Pensieri come nuvole (Gli emersi poesia) (Italian Edition)

Esilio by Ada Negri

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Barsella convincingly posits that tale 3. The happy ending of the tale demonstrates that contemporary secular and religious literary discourses failed to establish a working morality for Christian mercantile society. These exemplary essays as well as the remaining five demonstrate the multifaceted methodological approaches and varied perspectives to be found in this volume.

They take into account literary, historical, theological and economic realities and render their analyses more convincing in the process. The editors provide a sense of cohesiveness to the volume in the recurring theme of intertextuality and especially in those essays having to do with courtly traditions and the works of Dante.

Essary, Elon University Grupo Tenzone. La canzone, commentata da Dante nel IV libro del Convivio, fu composta nel periodo di intensi studi filosofici successivo alla morte di Beatrice. Dante, nella prima stanza, che funge da proemio, avverte del nuovo indirizzo di poetica: Umberto Carpi attribuisce tale cambiamento alle condizioni politico-sociali del comune di Firenze al tempo in cui il poeta si dedicava agli studi filosofici. La trattazione della questione ha inizio nella seconda stanza della canzone, ripartita in due parti di tre stanze ciascuna: La loro vicenda sarebbe simile a quella tra la donna gentile, innamorata di se stessa, e Dante.

Italian Bookshelf Dante doveva risolvere un ulteriore elemento controverso: Intuizione che sette secoli di sviluppo di questo modo di produzione, alla cui nascita Dante assiste con indignazione, non hanno fatto altro che confermare Center for Reformation and Renaissance Studies, The poet used a variety of genres — lyric, spiritual, occasional verse, prose dialog and epic romance — to offset her reputation as a Roman courtesan.

The sonnets follow the tenets of Petrarchism and are steeped in the language of neo-Platonic imagery. This explains the title of the book, which includes the works of other writers in her circle. She was born in Rome in either or Her mother may have been a sex worker, and she herself may have been illegitimate. Her will stipulated that some of her goods be bequeathed to Celio, a minor, who may have been her illegitimate son. During the mids she established a relationship with Filippo Strozzi, the influential Florentine aristocrat and banker.

In Florence she cultivated a relationship with Benedetto Varchi, who became her literary guide and supporter. The following year she returned to Rome, where she continued to write poetry and was listed as one of prostitutes living in the city. As a courtesan, she would have studied Latin, the classics of the Italian vernacular tradition, and learned to conduct witty conversation. She had to be an accomplished musician, singer and dancer. These were the requisites of the courtesans who serviced the papal court and had access to circles of power. In the eclogue, Tirrhenia is the pastoral name given to her by Muzio, whose own pastoral name is Mopso.

In this and all other chapters of the book Hairston provides copious footnotes to help explain pastoral allusions, place names and geographical locations mentioned in the poems. Additionally, Hairston includes the miscellaneous poems published after the Poems of Signora Tullia di Aragona and by Others to Her , corrected version Nine letters help to reconstruct her life through her correspondence.

A Bibliography and Index are included. This richly annotated and well-researched work about a remarkable path- breaking woman helps the reader visualize how an accomplished and determined female writer could rise above the station of prostitute and endear herself to an adoring circle of powerful male intellectuals. La Consolatio philosophiae nello scrittoio del poeta.

Filologia medievali e moderni, Serie occidentale. Luca Lombardo has presented a densely argued single-spaced monograph of over pages in Italian and Latin on the relation of Dante to Boethius. He next examines the intertextual uses by Dante of Boethius, making use of the digitized commentaries of the Dartmouth Dante Project assembled by Professor Robert Hollander, first discussing the obvious parallels, next the allusive ones, finally the least certain, the first section of the monograph dealing more with the Convivio, the second with the Commedia, and finally, more on the Vita Nova.

As I remarked earlier, I noted the frequent use in the medieval commentators Pietro Alighieri, Francesco da Buti, etc. In this performing of the music of the period as their setting we found that Dante juxtaposes the psalms and the amorous songs to each other five times, as if they were motets, one mocking, one serious, one profane, the other sacred. Italian Bookshelf personae within their texts, taking his cue from Buti , for there is a further layer. Boethius and Dante play the same speculum stultorum game: Martin and Paola Ugolini, eds. Complete Poems, A Bilingual Edition.

Center for Reformation and Renaissance Studies. Gambara learned to read and compose in Latin and at twenty-three married her cousin Giberto X, Count of Correggio, a fifty-year-old widower. Two sons, Ippolito and Girolamo, were born in and Giberto, a condottiere, died in battle in , and left his widow to govern Correggio, educate their sons, and bring up his children by a prior marriage. Ippolito became a soldier and Girolamo rose to become a cardinal.

A successful poet, Gambara succeeded as a politician and a stateswoman, securing alliances which protected Correggio. Italian Bookshelf networking, as some of her poetry shows.

She celebrated the literati, congratulated Emperor Charles V, wrote to gain favors and positions for her sons, and cultivated her persona as a grieving, chaste widow. She left behind letters that demonstrate that she befriended and corresponded with powerful people and contemporary intellectuals and writers. Some of her eighty poems are exercises in diplomacy and flattery.

Others celebrate the landscape of her beloved Correggio or they mourn the death of her husband. She managed to keep her court and community at peace in a society threatened by brutal armies, acting shrewdly to defend her territory. Like other women poets of the Renaissance, she explored what it was to be a woman in love. Her authentic individual tone suggests that writing was a vocation she wished she had more time for, not a marginal activity.

She was also influenced by the classical pastoral tradition of Theocritus, Longus, Virgil and Ovid when she described the natural world. Her first madrigal was published in She relied on Petrarchan conventions but she transformed her lyrics to suit her needs. Finally, in her poems were published in a single printed edition, Rime e lettere di Veronica Gambara, edited by Felice Rizzardi. The poems are divided into the following sections: The numerous footnotes and the bibliography guide the reader to the further study of this very important but underrepresented, until now, female poet. Friendship and Sociability in Premodern Europe: Contexts, Concepts, and Expressions.

This book contains the latest results in the ongoing investigation on the notions of friendship and sociability in pre-modern Europe. The introduction presents a thorough discussion of the friendship between Michelangelo and Vittoria Colonna and contains also a useful bibliography. The ten articles are grouped in three parts. The third article might have been better placed at the beginning of the chapter for chronological reasons but nevertheless rightly belongs in this section.

