This panel seeks to attract scholars and researcher from a variety of disciplines literature, philology, manuscript studies, history of science, to name a few , with a focus on the intersections between medical knowledge and the Italian literature of the 13th and 14th centuries. The aim is to bridge the gap between these fields, to show how the history of science can benefit from the history of Medieval literature, and vice versa. Possible topics include but are not limited to: Augustine, Guinizzelli and Dante. Some remarks on the Poetics of Conversion in "Purg".
L'immagine nel cuore e l'immagine nella mente: The analysis of the most Cavalcanti, on the other hand, questions the capacity both of the mind to receive and keep the phantasmatic image of the beloved and of the intellect to extract any kind of knowledge from it. Il saggio esamina la genesi e l'evoluzione del motivo dell'immagine dell'amata nel cuore e nella mente dell'amante nella lirica italiana delle Origini, dai poeti siciliani alla 'Vita nuova' di Dante.
Il percorso si conclude con l'originale rielaborazione di tutto questo materiale condotta da Dante nella 'Vita nuova'. The exchanges between medical learning and the early Italian lyric tradition are rich and diverse, and can shed light on this fertile season in Medieval literature.
With regard to the scientific and medical milieu of the 13th and 14th With regard to the scientific and medical milieu of the 13th and 14th centuries, different lines of inquiry need to be addressed in order to better grasp the tendency of the coeval poetical production, which involved reception of Greek-Arabic scientific sources, translations and recuperation of texts, and original contributions in the vernacular.
The ongoing debate in the professional spheres of physicians and universities reached a point of intense production and reception of texts and ideas e. At the same time, poets were not merely taking on these debates with a passive attitude, but were actively contributing to these discussions with their poetical means, often taking sides and producing new ideas and theoretical frames. Such trends can be traced already in the Scuola siciliana that flourished around Frederick II and Manfred, but also in the Tuscan poetry of the 13th century, and its connections with the intellectuals of Bologna.
The proposed session aims to bridge the gap between these two fields, to show how the history of science can benefit from the history of Medieval literature, and vice versa. The call for papers is open to contributions investigating this fertile relationship, especially with a focus on the re-workings and on the original outcomes of such exchanges. Pirovano, Il dolce stil novo, Roma, Salerno Ed. Il pittore che ha fatto l'Italia, in: Dante e la poetica della conversione.
This is largely because, as regards Augustine, modern Dante scholarship is still dependent This is largely because, as regards Augustine, modern Dante scholarship is still dependent on the philological and historicist research undertaken at the end of the 19th and at the beginning of the 20th centuries e.
By this way, the article discusses the usual reception of this "canto" as an "anfizionia di rimatori". We The Humanities Twitter Curation. I usually tweet as NotQuiteZiggy. Paper given in the panel: This is largely because, as regards Augustine, modern Dante scholarship is still dependent on the philological and historicist research undertaken at the end of the nineteenth and at the beginning of the twentieth centuries e. Therefore, the volume constitutes an important contribution to Dante scholarship.
A Critical Guide to the Complete Works. University of Chicago Press, A Critical Guide to the Complete Works ed. Victoria Kirkham and Armando Maggi, Chicago: Grossvogel and Epistolae Jason Houston investigate the ways in which Boccaccio used Latin source texts as models for his literary experiments, with many of his earlier works simply serving as exercises in rhetoric and letter-writing. Italian Bookshelf reception as both text and book-object.
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Brody provides an insightful reading of the Elegia di madonna Fiammetta, which looks at female uses of literature as a healing device, a topic to which Boccaccio would return in the Proemio of his Decameron. Coleman and the De montibus, silvis, fontibus, lacubus, fluminibus, stagnis seu paludibus et de diversis nominibus maris Theodore J. Here Michael Papio analyses the document and provides anecdotes and historical details pertaining to those people mentioned in it. None the less, the editors certainly succeed in their mission to answer the questions posed in the introductory paragraphs: What did Boccaccio contribute in each case to the traditions he inherited?
How did he reenvision genres or topics? How did he redirect the course of literature? The organization of chapters according to the genres used by the author allows one to readily appreciate the textual, experimental, and structural parallels between many of his texts, and chapters habitually conclude with similar remarks: Even scholars well versed in the works of Boccaccio are sure to learn something of value from this accessible, yet scholarly and well-executed volume.
Studies on Alberti and Petrach. David Marsh, professor of Italian at Rutgers University, has collected in this book his essays on the Italian humanists Leon Battista Alberti and Francesco Petrarca, published over a span of roughly twenty years, the only exception being an article published in All the articles have been reproduced as they were when first published, and therefore their pages show the original numbers they had carried in the journals where they appeared. Italian Bookshelf on Alberti. He also analyzes the evolution of the genre in the work of later humanists such as Bartolomeo Scala and Marsilio Ficino, where the simple apologue becomes embedded with philosophical and allegorical abstractions.
