatore di liuto e viola. Galileo fece della musica un mezzo per sviluppare le sue argomentazioni filosofico-scientifiche. Inoltre Galileo utilizzava la sua conoscenza musicale per provare le sue ipotesi riguardo ad alcune leggi fisiche. Durante gli esperimenti sulla caduta dei gravi usava ripartire il tempo secondo ritmi ed intervalli musicali Inoltre permette al lettore di immergersi nella vita quotidiana di Galileo e di ammirarlo non solo come scienziato ma anche come padre, zio, fratello, letterato, musicista e pittore.

Il secondo capitolo, La distanza della luna. Mentre il terzo capitolo Critica del moderno. Alla lettura psicanalitica del desiderio e dello sguardo leopardiano in Aspasia della quinta parte del libro Lo sguardo di Euridice. Corredano il volume una nutrita Nota bibliografica e un Indice dei nomi Capuana e Borgese costruttori.

The publication of a book about two writers as important — but also systematically underestimated — as Luigi Capuana and Giuseppe Antonio Borgese, is doubtlessly an important event. The enthusiasm and thrust for civil renovation nourished by the Risorgimento has been kept alive in his critical writings, in which culture and society are always presented as strictly entangled , After moving to Rome in , Capuana leaves partially behind the themes inherited from the European naturalist novel, and opens up to the influences of a more spiritualist stream of thought, as it is paramount in his second novel, Profumo, published in From now on his new and most relevant model of character sees the light: Il marchese di Roccaverdina: His most important text in this sense is Tempo di edificare, published in The author draws in these pages the portrayal of a writer who strives for this change.

In other words, Borgese inherits from De Sanctis the utopist thrust toward the creation of a new world, as it is especially expressed in the essays collected in the three series of La vita e il libro For this reason, as Carta points out repeatedly, Borgese prefers to draw his inspiration from literary models taken mostly from the last century as Giovanni Verga, , and Tolstoj, The March of Fascism, , which contains a firm condemnation of Fascism as a phenomenon of degeneration of the Italian traditional culture and identity She also makes a reference to the document The City of Man.

The Fruit, Herbs, and Vegetables of Italy He dedicated it to Lady Lucy Russell, Countess of Bedford — the sister of a former pupil — in the hope of obtaining her patronage; this did not work out so well, since Lady Lucy had her own debts to grapple with. The very first sentence of the dedication is a small gem for those of us who teach Italian: He explains how to best grow vegetables — especially, difficult ones such as asparagus — and how to season them: Castelvetro intersperses his agricultural and gastronomic recommendations with medicinal ones: Gillian Riley, who edited and translated the text, is the author of the Oxford Companion to Italian Food Riley has also provided a useful glossary at the end of her vivacious translation.

The Johns Hopkins University Press, The Johns Hopkins University Press, , ponendo sotto nuova luce la produzione letteraria femminile in Italia nel periodo della Controriforma. Italian translations are provided for each of the letters. Marsh was the American ambassador to the new Kingdom of Italy from its inception in until his death in The letters span the period of his residency in Florence, the ambassador having followed the removal of the Italian capital from Turin to that city in Grant in March of Baird, Assistant Secretary of the Smithsonian Institution, with whom Marsh shared various scientific interests.

There are only a few letters to Italian statesmen and all of these are short, diplomatic missives. He had been a Whig representative in Congress during the s where he had first met both Seward and Lincoln.

Marsh admired Garibaldi and had tried to convince the latter to flee to the U. It was during his stay in Turin that Marsh wrote his most famous work, Man and Nature , an ecological treatise in which he points to the Mediterranean as an example of deforestation leading to desertification, and argues that steam locomotion was rapidly degrading the natural landscape. The volume was translated into Italian in In the United States was the first nation to officially recognize the Kingdom of Italy.

During the American civil war only Italy and Russia had been openly in favor of the Union among the major European governments Italy depended relatively little on the importation of cotton from the Confederacy. With regard to Italian politics and society, Marsh waivers between long- range, guarded optimism and disappointment at missteps by the ruling class. Particularly irksome to him was the subservience of government and royal policy to the dictates of the French emperor Napoleon III and his interference in Italian affairs.