According to Bernier, by means of his papers, Bayle establishes the basis of the erudite friendship which he defends and which he promotes for a vaster republic of letters. All these articles explore the diverse characteristics of friendship and the erudite, political, religious and commercial exchanges in the analysis of these networks as well as their larger-scale consequences. Italian Bookshelf sociability, from the individual via his networks to their international impact, shaped civilization as we know it today, thereby enriching previous investigations and establishing solid bases for further study.

Il primo capitolo si sofferma su Trissino, Machiavelli e Tolomei. Italian Bookshelf della cultura nazionale. Sulla scia di Thomas M. Green, Mongiat Farina sottolinea come i giochi scartati abbiano come obiettivo la conoscenza, al contrario di quello prescelto che propone un percorso di formazione. Nature and Art in Dante: Literary and Theological Essays. Four Courts Press, The essays published in this collection, originally delivered in the context of the annual Dante Series at the University of Dublin in and , represent a valuable contribution to the study of the crucial and complex issues of nature and art in Dante.

As one understands from the subtitle of the volume, Literary and Theological Essays, these issues are explored in an interdisciplinary perspective that does not include only literature and theology but also the visual arts and philosophy. Two of these essays are particularly important in clarifying the two themes at the center of the volume. In this sense the term is close to the concept of art in ancient philosophy where it was related to planned practical skills.

On the one hand, artista may allude to an artisan or craftsman as in Paradiso Finally, arte for Dante implies skills and techniques that the artist must master, and is not opposed to science or nature; above all it points beyond itself, to a world of values that create its dignity. The second essay that plays an important role in elucidating the two major topics at the center of the volume is Simon A.

In this sense the cosmos is the Book of God through which humans may apprehend the divine artificer behind it. This vision of nature had ancient roots and was developed particularly by twelfth- century theology. Italian Bookshelf philosophical and appears related above all to the recovery and reception of Aristotle and his Arab and Latin commentators. This hierarchy is confirmed in the extended literary description of the visual arts of Purgatorio where God is the artificer of the engravings, superior to all human artists and natural realities.

However, Dante conceives nature as closely linked to the planets and their angelic movers. The other essays in the collections contribute in different ways to the general theme of the volume. In this sense Dante becomes a combination of Aeneas and Paul, a hero and a poet-prophet. Italian Bookshelf Silent Ship: In conclusion, the volume Nature and Art in Dante is an important addition to the bibliography on these themes. Prefazione di Mario Praz. Biblioteca di Lettere Italiane, Studi e Testi. Italian Bookshelf del Lomazzo E non meno, e proprio per questa coscienza, la lezione di Tasso rimane preziosa, e maturo compimento del secolo XVI: A cura di Marco Petoletti.

The Renaissance from an Italian Perspective: An Anthology of Essays In the introduction to The Renaissance from an Italian Perspective: An Anthology of Essays , editor Rocco Rubini enumerates his motivations and criteria for compiling this collection of essays. How have these matters been complicated by developments in politics, philosophy, history, culture and society? Can we say today that these complexities have been resolved?

These are but a few of the penetrating questions with which one must grapple in dealing with these essays.

Massimo Rossi

Each essay is densely laden with social and historical implications, and rife with value judgments and sharp critiques. Because the Renaissance failed to produce political autonomy for Italy, and was followed instead by a period marked by foreign domination and historical decline, it could not represent for the Italian consciousness a moment of unqualified progress despite the advances it heralded. As Dionisotti points out: Characterized by a sense of urgency and moral certitude, the writings of Spaventa, De Sanctis and Fiorentino represent the period of the late Risorgimento.

Spaventa calls for a new system of learning, and De Sanctis rejects the Renaissance intellectual. The next generation of scholars who carry the torch of their predecessors is represented by Gentile and Croce. Grassi, Garin and Cantimori provide the post- war perspective, characterized by a reappraisal of the role and influence of Renaissance humanism. For them, humanist thought and method are essential to the development of modern sensibilities and civilization. It is his thesis that all academic and scientific endeavors are outgrowths of humanism. The epilogue to the volume comes from Dionisotti and returns to the issues initially raised in the introduction.

He points out the role that history has played in the shifting relationship between Italian scholarship and the Renaissance. According to Rubini, however, there is knowledge to be gleaned from the contributions of scholars such as De Sanctis, and value to be gained from continuing to include their considerations in discussions of the Renaissance. Italian Bookshelf This volume is a testament to the ongoing dialogue that exists between the past and present, as modern Renaissance scholars continue to puzzle their way through matters of national identity and philosophy, ever plagued by questions of historical subjectivity.

How can any scholar look upon history with an unbiased eye, without seeing his or her own world view reflected at any given moment in time? Rather than offer an exposition on Italian Renaissance scholarship, it, instead, poses a challenge to future generations to find their own place within the dialogue begun over a century ago. Scholars must strive to answer the questions which inevitably arise from the consideration of texts such as these, and in so doing approach a better understanding of themselves and their own influences, as well as those of the thinkers who came before.

Representation, Self-Representation, and Agency in the Renaissance. Centre for Reformation and Renaissance Studies, This volume of eleven papers by as many scholars spans four centuries and several countries, including England, Spain, France, and Italy. The first four essays, as well as the eighth, focus on sixteenth- and seventeenth-century France: Essays five and six are set in England: Archival documents, Brizio claims, reflect real-life practices more accurately than statutes and other normative literature commonly examined by historians; through a careful reading of these newly analyzed documents primarily, notarial records , Brizio shows the extent of the autonomy and economic freedom enjoyed by Sienese women in the fourteenth and fifteenth centuries — much greater than, for example, the autonomy of their Florentine counterparts.

My two main critiques, however, are addressed to the press the Centre for Reformation and Renaissance Studies in Toronto , and not to the generally thoughtful, original, and well researched essays themselves. First of all, readers will wish that the manuscript revision had been more thorough: The binding, as well, should have been done better: That said, there is much to recommend this eclectic book to scholars — both historians and literary critics — working on, or interested in learning more about, the representation of women in early modern Europe. Michele Marrapodi has been writing about English and Italian cultural relations since the s.