The text continues with a thorough analysis of the short dialogue. The book ends with a section devoted to Poggio Bracciolini and Alberti: The three essays focus in particular upon the presence of works by the two authors in manuscript Vat. Carroll, and Catherine A. The present collection emerges from a conference organized by the Department of Music at University College Cork a few years ago.
One cannot emphasize enough that such occasions for cross-disciplinary dialogue, in person and in print, need to be cherished and cultivated as much as possible. Crucially, resisting the impulse to view such artifacts anachronistically is front and center in both Introduction and essays, models of nuanced layering and penetrating insights. The nine essays are divided in three parts: These three ask readers to expand more limited notions of audience to include a far ampler and more nuanced horizon. We should pay heed to both terms in the subtitle of this collection: Playing, in the sense of engaging with others following rules and without fear of breaking them occasionally, is what these essays do, with great success.
This collection demands attention not only of early modernists or of scholars interested in texts and sexuality, but of all humanists, as it points many fruitful ways forward in our scholarship. Italian Bookshelf Giuseppe Mazzotta. Edizioni di Storia e Letteratura, The reasons for the extraordinary critical stimulus of Dante, Poet of the Desert: Reading Dante and Confine quasi orizzonte.
Consequently, the critical voice in Reading Dante carries with it the ring of immediacy and improvisation, as opposed to the voice of theoretical sophistication of Confine quasi orizzonte, whose more focused discussion of a much narrower choice of cantos is aimed at a more specialised audience. All of this does not mean that in Reading Dante the concomitant gain of personalized energy brings with it a concomitant loss of conceptual validity or sophistication.
Nor does it mean that the scholarly style of Confine quasi orizzonte falls into the trap of academic abstraction. At this juncture it would be best to describe the two books under review in some detail. However, the impulse to reach as large a readership as possible does not mean that in the process the Divine Comedy is popularized. Reading Dante then continues with an analysis of all of the individual cantos making up the Inferno, Purgatorio and Paradiso, in which Mazzotta keeps his constellation of themes in constant motion in an inspired and inspiring fashion.
Italian Bookshelf diverse themes that are treated is so complex that it is possible to list only a few of them in a brief review: Perhaps the best way to come to terms with the strategies deployed by Mazzotta in these readings is by drawing on a particularly illuminating online interview with Richard Marshall which appeared in in 3: Although Dante does not quote or explicitly refer to this definition of man as articulated by Aquinas, Mazzotta very convincingly argues that such a conception is key to our understanding of that crucial link between the finite and the infinite on which the entire poem is based.
Following the Preface, the chapters that make up the body of Confine quasi orizzonte treat in order: I have chosen to briefly refer to the first chapter on why Dante wrote the Divine Comedy and how it is read in America since the literary object of investigation with its incisive treatment of a series of interpretive approaches to Dante differs markedly from the remaining chapters of the study. In this chapter Mazzotta launches a three-fronted polemic against the theoretical underpinnings of certain strains of thought which have dominated recent criticism of Dante: Rather than as a bearer of the last word on the Divine Comedy, Mazzotta has presented his vast erudition as an interlocutor engaged in a conversation with Dante, his readers, and himself that is destined to continue in time.
Savoring Power, Consuming the Times: Notre Dame University Press, The Metaphors of Food in Medieval and Renaissance Italian Literature offers a unique and engaging look at how, through food, one can analyze the context, culture, and society in which it is consumed and represented in literature.
Italian Bookshelf and a literary work: For hermits and Rustico, scarce food was supposed to curtail human appetites and extinguish carnal desires. Among these facets, Pulci uses food to expose the philosophical, political, and social currents of his time; his literary meals reveal the torn texture of chivalric society; and he ultimately excoriates the traditional courtly system that is to him outdated.
Time and again the author draws attention to confetti as emblematic of this hollowness. The meal was used to influence the powerful, flaunt wealth, and intimidate enemies e. The author finds an exemplary literary parallel of this phenomenon in the initial banquet scene of the Innamorato. In it, Charlemagne, too, establishes a powerful connection between food and conflict by bringing together Christians and Saracens in the same dining scene.
Ariosto and his readers know, Palma notes, that conspicuous food consumption was considered a major example of Este magnificence. Instead of allowing such consumption to bring about positive effects on his characters, Ariosto opts to describe excessive good eating that renders Ruggiero effeminate and neglectful of his duties. The scene she selects to demonstrate this world morally turned upside down is one in which the protagonist decides to become a nun and live in a convent.