The letters are also punctuated by ample notes, especially biographical data. Ducci has done admirable archival research in Italy and the United States in tracking down the letters. Transforming Myths in Eighteenth-Century Italy. This is a big book in several ways. Big physically, its broad-margined pages include over eighty musical examples, reproductions of engravings, photographs, manuscript pages, programs, broadsides and proclamations, sketches of opera houses and opera house floor plans, as well as tables, color illustrations of probable costumes, and a forty-nine page bibliography of sources consulted.

The writing is admirable: Opera and Sovereignty is not a history of eighteenth-century Italian opera but a rich and complex series of interconnected arguments that deal with the social context of opera seria in terms of its patronage system, production methods, and reception. Though at least partly the products of sovereign political forces, opere serie could and often did support change as well as reinforce the status quo and should not be thought of as mere establishment propaganda.

For one thing, the performances of the operas of the day, especially given the prime donne and primi uomini who appeared in them, were not that easy for anyone to control. To understand these complex and frequently expensive artistic products, one must go beyond their printed scores to reconstruct actual performances, the acclaim accorded virtuoso singers, the often dazzling sets and costumes, patronage support and strictures, even the physical structures of the theaters where the operas were performed. By appealing to feeling rather than ratiocination, these arias — often different in successive performances — communicated with their ecstatic listeners at the level not so much of plot as of the myths 33 whose transformation throughout the century Feldman chronicles.

Opera and Sovereignty is divided into nine chapters plus an important epilogue. Five of these chapters are devoted to such general topics as the nature of operatic performance and reception, arias as a form of exchange, celebration and the special nature of operatic time, myths of sovereignty, and the late- century reappearance on the opera stage of mothers and a new sort of bourgeois family.

The remaining, interspersed, four chapters are case-studies of the circumstances of particular performances in Parma in , Naples in , Perugia in , and French-occupied Venice in These changes were made to de-emphasize the murderous and incestuous aspects of the Phaedra story to make it more suitable for a performance patronized by the archducal dynasty. With this provocative but persuasive conclusion Feldman concludes her rich and exceptionally well- informed study.

Destino singolare, quello di Domitilla: Vita da lei narrata Edition, introduction, and notes by Olimpia Pelosi. Verga, Pirandello e altri siciliani. Il discorso procede con un capitolo dedicato alle valenze simboliche del vino nella prosa verghiana. Nei due capitoli successivi viene esaminata una possibile influenza linguistico-tematica della poesia romanesca di Giuseppe Gioacchino Belli su Verga. Gibellini sottolinea come il personaggio e il suo autore siano accomunati dalla ricerca di un senso ultimo delle cose, in un mondo travolto dallo scetticismo copernicano.

Tale posizione solleva un dubbio: Il critico si sofferma diffusamente su Berecche e la guerra, novella che ha per protagonista un professore dalle fantasie filogermaniche, per molti aspetti simile allo stesso scrittore, posto di fronte al dilemma della guerra. The Pamphilj and the Arts: Patronage and Consumption in Baroque Rome. The Pamphilj and the Arts is a collection of seventeen essays given at a conference at Boston College in October Helping to revise this rather negative assessment of the barochetto, these scholars use the life of Cardinal Benedetto Pamphilj as a lens through which to reexamine arts patronage in the early eighteenth-century.

Six lunettes depicting scenes from the life of the Virgin were originally commissioned by Cardinal Pietro Aldobrandini to decorate the vault of his private chapel. The remaining essays focus on the life of Benedetto Pamphilj. It seems that Pamphilj never threw himself into religious and political issues with the same fervor as he had when pursuing his cultural interests. The total amount spent on his paintings was unexpectedly small, due in part to the fact that he collected still life paintings, which were less expensive.

Daria Borghese reveals that, in sharp contrast to the modest amount spent on his paintings, the cardinal spared no expense on feasts and ephemeral entertainments. Stephanie Walker reconstructs this now-lost object and suggests that its extravagant design and great expense paralleled its significance as a means of communicating status. The final section examines the written word in the life of Pamphlj. By taking the pseudonym Fenicio Larisseo, Pamphilj assumed the identity of a shepherd whose simple life sharply contrasted with that of Baroque Rome.