This most recent volume, which he has edited with his usual care, consists of eighteen essays by scholars whose concerns go beyond the identification of borrowed sources. The Merchant seems to have been conceived with precisely such an idea in mind. At the core of her thesis is the Italian term riconoscenza gratitude , which shares a root with riconoscere to recognize: This notion sheds light on the strange and chilling moment when Coriolanus forgets the name of a poor Volscian who has given him aid.

The moment seems trivial but it foreshadows what will happen to Coriolanus at the end, when he cannot bring himself to utter his own name, the name he has earned in battle at Corioles, upon entering the home of the arch enemy Aufidius. In that home, of course, there will be no riconoscenza for Coriolanus. The danger, of course, in setting out to discover evidence of political engagement is to see such evidence where perhaps it does not exist. Horatio Palavicino was not only a merchant and a politician but apparently also a whoremonger. Italian Bookshelf contribution to our understanding of the way in which Shakespeare read and responded to his Italian predecessors.

Poetry and Identity in Quattrocento Naples. La posizione del poeta si manifesta nelle caratteristiche formali e contenutistiche delle opere, denotanti vari gradi di capitale culturale. Nei primi tre capitoli Soranzo esamina il Parthenopeus e De amore coniugali tramite i vari fili che legano le opere al loro contesto discorsivo, delineando come Pontano negozia le proprie origini umbre e la sua assimilazione della cultura aristocratica napoletana.

Spostatosi lo sguardo al campo della filosofia e della religione, il quinto capitolo esamina la rinegoziazione del proprio carisma da parte di Pontano dopo la caduta della dinastia aragonese. Italian Bookshelf Chris Wickham. Sleepwalking into a New World: Princeton University Press, Students of Italian literature typically encounter the history of Italy at the time of the rise of vernacular literary records, around the mid-thirteenth century.

The relationship between urban life and literary production is already something of a given by that time; indeed, in De vulgari eloquentia Dante maps the various vernaculars of northern Italy on an urban grid. The governmental model associated with these cities, that of the commune, is likewise in place, so the question of how the commune was born does not seep into literary studies. It turns out, however, that the commune has a fascinating history and an impressive documentary record, now mediated by Chris Wickham in this excellent book.

The author devotes a chapter each to Milan, Pisa, and Rome, as well as one to a review of several other cities that furnish further comparisons to the three principals. The makers of the commune did not partake of the sort of self-aware constitutionalism we see elsewhere; rather, they more or less stumbled upon their new government. All of the communes he studies share most if not all of these elements, allowing Wickham to demonstrate that despite their sleepwalking the inventors of the commune were all pretty much up to the same thing.

Moreover, just as Wickham describes an ideal-type commune, so too does his history record a more or less consistent set of conditions that allow the commune to emerge. First and foremost there is the above-mentioned weakening of the old order: Important too is an older tradition of urban assemblies, such as the Milanese collectio, that morphed into the consulatus or concio, an organized urban deliberative body.

Italian Bookshelf in the law.

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With economic interests to protect, these men sought compromise with fellow citizens to ensure urban stability, applying their collective knowledge and energies to the protection of the city from external and internal threats. At the same time, however, one can see how the presence of multiple landholders in and around urban areas would encourage the sort of dialogue that would aim to preserve property rights and limit encroachment.

Wickham is a cautiously speculative historian; he hews to his documents, allowing them to tell only as much of the story as they can tell. One effect of the political somnambulism that Wickham describes is that the lack of self-awareness about the changes being effected left a hole in the historical record: Students of medieval Italian literature will find a fascinating secondary narrative here as well.

Wickham mentions a number of historical poems from Milan and Pisa, written in Latin. On the cusp of the emergence of a vernacular literature, therefore, there existed a late-Latin literary tradition, one that would overlap with vernacular production later on. This study begs one question and answers another. The former has to do with why the commune emerged at roughly the same time in so many places. Wickham furnishes some answers, but there is no reason to assume that common conditions would give rise so consistently to the commune.

Some of the answers may have to do with imitation, as word spread throughout the region about the emergent governmental structures. As well, the shifting economic landscape associated with urban life appears to have played a role, with wealthy stakeholders aiming to protect their property rights and enforce the responsibilities of members of the community as a means to guarantee a stability seen as good for all. The second question, the one Wickham answers more adamantly, goes to why he writes this book in the first place, and it is related to the first.

Wickham insists that a teleological reading of the history of the commune is thoroughly unfounded, precisely because its inventors basically had no idea what they were producing as they made it. There is no destiny here, but a haphazard and luckily successful attempt to create an urban governmental structure that in theory would guarantee peace.

That peace turned out to be a chimera, as for example in Florence, reflects perhaps a human nature that no government can fully mediate. Michael Sherberg, Washington University in St. Italian Bookshelf Jan M. That is not to suggest, though, that this collection of essays discourages new queries in its wake.

In the introduction, Ziolkowski stages a rousing lineup of academically provocative and politically relevant questions and paradoxes. On the political front he demonstrates how despite the fact that the Commedia is an exemplum of what is Western, Christian and Catholic, and although it was written some seven hundred years ago, what it says about Islam has become nonetheless intensely relevant. Since then the Union of Italian Muslims has also appealed to the Pope to remove such artwork from churches as well as to withdraw the teaching of the Commedia from curricula in densely immigrant regions of Italy.

On the academic front, tensions run even deeper. On the one hand a picture arises of what medieval Christendom had the potential to know about the world of medieval Islam and how Dante then presumably absorbed and redirected this knowledge. On the other hand we see how modern academics have aligned themselves to this development.

The twelve articles in this volume are grouped into five categories, reflecting inquiry and insight along varied sight lines. Burman, examines different kinds of attitudes toward and knowledge about medieval Islamic texts and culture from the perspective of medieval Christian scholars, examining specific translations, translators and their particular bents and biases. Stone and Daniela Boccassini, and uses textual evidence from the Commedia to argue for connections between Dante and Islamic philosophical and literary traditions.

In the first article the connection is drawn in terms of how allegory and metaphoric language integrate philosophy and theology in Dante as was done in earlier Islamic writings Schildgen. The second article suggests a link in the way intellect in the Commedia could be read as philosophically divisible into the practical and theoretical, and how this idea might reflect Islamic thinking Stone. The last article discusses how the phenomenology of falconry in the Commedia can be linked to none other than an Islamic cultural heritage Boccassini.