There she does not find lives spent in silent prayer, worldly pleasures renounced, and humble victuals. Instead, she discovers not only a total disregard of the essential vows of chastity, poverty, and obedience, but a preoccupation with alimentary, as well as sexual, excess. In each chapter this thesis is realized with ample and convincing literary and historical evidence.
The evidence presented persuades the reader to look at food in history and literature not merely as nutritionally useful, but as powerful conveyors of meaning. Yet, the book also provides the reader with a fascinating and useful lens through which to revisit the works sampled, and other works of literature. For these reasons, it is a successful contribution not only to scholarship in medieval and Renaissance studies, but to any field in which gastronomy matters. Italian Bookshelf Alessandro Piccolomini Actes du Colloque International Paris, septembre Alessandro Piccolomini, a scholar and courtier, was the son of the aristocratic Sienese and papal family; he was educated in Padua, and became a cardinal, then an archbishop.
The vast majority of his works, printed repeatedly in the sixteenth century, is not available in modern editions as a bibliography included in this volume indicates. Generally recognized for his erudition in an array of scholarly fields, Piccolomini demonstrates in these essays his commitment to a new pedagogy intended for an exclusive, but not scholarly public that included women who were literate in the vernacular.
Driving this new phase of Humanism were the academies that embraced the vernacular, including those in which Piccolomini participated: Piccolomini, in conversation with scholars like Pietro Pomponazzi, Spero Speroni and Benedetto Varchi, reimagined the Italian language as a conceptual tool. His commitment to clarity, precision and methodology synthesizes the essays in the volume.
Written in French and Italian, all the essays are interesting and valuable. They are divided into sections: This essay is followed by discussions of the intellectual culture of the Infiammati in Padua: The next group of essays presents works of moral and political philosophy. The next section presents essays on Piccolomini as playwright. Nerida Newbigen argues that Piccolomini was not merely the comic genius but the Intronato who instructed his colleagues on the theory of comedy.
Italian Bookshelf in Horatium, where Piccolomini reveals a particular interest in questions of moral philosophy. Piccolomini is rarely very original in his thought, and his progressive pedagogical agenda was conceived not to transform society, but to educate and elevate courtiers and elite women. Nevertheless, the case that he was a transformative figure in Italian and European culture is articulated throughout this volume. This book will be of great interest to scholars of sixteenth-century Italian literature and culture.
Dante poeta, profeta, pellegrino, autore. Strutturazione espressiva della Commedia e visione escatologica dantesca. Dante, come sappiamo, interviene diverse volte nella narrazione, interrompendola, per dare dei commenti, elucidare i sensi di alcuni eventi, ma anche per dare un insegnamento morale.
Allo stesso tempo, grazie alla sua maestria, lo scriba cerca di riprodurre le emozioni che il personaggio aveva provato con un pathos tale che sembra stia veramente rivivendo quelle esperienze. Nel secondo capitolo, Sternel verace autore, particolare attenzione viene accordata alla differenziazione tra autore e poeta. Dobbiamo ricordare che Dante non si proclama mai autore nella Commedia, ma soltanto poeta, scriba, maestro. Egli si considera poeta volgare e profeta, ma mai autore. Nei canti XIX e XX del Purgatorio ritorna la figura della lupa causa di vizi e dei mali, della brama di potere che colpiscono i discendenti di Ugo Capeto.
La professoressa Riccobono si domanda se il pubblico degli appelli al lettore sia lo stesso di quello delle apostrofi. Translated with an introduction and notes by Elio Brancaforte. Centre for Reformation and Renaissance Studies. II, Torino, Einaudi, , p. Speroni, Canace e Scritti in sua difesa a cura di C. Roaf, Bologna, Commissione per i Testi di Lingua, , p. Lo Speroni rispose alle critiche del Cinzio con due scritti: La polemica prende avvio dal non rispetto, secondo il Cinzio, da parte dello Speroni, del principio aristotelico della catarsi ovvero della immedesimazione dello spettatore con il personaggio e con la sua situazione di disagio, e quindi il fallimento dello scopo di dissuasione dello spettatore dal commettere gli stessi errori dei protagonisti del dramma.
Partenia, a Pastoral Play. The Toronto Series Centre for Reformation and Renaissance Studies, Italian Bookshelf University of Chicago Press, The Making of a New Genre Oxford: Born in Parma in to an aristocratic family, Barbara Torelli Benedetti enjoyed popularity as a writer during her lifetime, and was also well connected to literary elites in courts and academies. The relevance of her pastoral play Partenia lies in its being the earliest known nonreligious play authored by an Italian woman. Set in the Farnese estate near Parma, Partenia revolves around shepherd friends Tirsi and Leucippo and their impossible love for the nymph Partenia, an adept of Diana who is determined to preserve her virginity.