Minor suggests that within the bucolic Arcadian setting, Benedetto could freely explore love and desire without fear of public criticism. Ugo Foscolo and English Culture. Nella compagine del voluminoso carteggio, in cui a riflessioni di ordine privato sono intercalate disquisizioni critico-letterarie, Parmegiani discerne la costante di temi e stilemi sentimentali che tradiscono una sostenuta, per quanto sottile, presenza sterniana. Se la prima sezione del quarto e conclusivo capitolo ribadisce la predilezione foscoliana per la letteratura inglese ed individua nel teatro shakespeariano, nella poesia sepolcrale e negli scritti di Pope, le letture che valsero a nutrire ed assecondare il proprio interesse, Parmegiani si sofferma nella sezione finale sulle ultime pagine del carteggio risalenti invece al decennio trascorso in Inghilterra.

Partecipe di un consistente e costruttivo dialogo critico con altri studiosi, Parmegiani non trascura di sondare, nel corso della propria disamina, il circostante terreno di ricerca presentando al lettore un resoconto attento ed attuale. Il libro costituisce in questa prospettiva un compendio indispensabile agli studi, tuttora in fieri, sui variegati rapporti intrattenuti da Foscolo con la cultura inglese.

A questo elaborato mosaico Parmegiani ha avuto il merito di aggiungere con la propria indagine un autorevole tassello mancante. Oriani e la narrazione della nuova Italia. Il secondo capitolo, La narrazione della nuova Italia, tratta del rapporto tra Oriani e Carducci. Un attento esame della corrispondenza di Oriani mette in luce il difficile rapporto che lo scrittore intrattiene nei suoi ultimi anni con gli editori, primo fra tutti Ricciardi, che, dopo gli scarsi risultati di vendite de La rivolta ideale , rifiuta di pubblicare la raccolta di articoli Fuochi di bivacco edita poi da Laterza nel Tra pensiero poetante e poetare pensante.

Nel laboratorio intellettuale dello Zibaldone, infine, il lettore contemporaneo viene sfidato a nuove interrogazioni sulla condizione umana e orientato verso una originalissima e vitale chiave ermeneutica. Byron and the Rhetoric of Italian Nationalism. Despite his seemingly lifelong personal and political meanderings, Byron is remembered for his consistent — though at times reluctant — support of the disenfranchised and downtrodden. Nevertheless, Byron remained committed to the pursuit of liberty from tyranny in all its guises no matter where, or from whom, the source. The book invites readers to envision modes of rhetoric and perceptions of Italian nationalism through a Byronic lens.

As Schmidt suggests of the episodes at Norman Abbey, the protagonist Juan thrives while the narrator in a sense falls flat: Here, Schmidt makes manners relevant to the struggle for Italian liberation. In July of , when Byron set sail on the Hercules to join the war for Greek independence, he intended to return to Italy. The poet succumbed to complications from a fever while he was still in Greece and he died during the spring of Italian-American Youth and Identity Politics. The latter have been brought to the attention of a wide public due to the success of the MTV reality show Jersey Shore in The volume is divided into three sections.

The first section collects articles originally published on the website i-Italy. For Cappelli this vision is, to a certain extent, a fiction in that it both ignores the diversity that characterizes the diaspora and romanticizes its links with the home country. Jerry Krase ironically reflects on his own past as a teenager in a period when everyone used ethnic slurs to refer to out-group members and paid a lot of attention to looking cool, in order to underscore how ethnic and other stereotypes have always existed and have been used against all groups in the U.

Chiara Montalto discusses the role of youth subcultures in helping individuals find their place and their voice, and also advocates the importance of discussing differences within the Italian American community, a point shared by Chiara Roberto. He argues that protest as a sole strategy can never be successful unless it is paired with an effort to construct a distinctive culture. Section two presents interviews with prominent Italian American intellectuals: Maria Laurino, Donna Chirico, Nancy Carnevale, Gianfranco Norelli, and the Italian journalist Aldo Grasso, all of whom agree on the importance of analyzing and debating the Guido phenomenon instead of trying to dismiss it.

He argues that Guidos are the target of criticism and disgust because they represent popular culture, rather than the high culture that other members of the community identify with. Senator Diane Savino closes the collection of essays reminding Italian Americans that the Guido culture has been an outlet for young people who needed an identity that they could embrace, and that the real enemies are not the youngsters who created the subculture but rather those who distort it and exploit it in order to make a profit.

The various contributions to this volume offer a glimpse into an important process of maturation within the Italian American intellectual community.

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Indeed, the first step in such processes is always the recognition of internal complexity and of a plurality of voices. That this complexity was negated in the past is comprehensible, since ethnic minorities need to show a well recognizable and unified public face in order to gain acceptance.