Italian Bookshelf inquiry to create space for a world that thinks, asks thoughtful questions of the other and listens in pursuit of the truth. This volume belongs on the shelves of Dantists and Islamic scholars alike and will appeal to those new to academia as well as to those seasoned veterans who have paved the way.

Marina Cocuzza and Joseph Farrell. Illustrations by Giovanna Nicotra. Luigi Capuana is best known as a theorist of verismo, the Italian version of European realism, which prescribed for the writer the dispassionate and objective representation of reality, however squalid. So those readers who are unfamiliar with the many interests of Capuana, ranging from photography and etching to folklore, poetry, theater and journalism, will be surprised to discover that not only did he produce a substantial amount of fairy tales, but that he engaged in the genre time and again, from to , the year of his death.

This last collection includes one-act plays. Cocuzza and Farrell speculate that Capuana may have been directed towards the world of pure fantasy by his growing disenchantment with positivistic ideas and with scientific and mechanical progress. Children and adults alike will be delighted with the fables, while savvy readers will recognize the subtle satire of the new state that underlies some of the later tales.

Cocuzza and Farrell offer a penetrating analysis of the collected fairy tales, populated by kings, queens, princes, princesses, magicians and dragons, but also by desperately poor common folk — all endowed with recognizable human traits and instincts. Capuana never distanced himself too much from stark reality. The University of Toronto Press, The conventional view, advanced with erudition and authority by such writers as Richard Andrews and Tim Fitzpatrick, who are generously quoted here, is that the scenarios are of their essence a series of notes to actors, setting out situations or outline plots which allow performers to demonstrate their histrionic abilities and inventiveness by employing improvisational techniques.

There is a more general question in Italian theatre history concerning not just scripts themselves but relations between the actor and the author. The actor ruled at this time, but there is no discussion of individual actors or companies. There being no dispute that actors played stock parts indicated in the main by masks, the issue of creativity is then transferred to the level of individual characterisation in the scenarios. The author believes that they contain adequate individual motivations and skilfully crafted plots, meaning that the scope for different approaches in successive productions is reduced.

Crohn Schmitt is convinced that appreciation and production today require not merely knowledge of the stagecraft in the period when commedia flourished, but of cultural beliefs, social conventions, attitudes of mind and habits of life. This she aims to provide. The first part of the book is dedicated to reconstructing the culture of post-Renaissance Italy, examining the power relations inside families and between the sexes, discussing the habits of indoor and outdoor life, analysing the class structure and the consequent freedoms afforded to the hegemonic and to the subaltern class, the mores relating to marriage and dowries and the ethics of the age.

For her reconstruction, she relies largely on secondary sources and shows familiarity only with those contemporary treatises available in English. This leads to an undue reliance on certain better known works, such as those of Alberti and Castiglione, and an unexamined assumption that these works can be taken as representative. Further, it causes her to make general statements which should be questioned even if the name of a modern scholar can be attached to it.

There is a tendency, no stronger in Crohn Schmitt than in others, to approach the past as though it were too foreign a country, and that the way of life was extraordinarily different. In any case, Scala was no social historian, and a greater attention could have been paid not just to contemporary culture but to the conventions of theatre in his time, or perhaps of all time.

Comedy overturns standards while sexual mis conduct always makes nonsense of moral tenets and provides prompts for laughter. Crohn Schmitt creates unnecessary problems for herself when confronted with servants who do not behave with due subservience, but that had been the case since Plautus. The author is puzzled by the prevalence of women dressing as men in the comedies, and wonders if this reflects practise at the time. Renaissance writings and debates on love leave her perplexed It is hard to know exactly what a literal translation is, in any context.

The author is keen to play down, perhaps unduly so, the practise of improvisation. She stresses that performers had committed to memory set speeches and dialogues, and proposes some such speeches from authors of the time that the characters might have spoken in scenes which are only sketched. It is in this part of the book that Crohn Schmitt makes a genuine effort to make what I take to be her central case — that the scenarios should be more highly valued as plays in the now accepted sense of the word. Alessandro Manzoni nei paesi Anglosassoni.

Secondo molti critici la limitata diffusione di tali opere fu dovuta alle mediocri traduzioni e al forte messaggio cattolico espresso negli scritti di Manzoni. Nella prima parte, la distribuzione del materiale segue un ordine cronologico e un ordine tematico. La prima traduzione in inglese dei promessi sposi fu nel ad opera di Charles Swan il quale ammise di avere omesso molte parti storiche Nel seguirono ben tre traduzioni e poi altre due nel e nel Crosta inserisce molti dettagli sulle traduzioni e fornisce date precise sulle ristampe per dimostrare il vivo interesse che cresceva per il romanzo del Manzoni nei paesi anglosassoni Nelle pagine successive del libro, Crosta richiama tutte quelle dichiarazioni di scrittori e intellettuali inglesi che avevano scritto a favore delle opere manzoniane, come Mary Shelley , e di quelli che si erano ispirati a queste opere nello scrivere le loro.

Spunti manzoniani sono rintracciabili nei romanzi dello scrittore romantico Bulwer Lytton e degli scrittori vittoriani George Eliot 20 , Elizabeth Gaskell e William Gilbert I penultimi capitoli della prima parte del libro sono dedicati al movimento di Oxford tra i cui rappresentanti Newman e Yonge si dimostrarono dei grandi ammiratori del Manzoni. Il penultimo capitolo include il significato dei Promessi sposi come lettura dei personaggi nelle narrazioni di Donald Mitchell e di Catharine Sedgwick On the Erotic in Renaissance Culture, Princeton: Princeton University Press, , p.

Nella maggior parte dei casi non si riesce a scorgere nessuna differenza iconografica tra cortigiane, nobildonne e addirittura novelle spose, come nel caso di Giacomo Franco 63, fig. Vestiti lussuosi, gioielli e seni in vista sono caratteristiche sia degli abiti delle nobildonne veneziane sia delle cortigiane. In base ai dipinti e alle illustrazioni pervenutici, le nobildonne veneziane e le cortigiane sembrano partecipare insieme, nonostante gli emendamenti restrittivi, a balli, feste e riunioni nei salotti del XVI e del XVII secolo, scene spesso trasfigurate attraverso le diciture in rubrica, come nel caso di una scena di ridotto dipinta da Flipart 80, fig.