In despair for having either to disobey her father or to forsake her vow to the goddess, Partenia resolves to take her own life. Only at this point are Partenia and Tirsi revealed to be still alive, and the play concludes with their marriage. Despite being a largely successful play at the time, Partenia was never printed. This modern edition is based on the only two surviving manuscripts of Partenia: The book also includes two appendixes: The text of the play is preceded by a very informative and thorough introduction, which includes a detailed biography of Torelli Benedetti.
The volume editors analyze Partenia insightfully, referring to the context of contemporary works pertaining to the pastoral mode, and investigate as well the later fortune and influence of the play. A further point of interest in the critical analysis of Partenia is the exploration of the play within the contemporary panorama of secular drama with a moralizing tone. Princeton University Press, A Biography of Machiavelli.
Italian Bookshelf after the reinstatement of the Medici family as its rulers, and a significant sampling of his literary corpus, including public and private writings. The text is broken down into 23 concise chapters with an informative appendix and detailed notes. Little information is presented about Machiavelli before , since most of what posterity knows about him begins when he assumes the role of secretary of the Florentine chancery. Several parallels exist between his major and minor works and recur in his official and personal missives: During this time Machiavelli exchanged letters with his friend Francesco Vettori, which reflected on the lessons gained during his active political life, including the diplomacy of Florentine territory, diplomatic missions, and military reform.
Vivanti highlights several important concepts and stratagems within this work e. From around Machiavelli participated in gatherings of literary, philosophical, and political conversations in the Orti Oricellari, making lasting friendships with his younger interlocutors, who encouraged him to write. During the last years of his life, Machiavelli learned of catastrophic military defeats on the Italian peninsula, namely, the Battle of Pavia in and the Sack of Rome in These military operations would be the cause of persistent anxiety and reflection for the Florentine until his death.
His intelligence, ironic spirit, and literary genius are masterfully highlighted in this work.
ABBREVIATIONS
The Secret Language of the Self. Una rassegna che si apre con Goldoni e si chiude con Leopardi, passando per Bertola, Alfieri, Manzoni ed altri ancora. Nei successivi due capitoli Camerino indaga sul ruolo giocato dalla poetica di Bertola nel contesto del cosiddetto preromanticismo. Quattro capitoli sono dedicati ad Alfieri, o per meglio dire al linguaggio alfieriano.
Al linguaggio del Saul sono dedicati gli ultimi due contributi sul poeta astigiano: A Manzoni sono dedicati tre capitoli. La rassegna si conclude con due capitoli su Leopardi. Il primo indaga sul precoce interesse per Algarotti, che investe questioni linguistiche, ma soprattutto il concetto di noia. Grace, Melancholy, and the Uncanny. This new attention acknowledges Leopardi as one of the most innovative authors not only of Italian nineteenth-century but of European modernity tout court, who was both very aware of the cultural tensions of his own time, but whose work also invites interpretation using the lenses of the most groundbreaking, current scholarship including, for example, Ecocriticism or New Materialism.
Yet, even these minor issues do not diminish the innovative contribution this volume represents. Questo rilievo dello studioso permette di seguire e identificare un percorso di evoluzione della dimensione religiosa del Leopardi. Damiani mostra sempre acutezza di analisi e fornisce copiose evidenze a supporto delle sue tesi.
Castiglione di Sicilia CT: Accademia Internazionale Il Convivio, Ai due saggi sulla critica carducciana se ne aggiungono due sulla poesia. Italian Bookshelf difende il progresso sociale e il libero pensiero simbolizzati nella figura di Satana. Sulla ricezione critica e sul mito del Carducci commemorato dai posteri si concentrano rispettivamente Alessandro Merci ed Elena Rampazzo. Mentre Merci offre una rassegna dettagliata di pareri critici contemporanei e riferimenti a Carducci nei versi di vari poeti successivi, Rampazzo esplora la mitografia di Carducci negli scritti commemorativi di Marinetti e Paolo Buzzi.
Fabrizio Serra Editore, Lettere e scritti vari. Gennaro Barbarisi e Paolo Bartesaghi. Degno di nota il trittico per Silvia Curtoni Verza n.
Ciao!!! Benvenuto!
Non mancano lettere che contribuiscono alla ricostruzione della storia interna ed esterna dei testi pariniani, come la n. Tutte le opere edite e inedite. Italian Bookshelf Livio Pestilli. This is the first monograph on a major Neapolitan painter of the late Baroque.