But such acceptance is not in question today, and Italian Americans need to move on and shift from a defensive to an analytical stance. It is significant that while, until recently, Donald Tricarico was almost alone in paying attention to Italian American youth styles, it is becoming more and more mainstream today to study identity practices among members of Italian American groups.

It is only by accepting this basic principle about the way identity processes work that the Italian American community can make progress, and for that reason, I see this volume as a first step in the right direction.

Postscritto a Giorgio Bassani. Saggi in memoria del decimo anniversario della morte. I primi tre interventi sono dedicati al ricordo di Bassani. Valerio Capozzo compie un ottimo lavoro di ricostruzione, tramite la disamina della corrispondenza tra Edoardo Lebano e Bassani, di una fase americana dello scrittore. Stimolante e quanto mai originale la lettura in chiave biopolitica di Andrew Bush del romanzo del , Una lapide in via Mazzini.

Sul Bassani potenziale studioso ed emulatore petrarchesco si articola il saggio di Roberta Antognini. Attraverso una decifrazione intertestuale, James T. Chiampi rintraccia ascendenti letterari illustri del Giardino e in altre opere. Interrogandosi sul significato di emancipazione, Tim Parks effettua una disamina storica sul Giardino cogliendo un peculiare atteggiamento del romanziere nei confronti delle divisioni sociali e del loro potenziale creativo.

Cristiano Spila si occupa del Bassani ecologista, mentre Maurizio Del Ministro prende in esame la causa animalista nella vita dello scrittore. Every culture can be said to have undoubtedly been affected by extraneous influences throughout its development. Traces of these effects can be found in the customs, language, literature and art of a culture. The trilingual abstract of each article is an effective strategy, enabling comprehension by scholars of Croatian and Italian Studies alike, as well as a wider audience, and ensures the dissemination of the topic material of each article.

Preceded by a one-page preface, presented in both Croatian and Italian, the scope of the entire collection and the research is both outlined and contextualized. Consisting of four review articles, interspersed throughout the collection, eleven original scientific papers, and one preliminary communication, presenting the early development of completely original research centered upon previously unknown artistic findings, the collection presents a wide range of information.

This contact is traced to the beginning of spiritual growth on the Croatian coast, emerging from Latin culture. Similarly, this series of articles employs a variety of research methodologies including literary criticism, linguistic analysis, intertextual and intermedial approaches, meteorological investigation into paremiology, and cultural analysis based upon archeological findings and the creations of goldsmiths.

They bring to the fore the intrinsic linguistic and literary dynamicity of the Adriatic coastal areas while highlighting the fluidity of identity in an area replete with numerous and diverse socio-cultural and historical influences. The article presents original research on a preserved photographic album — Alcuni lavori di Francesco Salghetti-Drioli riprodotti fotograficamente — discovered in Como, Italy. The photographic reproductions were made by the famous Zadar photographer Tomaso Burato Dubrovnik Zadar ; the album was published in Zadar in April of on the occasion of the wedding of Simeone Salghetti with Emma Drioli.

As such, its importance to the history of photography is inestimable. The collection provides an excellent overview of the subject literature in review articles, presents original research in original scientific papers, and introduces previously unknown research in a preliminary communication. As a result, these conference proceedings are a valuable font of information for those who are new to the field and require a solid foundation from which to begin their research, as well as seasoned scholars desiring to keep up-to-date with contemporary research.

This collection of essays reinforces the fact that the call for further research in this area is more than justified. Painted and Metal Ex-votos from Italy. Calandra Italian American Institute, This collection of three essays found its inspiration in an exhibition by the same name: The book is organized in the traditional manner for a monograph and catalogue.

The volume opens with an account of the historical development of the ex-votos written by folklorist and Religious Studies scholar Leonard Bernard Primiano also owner of the collection exhibited at the Calandra Institute ; the subsequent article, written by Sciorra, assesses the importance of the ex-votos for Italian Americans; and the third and last essay, by Professor of Art Kate Wagle, discusses the changes of the ex-votos and their displacement from a strictly traditional religious context to a more secular environment.

The volume concludes with a catalogue of the exhibition. The color reproductions are excellent and include succinct details about material and dimensions of the artifacts displayed. The subject is a vast and various territory which provides a curious and at times dramatic study, for it introduces the reader to a whole range of objects offered in fulfillment of a vow or prayer uttered in some crisis of personal or community history. Votive gifts are forms of devotion transferred to Christianity from pagan religions of antiquity; the Etruscans, for instance, made offerings as thanks for answered prayers concerning health and fertility As Primiano explains, the Latin term ex voto short for ex voto suscepto indicates a Catholic votive offering in gratitude for a miracle received 9.