Cambridge University Press, From the perspective of Galileo Galilei , however, philosophy is written in a grand book that stands continuously open to our gaze, a mathematical masterpiece that cannot always be read in the poetical way described by Piccolomini. For Galileo, poetry may be an ambiguous tool, and philosophy must be expressed in mathematical terms so as to avoid uncertain and equivocal interpretations: Galileo made his argument by becoming a completely new kind of philosopher and — as Piccolomini would remark — by also using, at the same time, the right amount of rhetorical sugar to help his academic and ecclesiastical opponents take his bitter medicine.

Most of the issues addressed by the author open up a variety of aspects of Italian intellectual history and will require a background in Italian epic poetry and natural philosophy in order to be fully comprehended and squarely situated within their proper realms. For this reason, this text is less suited for a general audience but presents a valuable resource for graduate classes and seminars. La lingua di Galileo. Firenze, Accademia della Crusca, 13 dicembre A cura di Elisabetta Benucci e Raffaella Setti.

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Si considera dunque la scelta del volgare e della creazione di una nuova lingua per una nuova scienza. Italian Bookshelf stabilisce in qualche modo un nesso tra gli otto interventi e vuole entrare nei particolari di quella polemica tutta galileiana delle parole e delle cose e di come tali parole possano catturare o adeguarsi alle cose. Si parla spesso di chiarezza e di precisione nella lingua di Galileo.

Concludo con un esempio tratto dal saggio di Raffaella Setti, in cui si esamina un brano di Galileo dove, descrivendo la luna, si nota che dalla prima alla seconda stesura lo scienziato introduce una precisazione: The Poetry of Giovanni Meli. Giovanni Meli is generally recognized as the greatest poet of the Sicilian language. His copious poetic output defies classification as it is situated between the movement of Arcadia and the nascent Romanticism.

Writers in the local vernaculars are at a disadvantage, since their work is accessible only to a limited readership, so translations are of key importance for making their work accessible to a vaster audience. Italian Bookshelf a painter of idyllic and bucolic scenes, but of an empiricist with idealistic tendencies, a physician-poet steeped in science and philosophy and aware of social injustice, who was also endowed with an extraordinary sensitivity to the beauty of nature.

Next are selections from La buccolica Bucolic Poetry , inspired by Theocritus and comprising sonnets and idylls descriptive of the four seasons, celebrating nature and inviting to love, yet suffused with a sense of skepticism that foreshadows Leopardi. The anthology includes eighty-nine Favuli morali Moral Fables , in which Meli pursues a genre that had gained great popularity and critical esteem.

In these works Meli shows his admiration for the animal world that lives according to its natural instincts without gratuitously harming others, while contrasting it with the predatory human species that deceives and kills through reason. He captures every shade and nuance of the original in simple, direct and modern English verse, even preserving — wherever possible — the cadence and rhyme-scheme of the original.

Dimmi, dimmi, apuzza nica: Trema ancora, ancora luci And along the field the dew la ruggiada ntra li prati: Li ciuriddi durmigghiusi Pretty flowers, sleepy-eyed, ntra li virdi soi buttuni and still snug and tightly closed stannu ancora stritti e chiusi in their verdant buds abiding, cu li testi a pinnuluni.

Italian Bookshelf Cipolla is universally recognized as a Meli authority. Dopo una breve ma chiara Introduzione, si legge una essenziale Nota al testo nella quale il curatore descrive le fonti, cui segue un denso saggio sui I testi e la loro storia. Dopo queste porzioni introduttive, si legge il testo dei due poemetti e in appendice la riproduzione del ms.

Il testo critico migliora in alcuni punti la lezione rispetto a quello approntato da Isella, sanando alcune sviste del precedente critico. Si segnala il commento a cura di S. Il risultato di queste ricerche non permette al critico di sciogliere definitivamente i dubbi e Biancardi decide prudenzialmente di pubblicare in appendice la trascrizione del frammento unitamente alla digitalizzazione del manoscritto. Scritti polemici a cura e con introduzione di Silvia Morgana e Paolo Bartesaghi fino ai tre volumi apparsi nel Chiudono il volume una serie di indici: Nella descrizione degli stampati si notano alcune imprecisioni: Italian Bookshelf una nuova edizione critica.

In alcuni casi sfuggono i criteri impiegati: Writing Fashion in Early Modern Italy: From Sprezzatura to Satire. The author of this book, Professor Eugenia Paulicelli, is the foremost cultural studies specialist on Italian fashion in the US. Paulicelli has published extensively on this topic, focusing on an impressive diversity of historical periods, including the Middle Ages, the Fascist ventennio, and contemporary times.

She is currently working on a study of fashion in postwar Italy. As the title makes clear, her latest volume under review here looks at clothing and fashion during the early modern period in Italy: The book is divided in three parts, each of which consists of two chapters that are in turn broken down into multiple subsections. Emphasis is placed on defining an Italian identity through clothes, within a moral geography centered on Europe.

Hair, Wigs and Other Vices. Her Paternal Tyranny describes hair as a contested signifier of gender: The sixth and final chapter, with which the book ends rather abruptly: Italian Bookshelf about the power of fashion in shaping culture, and the anxiety provoked precisely by an awareness of this power. Fashion is seductive because it allows for multiple identities and selves, and for this very reason moralists have condemned it for centuries, as can be seen in the literary narratives examined in this volume.

This well-researched and well-organized book is bound to appeal to a variety of readers: My only criticism concerns not the content of the study, but the level of copyediting done by Ashgate Press. The book, in my view, ought to have been edited for readability and idiomatic English, whereas it currently reads, in places, as an all-too-literal translation from the Italian, with awkward and unclear passages that impede a smooth reading. Dal punto di vista teorico, prendere in considerazione i fallimenti delle tragedie di Foscolo significa analizzare i suoi scritti di critica letteraria, contemporanei o posteriori alle sue opere teatrali, da una nuova prospettiva.

Dopo la sezione introduttiva, in cui Walsh delinea il piano della sua opera, troviamo, nel primo capitolo, un compendio della situazione del teatro tragico italiano nel diciottesimo secolo. Nel terzo capitolo, la studiosa analizza dettagliatamente le vicende legate alla composizione e alla rappresentazione della seconda tragedia foscoliana, Ajace.