Due to unkind critical fortunes, Paolo de Matteis has been eclipsed by Francesco Solimena and by his own teacher, Luca Giordano. Similarly, many revisionist articles are inaccessible to Anglophone readers. Paolo de Matteis was born in rural Campania. Under noble sponsorship, he acquired a classical idiom in Rome. Nearby, he decorated the architecturally splendid residence of the duke of Monteleone.
Later, connections with Neapolitan cardinals resulted in new sacred commissions from the Papal Curia. Given this curriculum vitae, one wonders how he could have been relegated to the ranks of minori. To the non-specialist, the book seems to begin in medias res. Tantalizing bits of his life story emerge in the course of the study he married, had several children, gave painting lessons to his daughters, was driven to Rome by a difficult second marriage, etc.
One wishes that there had been a clear biography of de Matteis at the outset of the book. Since this is the first monograph, it would have been helpful to assemble all such facts. The earlier material is somewhat confusingly presented, because chapters are organized thematically rather than chronologically.
The author grapples with discrete critical problems before having prepared the way with a good exposition. Perhaps the initial unevenness is a matter of trying to distill so much material or simply of priming the authorial pump. This oft-repeated trope could have been relegated to the biography, freeing the author to move on to stylistic and iconographical analyses. Early on, Pestilli tends to jump among sources, often from different centuries and not always in chronological order. Lacking a critical framework, it is difficult to follow the argumentation.
Again, it would have been useful to simply present a cogent survey of criticism. Chapter titles — novellistic rather than dryly functional — do not offer immediate cognizance of the contents, but the tenacious reader will be rewarded with a series of solid discussions on particular works or series of works within their historical contexts.
Chapter six diagrams a fascinating collaboration between painter and patron: Italian Bookshelf philosopher, guided de Matteis through various sketches, drawings, and oil studies of The Judgment of Hercules. A detail particular to Neapolitan artists of his day is the realistic inclusion of worn or weathered ceramic tile floors. These were praised by contemporaries and attracted the attention of foreign visitors.
Chapter ten examines a cycle of paintings at the Certosa di San Martino which depicts the life of St. Here, Pestilli excels in his analysis of the iconographical program, grounding it in a succinct theological overview which includes the Immaculate Conception, the rise of the cult of St. Joseph, and how the modern significance of the Rosary stems from the Battle of Lepanto. Again, we see how de Matteis was sensitive to the ideology of his commissioner. Innovative details reflect not only St. Such are the attributes of a master painter.
The Apparatus includes lists of abbreviations, color plates, and black and white illustrations. Two Appendices contain checklists of works by De Matteis or his workshop arranged by title and by date. Titles analyzed in the text are referenced in the general Index. The lengthy bibliography spans four and a half centuries, comprising art historical studies as well as background readings for important concepts. Finally, the overall layout is commendable.
Art books or exhibition catalogues frequently become embarassed by their own riches: Pestilli and his editors have wisely grouped all color plates at the center, numbered sequentially. Plentiful black and white illustrations are located appropriately within the text; their numbers reflect first the chapter number and then the sequence within that chapter.
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This system allows multiple citations of a single image anywhere in the book and the rapid location of any item under discussion. Scholars of eighteenth-century art, culture and history owe a debt of gratitude to Ashgate for undertaking the publication of this handsome, well-produced volume. Italian Bookshelf Gabriella Romani. Toronto University Press, La creazione di un sistema postale nazionale dopo il ebbe un ruolo fondamentale nel processo di unificazione del nuovo stato e, come scrive Gabriella Romani nel volume Postal Culture: La conseguente riduzione dei costi di tariffazione permise anche alle classi meno privilegiate di partecipare a questa rete di scambio e comunicazione: Painting in Film, Painting on Film.
Is it still possible to say something new and thought-provoking about Federico Fellini? The book opens with a dense introduction devoted to framing the theoretical and methodological ground and to pointing out the polemical targets of the inquiry. On the contrary, as his private library proves, he was well aware of the cultural and intellectual trends in those years, in particular French structuralist and post-structuralist contexts: Italian Bookshelf , preserving a balanced tension between postmodernist issues and a romantic-like global project.
The four chapters into which the book is divided cover four different films, showing from time to time a specific aspect of this relationship. Through a sophisticated film philology, Aldouby untangles the symbolist, intertextual plot that informs the text, convincingly showing the connections between the embedded or concealed specific art-historical quotations and the anti-fascist discourse developed by narration.