One useful elucidation provided by the author, quoting Mariolina Rizzi Salvatori, is related to the form given to the ex-votos, which fall into fixed types. The two common categories are anatomical ex-voto ex-voto anatomico and painted ex-votos tavolette votive. The least sophisticated and also artistically the humblest of those votive forms is the anatomical ex-voto, made of metal, wood, or wax, which typically represents a small image of a limb or part of the body that has been cured of sickness in response to an appeal to divine intercession.

On the other hand, the painted ex-votos draw or symbolize either the peril or crisis in which deliverance has been granted, or alternatively the special favor conceded, together with the figure of the holy being — saint or Virgin — who has granted it in response to a vow. Primiano, while describing his passion for ex-votos, also addresses the question of commodification and consumption of religious images outside their traditional religious context.

As the author suggests, the significance attached to these specific commodities differs markedly from one person buyer to another according to their contexts of consumption Often, votive paintings chronicling the emigration experience are located in churches in Italy as thanksgiving tokens for divine interventions in maritime disasters or accidents of all kinds. The practice of showing gratitude for heavenly intercession has continued among Italian Americans in the United States in the form of home altars, yard shrines, or more complex artistic votive structures known as la centa or il cinto She explains that despite the changes in material and production of ex-votos from unique silver or gold handcrafted objects to silver-plated, mechanically mass-produced items, the meaning and the intent remain intact.

While most of the elements represented in the ex-votos, including anatomical parts, soldiers, and children, have essentially survived from ancient culture, the montage of those objects with photographs, x- rays, and written narrative reflects a more contemporary and secular culture. The reinterpretation and the new use of ex-votos by contemporary artists do not mean a loss of their original meaning; rather, it is an acknowledgement of their profound cultural roots.

It is intriguing to see how the essays in this volume work together, providing illuminating connections that confirm that the theme of art and devotion in Italy is a rich and rewarding one. But they are also much more — an assortment of pertinent suggestions on the whole subject of votive art in Italy. Furthermore, the book makes major contributions toward understanding how people express their needs through religion and how the material world of votive offerings expresses the sacred. Bruck wrote memoirs of the Shoah in a variety of publications, including novels, short stories, autobiographical pieces, and newspaper articles.

All of these writings engage the arduous and lengthy process of coming to terms with the past. Bruck wrote in Italian, claiming that the foreignness of this language allowed her a necessary distance from the events she recounts; she therefore constitutes a prominent and relatively early example of a growing literary group, in Italy: The book Privato is a diptych made up of two biographical accounts with different addressees and tones.

Being posthumous, these letters have an acknowledged interlocutor but also, clearly, are addressed to the reading public as the vehicle for preserving and handing down the memory of deceased loved ones — in the tradition of testimonial literature but also of personal memoirs. The dialogue implicit in the epistolary genre provides a potent means of communication between different cultures and different generations, as well as an invitation to the obligation to remember.

Like the book as a whole, this text centers on a number of friends above all others in this group, Primo Levi, whose death in is an important subject of reflection for Bruck and family members, including deceased ones. The running trope of apostrophe to the dead mother brings back to life, as it were, a mother with whom Bruck had a difficult and short-lived relationship. In this interpretive text, Romani rightly notes, for example, the apparent contradiction of the title of this book, which aims to recapture, through the fiction of a posthumous dialogue, an absence: Romani also discusses the role of empathy in literature about the Holocaust and connects it to the need for empathy in more recent literature by migrant writers: From Terrone to Extracomunitario: Il film, dunque, testimonia un atteggiamento interiorizzato da parte del regista che conferma un discorso di egemonia da parte del Nord.

Vetri Janak Nathan prende in esame il film di Tornatore La sconosciuta e si focalizza sulla doppiezza esistenziale degli extracomunitari e degli italiani, facendo riferimento al concetto di in between di Homi K. Bhabha in relazione sia alla trama discorsiva sia alle strategie stilistiche del regista. I giovani raccontano gli anziani. Il contributo del VideoConcorso Francesco Pasinetti alla riflessione su invecchiamento, dialogo intergenerazionale e trasmissione culturale in Italia. Grazie al comune interessamento sono nate negli ultimi anni alcune iniziative culturali e pedagogiche indirizzate ad un un largo pubblico intergenerazionale.