Il quinto capitolo si focalizza sulle riflessioni finali di Foscolo in materia di genere tragico e sul contributo che egli dette, attraverso i suoi scritti, al dibattito fra classicisti e romantici. Italian Bookshelf vicende personali, permette a Walsh di analizzare a fondo il Foscolo tragico: This monumental volume of pages, published in occasion of the homonymous exhibition held between Venice and Pavia at the beginning of , is the product of a scholarly effort of extensive proportions.

The biographies of all artists protagonists of the exhibition are also part of the volume. The third section includes four short essays on specific case studies relative to the exhibition, whereas the following chapter displays most of the prints of the exhibited works of art and a series of swift biographies of the artists prominent in the exhibit. Valmore, , its third part contains four interesting essays relative to the exhibition itself.

Leonardo Clerici introduces us to the Sarenco Collection with a dense, playful, and poetic associative text, and Allegrini reconstructs the history of the poetic ceramics first conceived by Sarenco and executed by ceramist Michelangelo Marchi. In conclusion, Visual Poetry, in spite of having as main referent the wider public, is an editorial project that constitutes a useful point of reference for scholars working in that area of study.

Italian Bookshelf of the mutual influences that occurred between Italian and international authors are left less explored I am referring especially to the German, Swiss, and Latin American contributions. However, the high quality reproduction of art works that characterizes SKIRA editions and the wide array of authors here included make the volume one of the most complete and useful publications to date on this form of artistic expression.

Delfino, Columbia University Pierpaolo Antonello. La foto in copertina di un Pasolini pensieroso che guarda dritto verso la telecamera seduto di spalle verso una biblioteca piena di libri, potrebbe fungere da simbolo: Fascist Italy and the Middle East, In a compelling introduction, Arielli describes how assessments of the Fascist policy remain divided.

However, for British and North American historians e. Seeking to mediate between these two schools of thought, Arielli approaches the topic by considering domestic and economic forces, in addition to European foreign policy and expansionistic claims. The remainder of the introduction describes the organization of the volume in six separate sections and concludes with an important observation about the methodological difficulties that studies of this sort pose since the Arab perception of the Fascist policy remains somewhat difficult to assess.

Arielli discusses how the regime, in its effort to find support for its claims on Ethiopia, launched a propaganda campaign that presented the Abyssinians as enemies of Egypt and Islam. Headed by Ugo Dadone, this agency disseminated all sorts of pro-Italian material in French and Arabic. In Egypt the campaign in Abyssinia was vigorously opposed and the only support that it received came from the Italian communities residing in Alexandria, Cairo, Port Said, and Suez. Jewish opinion in Palestine, including that of Zionists, also remained unfavorable towards Italy.

Arielli examines, once again, the central role played by Ciano in consolidating and presenting the Fascist Middle Eastern policy at home and abroad. Efforts abroad included the building of mosques and schools in Ethiopia; the granting of religious freedom to all followers of Islam; and the allocation of money to assist Muslim subjects who were traveling to Mecca and Medina for the yearly Haj. The apex of these propagandist efforts took place in Tripoli in mid-March The unrest was seen by Fascist Italy as the chance to consolidate its anti-British policies and so the decision was made to supply military assistance to the Palestinians.

Italian Bookshelf the Italian support of the Palestinians, explaining that they ranged from the moderately appreciative to the skeptical. In this chapter, Arielli provides a concise but very illuminating overview of Fascist racial legislation at home and in the colonies. He points out that, despite the racial laws, Balbo was very careful to project an image of respect and tolerance among Libyan subjects so as to avoid unrest and revolt. Nevertheless, the aggressive imperialism and mounting racism of the Fascist regime were not lost onthe people of Morocco, Algeria, Tunisia, Egypt and Syria who openly ridiculed the notions of Italians as protectors of Islam.

Yet, by the late s, it had become clear, both at home and abroad, that Italy lacked the military and financial power to widen its territories. A fascinating, lucidly written and well-argued book, this is a must read for all those interested in 20th-century Italian cultural history.

Watching the Moon and Other Plays. Veteran translator Patricia Gaborik has given the English reader a fascinating glimpse into the theatrical currents of the ventennio with her finely crafted and arresting versions of three plays by Massimo Bontempelli Bontempelli, one of a legion of intellectuals whose zeal for fascism earned him a date with opprobrium and ultimately exclusion following the war, is a writer whose works seem to encapsulate neatly the swirling trends of Italian art from the s to the s.

There is also a valuable analysis of the mutual influence between Bontempelli and Pirandello. In Stormcloud, a supernatural weather system descends on an unsuspecting village and visits death upon its children and also on Regina, a girl caught between adolescence and womanhood. Regina returns to life midway through the play, paying visits to her two astonished suitors. Cinderella is a modern take on the old story, in which a plucky Cinderella charms the prince but ends up running off with a viola player the play was originally conceived as a musical for the Maggio Musicale Fiorentino.

While the plays vary greatly in style and tone, the reader is left to make fascinating connections as a result of several significant consistencies. The plays are rife with Christological and mythological references the aforementioned viola player in Cinderella is called Icarus. Capitalistic imperatives infringe upon the magical, as when the Fairy Godmother laments that droves of men have sought her counsel for stock tips An example of Gaborik at her best is the conclusion of Watching the Moon, a scene of considerable dramatic firepower.

Maria, unable to save her daughter, punishes the moon in lavishly playable language: One can easily imagine the translations appearing in theatres producing works by Pirandello, Ionesco or Pinter. To be sure, there are a few howlers here and there. Mondadori, , 20 is an obvious reference to an affair, not a betrayal.

How do you know? You are nineteen years old. Lei ha diciannove anni. It could also be not very many at all. Potrebbero anche essere pochissimi. In all, Gaborik has done a service to the world of drama, acquainting the spectator with fresh material from a time and place still largely unknown in English.

The book is especially valuable because it adds a dramatic voice to that of the more familiar Pirandello, whose works seem so monolithic among modern Italian dramatists precisely because his compeers remain trapped in their native tongue. Italian Bookshelf Vincenzo Cardarelli. A cura di Silvia Morgani. Blasi, introduzione di O. Ebe, , restituisce una preziosa testimonianza al mondo specialistico dei lettori del Novecento italiano e non solo: Il volume si divide in tre sezioni principali: Le lettere raccolte si distinguono tanto per natura quanto per argomento; sono state, infatti, collezionate cartoline dalla lunghezza minima, come la prima datata 3 luglio , utile solo a comunicare un cambio di indirizzo 95 e perfino moduli prestampati di telegrammi Lettera 51, o buste sulla cui copertina compaiono breve righe Lettera 97, Dal Decadentismo alla rinascita dei modelli, vol.