Here the intermedial dimension primarily concurs to shape a declaration of poetics encompassing both the work of the Italian director and a broad global cultural dimension. Two converging lines emerge from the film: The third chapter — perhaps the least convincing of the entire book — is devoted to Fellini Satyricon Once again, the analysis of the art-historical intertext contributes to support this reading. Unfortunately, the dense plot created by the several and heterogeneous hidden quotations, which goes from Byzantine art to Klimt, from Bruegel to Picasso and Clerici, seems not to be reconstructed in a sufficiently organic scheme to propose an interpretation not limited to a superficial critique of a postmodernist aesthetics.
Michelangelo Antonioni and Federico Fellini. In the near future someone may well choose to fulfill this task. Nino Aragno Editore, Italian Bookshelf paradigma indiziario di Carlo Ginzburg. The Girl from Vajont. Troubador Publishing Ltd, Tullio Avoledo has published ten novels in less than ten years, but The Girl from Vajont La ragazza di Vajont, is the first one translated into English. The Girl from Vajont is no exception. The setting of the novel is a small town called Vajont in Friuli, which is best remembered for a tragic accident, a collapsed dam, in the early sixties; consequently, almost two thousand people perished.
Maybe this is why Avoledo chose the town as the setting for his fictional novel: The town is as decadent as its inhabitants, as Ania points out: He quickly falls in love with her and soon she becomes an obsession. The protagonist explains that the identity of the mysterious girl must remain a secret: Most characters are nameless, like the girl from Vajont, the Cripple, and the Leader.
The first trip together with the girl from Vajont is to this village that no longer exists. Like Avoledo himself, the main protagonist is a writer. He has fallen ill and, thus, he has to make weekly trips to see a doctor. We learn that there is something wrong with his heart, but also with his mind. Although every time he sees a different doctor, they all seem to be more concerned about his writing than his health.
It is clear that he has done something terrible and, consequently, he is guilt-ridden: My studies and my passion had been used to this: The protagonist is extremely concerned because the treatment he is undergoing does not make him better; on the contrary, it makes him forget things. However, as his friend the Cripple points out: The girl from Vajont is a mischling, a half-caste, which is why she is in danger.
Italian Bookshelf romantic getaway at a hotel by a lake for Christmas. He buys her a suitcase full of clothes, provides her false documents, and sends her off to Switzerland on a boat. This dramatic ending takes the reader by surprise, as the narrative I recounts their final farewell: I walk down the gangway, with my heart racing and a thousand words suspended in my heart, words that will never be uttered. Sometime later he receives a letter from her with a picture.
She is safe in Switzerland. The Girl from Vajont is a strange, but fascinating story. Avoledo confirms that he is worried about the extreme right-wing and xenophobic currents in Italy today, and their opposition to ethnic minorities. For this reason, he quit his job at a bank and decided to become a writer. John Libbey Publishing, Ltd. Given the prominence of early cinematic developments in Italy, the dearth of critical scholarship on the silent era is both disconcerting and myopic. Despite interest in Fascism dispelling neorealism as a terminus post quem, the sound barrier has remained largely intact.
Giorgio Bertellini is an exception to this tendency. A leading scholar on the early history of moving pictures, he has striven for years to bring this collection to fruition. Well, the eagerly anticipated publication of Italian Silent Cinema: A Reader has finally arrived, and it does not disappoint. Italian Bookshelf aesthetic, and political developments of the seventh art. Thirty essays organized around seven subject-areas attest to the impressive scope of the project and counter the reductive representation of a period that cinematic histories tend to gloss over.
Moreover, these essays, by both internationally renowned experts and newly established scholars, engage in a behind-the-scenes dialogue in which national colors inform, but defer to a shared deference for the silver screen. The next four sections constitute the core of the study as it pertains to both Italian film culture and geographic specificity.
Pragmatically, it specifies pertinent information on where to find Italian silent films Blom and on how to access non-filmic materials Mazzei. The extensive listings of sources and reference works along with a bibliographic appendix and detailed indices also provide generous guidance for future research.
Notwithstanding the consistently high quality of the research, the volume retains an accessibility all too rare, though most welcome, in contemporary scholarship. The contributors draw on archival materials, provide historical contextualization, and engage in theoretically informed analyses that challenge a national approach to a transnational medium. Each essay rarely does a chapter exceed ten pages is concise and lucid in its exposition. Such brevity facilitates the incorporation of these materials into Italian film studies courses that too often dismiss the pre- talkie era with a quasi-silent nod to historical epics and little else.
The compelling presentation of the volume is certainly enhanced by its visual appeal — well over images grace its pages. While the illustrations do bestow a necessary visibility to a bygone era, they also inform and complement the analyses. The end result is that Italian Silent Cinema: A Reader makes an indispensable critical and historical contribution to film studies in and beyond the Italian context.