Nel capitolo quinto, ultimo della prima parte, Cavigioli propone il testo delle interviste fatte ai giovani partecipanti al concorso: Alcune domande sono generali, ad esempio, Come vedono gli anziani e i rapporti tra generazioni? Il confronto tra giovani ed anziani, illustrato nel capitolo I da cortometraggi come Cogli la differenza e Fermati e dimmi cosa ne pensi!

Collegati al confronto tra giovani ed anziani sono il tema della memoria, trattato nel capitolo II, e quello del territorio, accolto nel capitolo III. La storia lascia un segno che viene raccolto dai giovani nel loro attraversamento dello spazio urbano. What is the relation between photography and literature? Why would a writer be drawn to photography? What good could come of a marriage between the two? Why does photography continue to inspire such peculiar concerns?

Are the anxieties it arouses simply anxieties about representation itself? In what sense are photographic and literary representation enmeshed? None of this, however, is intended to diminish the attention and care Ceserani devotes to the distinctly modern phenomenon of photography and to its perturbing effect on those who have witnessed its emergence and ongoing development. As with most thematic studies, one worries that the mere assembly of examples will substitute and exhaust the need for rigorous argumentation.

Ceserani, however, is no stranger to studies of a thematic stripe, and is an agile enough thinker to sidestep the pitfalls others might not so deftly elude. True, he does not advance any new theory of the relation of photographic representation to other forms of representation, literary or otherwise, nor does he engage in sustained, polemical debate with any of the many critical sources he draws upon of which he seems to have an encyclopedic knowledge.

Similarly rewarding is an even briefer discussion, later in the same chapter, of Roland Barthes , a figure in literary theory who has been seen as a bridge between structuralism and post-structuralism, and thus a promising and problematic figure to examine in light of the discussions over photographic meaning and representation. An especially lengthy reflection is given on the place of photography in the work of Antonio Tabucchi , which, even as a stand-alone piece, is an excellent essay on how recurring themes such as dreams and hallucinations, perception and time, as well as reproduction and rupture, coalesce in the presence of photography in his works.

Ceserani quotes so extensively from the sources he uses as examples that one feels, reaching the end of his book, that one has read parts of hundreds of other books. Much of the pleasure ultimately afforded is that of looking over the myriad fleeting impressions thus gathered. Photography emerges, not as a profanation of reality, but as part of what constitutes our access to reality itself, and as a bottomless reservoir for literary exploration.

Saggio su Gianni Celati. In her study, Anna Maria Chierici analyzes with great insight the therapeutic function of literary activity as it has been worked out by Gianni Celati since the middle of the s.

Finding Aid & Inventory

The most important works of this period are the following collections of short stories: Narratori delle pianure , Quattro novelle sulle apparenze , Verso la foce , Cinema naturale , and Costumi degli italiani But, in these same years, Celati also commits himself to making three documentaries under the influence of the Italian photographer Luigi Ghirri, documentaries that Chierici examines at length, too Strada provinciale delle anime, ; Il mondo di Luigi Ghirri, ; Visioni di case che crollano, Chierici also takes into account all the essays published by Celati in this time period, as well as the long interviews he gave in the last fifteen years, and the bibliography of his work see Bibliografia, The book is divided in two long chapters, preceded by an Introduzione 30 , where Chierici sketches the outline of her argument.

She sums up the coordinates of his early work done under the supervision of Italo Calvino, who was his mentor in the literary world and helped him to produce his first book Comiche, , published by an important publisher, Einaudi. Chierici also retraces here the first Celatian approach to literary language. Then, she focuses on of some of the poets who have influenced Celati: Therefore, because of the relevant role that perception holds in the Celatian view, the heuristic sense of one of his most important key-words, apparenza, is fully explained and laid out in these pages.

Moreover, this is also the sense of the theatrical experiment conducted by Celati on a text by the ancient Greek playwright Aristophanes the Ploutos in Senegal between and the text of the play is included in the Appendice, Another writer from Emilia-Romagna whose influence is mentioned in these pages is Antonio Delfini. Chierici closes her study by summing up its most important conclusions, and alludes to future elaboration of the influence of Zavattini, Delfini and Guerra on Celati.

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