In conclusione, il volume della Morgani appare come un lavoro intenso, completo e, soprattutto, passionale: Italian Bookshelf Cronache dal cielo stretto. A cura di Cristina Perissinotto e Charles Klopp. Prefazione di Elvio Guagnini. The bases for our prevailing critical vision of Triestine literature were laid nearly a hundred years ago. In Giani Stuparich triestino, scrittori italiani del Novecento , Pietro Pancrazi summarized its features as follows: Today we still follow the tracks of Pancrazi, even if the current situation has become considerably more complex.

The editors Perissinotto and Klopp enlarge the topographical borders of investigation to the Giulian, Venetian, Friulian territory broadly called the Triveneto. The writers examined in this new volume also extend further than those of Pancrazi, all of them contemporary: Autobiographism, anti-literariness, introspection, and cosmopolitanism the assillo morale is more difficult to pinpoint, but solidly beneath the surface are elaborated by these writers in as many directions as one might imagine in an age as literarily self-conscious as our own.

Elvio Guagnini, who has studied the literary northeast most extensively, sets up some of the difficulties attending geo-literary criticism in his excellent prefatory note, beginning with the foundational essay on that topic by Carlo Dionisotti in , and then remarking how endemic that approach is to such categories as the linea lombarda and tying studies on Trivenetian writing to heuristic conceptions of horizon, borders, voyage, absent shores, and the breaking of barriers. Localization and globalization recur as central terms in a crisis that is ostensibly more present to the minds of these writers than those of less peripheral parts of the country.

The same applies to multiculturalism, ethnicity, plurilinguism, historical relativism, and hauntings of memory. Yet what we have are cronache from that cielo stretto, not summatory, synthetic descriptions. The book is essentially a sourcebook, articulated in three parts, cyclically repeated for each writer. The second offers an extended assessment of their textual production by a competent contemporary critic: A significant fourth part to the cycle is no less useful: The interviews tend all to begin by asking each author about his topographical attachments and their literary relevance.

In virtually all cases the authors affirm that it could not be otherwise, with interesting historical specifics, but generally also insisting on the universality of their texts. Indeed, ultimately they are reflections just as much of their time — at the beginning of the third millennium — as of their place; or of Italy in general, or of an extended Europe, or of the entire world as a proliferating crossroads. The interviews then ask how these geopolitical concerns issue into literary styles, banking on a multiplicity of genres, mixed arts, plurilingualism, and dialect.

These exchanges gloss the great variety of accomplishments attributed to the authors in the opening notes. And the list of hybrid styles expands exponentially in other writers. Not all writers would necessarily agree with this understanding of their enterprises, even —take the case of Magris —when their output is as diversified and experimental as others. The conspicuously missing figure from this generation, a man who emigrated to Trieste in and who has written in Italian ever since, even if he has begun only recently to receive his artistically widespread due, is the Hungarian-born Giorgio Pressburger.

But there are plenty of other important writers to keep us busy in this original and well-wrought volume. Oxford University Press, The book is structured around two interweaving themes: Underlying these experiences is the feeling of love, the memory of a blissful paradise, often associated with childhood and familial unity. Her reading shows indeed that although Ortese favoured fantastic over realistic narration, she constantly denounced the ills and injustices of contemporary society, advocating the ideals of care and compassion.

For Ortese, in inflicting violence on the Other, Man loses his humanity, causing a fall, utter loss, perdition, for which she calls for a new type of vision and empathy 3. Italian Bookshelf Butterfly, folklore, popular songs, and the Bible. De Gasperin discusses these by scrupulously engaging with bodies of theory from authors such as Freud, Agamben, and Kristeva.

A further theme therefore emerges from this study: Through the repetition of the verb vedere and the abundance of visual descriptions, she takes the reader in a virtual tour of hell. The interrogating gaze of the narrator overlaps with the experience of discovery, thus denouncing the indifference of the rest of society, its refusal to see the horror and suffering that lies at its very heart.

Eugenia, a girl who suffers severe myopia, receives her first pair of glasses. Her euphoria for the transition from blurred vision to clear sight suddenly turns into a dramatic revelation when she sees for the first time the utter misery in which she and her family live. The themes of vision, loss the passage from childhood to adulthood and the Other a different world thus interweave to convey a metaphorical meaning that transcends the literal level of the story.

Italian Bookshelf Lorenzo Del Boca. Chi lo ascolta vive le emozioni di chi l'ha scritta. Said I to the soft-falling shower, Which, strange to tell, gave me an answer, as here translated: I am the Poem of Earth, said the voice of the rain, Eternal I rise impalpable out of the land and the bottomless sea, Upward to heaven, whence, vaguely form'd, altogether changed, and yet the same, I descend to lave the drouths, atomies, dust-layers of the globe, And all that in them without me were seeds only, latent, unborn; And forever, by day and night, I give back life to my own origin, and make pure and beautify it; For song, issuing from its birth-place, after fulfilment, wandering, Reck'd or unreck'd, duly with love returns.

Se tardi a trovarmi, insisti. If you later to see me, you insist. L'organismo, da capo a piedi, canto, La semplice fisionomia, il cervello da soli non sono degni della Musa: Ringrazio per questa splendida poesia che non conoscevo, che rappresenta la forza dell'amore in ogni sua espressione. Of physiology from top to toe I sing, Not physiognomy alone nor brain alone is worthy for the Muse, I say the Form complete is worthier far, The Female equally with the Male I sing. We two, How long we were fool'd - Walt Withman We are two clouds forenoons and afternoons driving overhead, We are seas mingling, we are two of those cheerful waves rolling over each other and interwetting each other, We are what the atmosphere is, transparent, receptive, pervious, impervious, We are snow, rain, cold, darkness, we are each product and influence of the globe, We have circled and circled till we have arrived home again, we two, We have voided all but freedom and all but our own joy.