In this essay, which is inspired by the outcome of a doctoral research, Emma Bond proposes to analyse from a clearly psychoanalytic perspective some of the most representative prose texts by Italo Svevo, Giorgio Pressburger and Giuliana Morandini. Drawing on the recent ideas of Julia Kristeva, who overtly refers to Freudian and Lacanian concepts, Bond focuses on those elements and phenomena which escape conscious control and which are rendered via subversive narrative techniques.
Italian Bookshelf and Morandini, have interwoven traces, symptoms, and signs related to physical illness which are mirror elements of mental suffering. Illness, Silence and Identity in Svevo, Pressburger and Morandini starts from the assumption that illness can be defined as the trigger that allows something to be revealed to the sufferer himself or herself. A pre- or extralinguistic element disrupts semiotic processes, which cannot be captured in language.
The writing on that illness is not only the enactment of the inner struggle, it enhances the recovery of the problematic past of the characters. Therefore, Bond considers as mandatory the unraveling of the narrative plotting process , as intended by Peter Brooks in his Reading for the Plot: New York, Knopf, Her detailed, well-structured, and chronological analyses show how male and female characters deal differently with their own illnesses, or struggles, or the ones of others.
Revelatory in this respect is female illness as a sign of death but also of desire. Both signs become intertwined in a destructive dialectic of repression. The plotting of the illness is communicated through a narrating voice which tends to conceal its identity — think of the use of initials or false names — or to hide behind other characters to the extent that Zeno becomes the unreliable narrative instance par excellence. The latter seem to handle poorly their symptoms, such as the progressive loss of speech, the incapacity to hold on to an almost maniacal dependency on order, and the ambiguous fascination with the void.
The logocentricity of male characters contrasts with the tendency to silence of the female characters. Within the suffering of the latter, silence has a potential for generating meaning, whereas the failure of language of the male characters the desemantization, for instance contaminates the narrative itself. Italian Bookshelf so-called exile in his writings illustrates clearly the otherness in and of displacement.
Female characters take their own space with them, forging a link between vocal and bodily expression. This process results in an acceptance of the dialectic between semiotic and symbolic spheres. Illness, Silence and Identity in Svevo, Pressburger and Morandini presents insightful findings based on a very representative selection of works by Svevo, Pressburger, and Morandini. It is not clear why she chose these three particular authors for her research, and some fundamental references in the two-fold bibliography are missing.
Figures in Italian Migration Literature. Hybridity in Italian Colonial and Postcolonial Cultures; ed. Cambridge Scholars Publishing, ; In this monograph, she continues to examine Italian migration literature, namely, published narratives authored in Italian by migrant writers from the s to the present.
The eight authors and associated novels she focuses on are: This is a departure from many other studies, which focus on how these novels describe the phenomenon of immigration and its consequences for Italian society. The body of the book is divided into five chapters: In the first chapter, Burns examines the ongoing process of identity formation present in novels by Methnani and Fortunato, Tawfik, and Fazel.
The second chapter utilizes memory studies to look at the tension between remembering and forgetting, present in examples of narrative memory. These works, written in Italian, also take on a performative function, as they not only tell the histories and cultures of other places, but also introduce them to an Italian audience and place them in dialogue with contemporary Italian culture.
Italian Bookshelf protagonist of Lontano da Mogadiscio acknowledges her inability to be at home in any one space, suggesting that the sense of being at home involves frequent renegotiation between different spaces. The fourth chapter looks at the relationships migrants form with places — generally real, named locations — and spaces — more indefinite or imagined areas — as they move through them. Throughout, she argues that migration literature is particularly suited to destabilizing the image of the Italian city as fixed and steeped in history through the figure of the migrant, who is both a city inhabitant and an outsider.
The last chapter begins by examining the role of writing and books within migrant narratives and then turns to the field of Italian migration literature itself and possible comparisons with magical realism, postcolonial literature, and resistance literature. Overall, this monograph successfully demonstrates the value of examining works of Italian migration literature, not just within the context of Italian society and Italian literature, but as examples of interactions between different cultures, histories, and spaces, which is apparent both within the narratives and in the publication and circulation of the novels themselves.
Italian Women Filmmakers and the Gendered Screen.
Guido Guinizzelli
Italian Bookshelf spazio rimasto per troppo tempo scoperto. La selezione degli interventi non segue altro tipo di categorizzazione tematica, geografica, ecc. Italian Bookshelf intervento discute la figura di Pasqualino attraverso la lente dei gender studies e delle teorie di Judith Butler. La seconda parte della raccolta offre interessanti ed inedite interviste ad alcune protagoniste del cinema italiano contemporaneo.