L'ho trovata in spagnolo: No te dejes vencer por el desaliento. No permitas que nadie te quite el derecho a expresarte, que es casi un deber. No abandones las ansias de hacer de tu vida algo extraordinario. La vida es desierto y oasis. Tu puedes aportar una estrofa. No caigas en el peor de los errores: Valora la belleza de las cosas simples. Eso transforma la vida en un infierno. Las experiencias de quienes nos precedieron de nuestros "poetas muertos", te ayudan a caminar por la vida La sociedad de hoy somos nosotros: No permitas que la vida te pase a ti sin que la vivas Non lasciarti vincere dallo scoraggiamento.

Non permettere che nessuno ti tolga il diritto ad esprimerti, che e' quasi un dovere. Non lasciar cadere la tensione di fare della tua vita qualcosa di straordinario. Non smettere di credere che le parole e le poesie possono cambiare il mondo. Succeda quel che succeda, la nostra essenza e' intatta, siamo esseri pieni di passione. La vita e' deserto ed oasi: Tu puoi apportare una strofa. Non cadere nel peggiore dagli errori: La maggioranza vive in un silenzio spaventoso: Stima la bellezza delle cose semplici. Godi del panico che ti provoca avere la vita davanti. Pensa che in te sta il futuro ed affronta il compito con orgoglio e senza paura.

Impara da chi possa insegnarti: Do not let overcome by disappointment. Do not let anyone you remove the right to express yourself, which is almost a duty. Do not forsake the yearning to make your life something special. Be sure to believe that words and poetry it can change the world.

Whatever happens, our essence is intact. We are beings full of passion. Life is desert and oasis. We breakdowns, hurts us, teaches us, makes us protagonists of our own history. Although the wind blow against the powerful work continues: You can make a stanza. Never stop dreaming, because in a dream, man is free. Do not fall into the worst mistakes: Most live in a dreadful silence. Do not resign escape. Rate the beauty of the simple things. You can make beautiful poetry on little things, but we can not row against ourselves.

That transforms life into hell. Enjoy the panic that leads you have life ahead. Vivel intensely, without mediocrity. Think that you are the future and facing the task with pride and without fear. Learn from those who can teach you. The experiences of those who preceded us in our "dead poets", help you walk through life.

Today's society is us "poets alive. We Two Boys Together Clinging by Walt Whitman We two boys together clinging, One the other never leaving, Up and down the roads going, North and South excursions making, Power enjoying, elbows stretching, fingers clutching, Arm'd and fearless, eating, drinking, sleeping, loving. No law less than ourselves owning, sailing, soldiering, thieving, threatening, Misers, menials, priests alarming, air breathing, water drinking, on the turf or the sea-beach dancing, Cities wrenching, ease scorning, statutes mocking, feebleness chasing, Fulfilling our foray.

On this day in , Walt Whitman's first edition of the self-published Leaves of Grass is printed, containing a dozen poems. I am their follower; Helmsmen of nations, choose your craft! Youth, large, lusty, loving—Youth, full of grace, force, fascination! Do you know that Old Age may come after you, with equal grace, force, fascination? Great is the quality of Truth in man; The quality of truth in man supports itself through all changes, It is inevitably in the man—he and it are in love, and never leave each other.

The truth in man is no dictum, it is vital as eyesight; If there be any Soul, there is truth—if there be man or woman there is truth—if there be physical or moral, there is truth; If there be equilibrium or volition, there is truth—if there be things at all upon the earth, there is truth. O truth of the earth!

I scale mountains, or dive in the sea after you. Great is the English speech—what speech is so great as the English? Great is the English brood—what brood has so vast a destiny as the English?

G.D MEMORIA E FUTURO. UNA STORIA PER IMMAGINI

It is the mother of the brood that must rule the earth with the new rule; The new rule shall rule as the Soul rules, and as the love, justice, equality in the Soul rule. Justice is not settled by legislators and laws—it is in the Soul; It cannot be varied by statutes, any more than love, pride, the attraction of gravity, can; It is immutable—it does not depend on majorities—majorities or what not, come at last before the same passionless and exact tribunal.

For justice are the grand natural lawyers, and perfect judges—is it in their Souls; It is well assorted—they have not studied for nothing—the great includes the less; They rule on the highest grounds—they oversee all eras, states, administrations. The perfect judge fears nothing—he could go front to front before God; Before the perfect judge all shall stand back—life and death shall stand back—heaven and hell shall stand back Great is Life, real and mystical, wherever and whoever; Great is Death—sure as life holds all parts together, Death holds all parts together.

Has Life much purport? Men and women crowding fast in the streets—if they are not flashes and specks, what are they? Sojourning east a while longer, soon I travel toward you, to remain, to teach robust American love; For I know very well that I and robust love belong among you, inland, and along the Western Sea; For These States tend inland, and toward the Western Sea--and I will also.

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Thank you for sharing your info. I really appreciate your efforts and I will be waiting for your next write ups thanks once again. Henceforth I ask not good-fortune, I myself am good-fortune, Henceforth I whimper no more, postpone no more, need nothing, Done with indoor complaints, libraries, querulous criticisms, Strong and content I travel the open road. Walt Whitman, Canto della strada aperta A piedi e con animo sereno prendo la strada aperta, in salute, libero, il mondo innanzi a me, il lungo sentiero bruno pronto a condurmi dove scelgo di andare. The earth, that is sufficient, I do not want the constellations any nearer, I know they are very well where they are, I know they suffice for those who belong to them.

You objects that call from diffusion my meanings and give them shape! You light that wraps me and all things in delicate equable showers! You paths worn in the irregular hollows by the roadsides! I believe you are latent with unseen existences, you are so dear to me. You rows of houses! You porches and entrances! You windows whose transparent shells might expose so much! You doors and ascending steps! You gray stones of interminable pavements! O highway I travel, do you say to me Do not leave me?

Do you say Venture not—if you leave me you are lost? Do you say I am already prepared, I am well-beaten and undenied, adhere to me? O public road, I say back I am not afraid to leave you, yet I love you, You express me better than I can express myself, You shall be more to me than my poem. I inhale great draughts of space, The east and the west are mine, and the north and the south are mine.

I am larger, better than I thought, I did not know I held so much goodness.

All seems beautiful to me, I can repeat over to men and women You have done such good to me I would do the same to you, I will recruit for myself and you as I go, I will scatter myself among men and women as I go, I will toss a new gladness and roughness among them, Whoever denies me it shall not trouble me, Whoever accepts me he or she shall be blessed and shall bless me.

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