Palazzeschi, Govoni e Boine. Capello si sofferma sui sonetti del Vas luxuriae, un gruppo di componimenti erotici rimossi dalle Fiale. Fictions of appetite alimentary discourses in Italian modernist literature. More specifically, it aims to research their aesthetic significance in the works produced by Filippo Tommaso Marinetti, Aldo Palazzeschi, Massimo Bontempelli, Paola Masino, and Luigi Pirandello, between and It is essential to point out the importance of the historical context chosen by the author, a period of time considered by many scholars to be associated with modernism.
By analyzing Le Roi Bombance, the author takes into account its bodily and consumption metaphors, and is thus able to reveal how they intertwine the gastronomical and sociopolitical sides of the play. With the following section of the same chapter, the author is able to underscore how the text is revelatory of the rhetoric of hygienism, and consequently of eugenics. Interestingly enough, the very end of the chapter dedicated to Marinetti centers on the poorly known Patriottismo insetticida.
In this section, food and consumption are considered by the opposite pespective of cannibalism, although not exclusively. The second chapter of Fictions of Appetite focuses on Aldo Palazzeschi, and more specifically on his novels, namely,: While analyzing comparatively the almost homonymous works by Masina and Bontempelli, Cesaretti focuses on the representation of appetite in these two authors, with a particular attention given to their relationship with creativity and gender.
Ultimately, considering the opposite sides of productivity against sterility, the author suggests that Nascita could also be interpreted as an allegorical representation of creation and the difficulties related to the creative act. Within this context, Pirandello offers an interesting point of view of breastfeeding as a reflection of the fascist biological political agenda.
Because of this effective critical approach, Cesaretti underscores effectively some fascinating recurring features of the period and works under scrutiny and their interactions with the body, such as its potential, its devouring or self-limiting patterns, as well as its increasing importance as an object of commodification. On a similar note, by using the same critical approach, the author has been able to point out some of the issues related to a feminine body, exposed to the paradox of being both a producer and a consumer within this commodified environment.
Literature, Ideology and the Avant-Garde. A tre anni dalla scomparsa di Edoardo Sanguineti, Paolo Chirumbolo e John Picchione propongono questo interessantissimo volume dedicato al poeta genovese. Theoretical Debate and Poetic Practices UT Press , il primo studio capace veramente di prendere per mano chi si affacciasse per la prima volta sul mondo dello sperimentalismo italiano degli anni Sessanta. Italian Bookshelf fino alla morte, ha lasciato un fondamentale lascito anche come romanziere, commediografo, critico letterario, teorico e traduttore.
Scritture di viaggio e sguardi di lontano nel Novecento italiano.
Nel primo, De Marco individua con precisione e finezza le suggestioni evocate dalle prose ungarettiane La rosa di Pesto e Viaggetto in Etruria, intimamente connesse alla produzione lirica del poeta. Con grande acutezza, ne puntualizza la funzione di raccordo con la produzione poetica, in Viaggetto in Etruria: Lungi dal costruire una guida turistica, egli, per esempio, descrive le bellezze paesaggistiche, —artistico,architettoniche, esprimendo un autentico concetto di arte, simile a quello di un suo interlocutore, il professor Pane: Italian Bookshelf Gloria De Vincenti.
Il genio del secondo futurismo fiorentino tra macchina e spirito. Il secondo futurismo fiorentino riponeva nella scienza e nella sua dimensione logica un ruolo fondamentale nella produzione artistica. La dimensione onirica, quindi, era considerata dai membri del gruppo un fondamento del processo creativo. Italian Bookshelf secondo futurismo fiorentino eludendo la comune interpretazione di gruppo esclusivamente magico-occultistico, non in dialogo con il culto della macchina. The Poetry of Nino De Vita. Many of their lives are chronicles of hardship, yet they exhibit admirable resiliency, stoic endurance, and a fierce will to survive.
A supper consisting of snails was still on the stove. Asserting that he carries his wife in his heart, he bows his head and sucks in his shoulders, in a gesture that sums up his acceptance of the tragedy of human life. Italian Bookshelf Another character, the young Bbinirittedda, becomes victim of a botched abortion because of her realization that society would never forgive her transgression.
All poems of this collection serve to weave a rich tapestry of colorful and unforgettable characters. In his introduction, Cipolla singles out Carbone as one of the chief promoters of the Sicilian language in Sicily, sponsoring recitals and using it as his main poetic vehicle. Carbone shares with Sciascia a commitment to the improvement of society, but unlike his famous compatriot Carbone does not lash out harshly, but employs subtle irony. To draw a parallel, Sciascia is to Juvenal as Carbone is to Horace.
To give an example, the assassination of Judge Falcone, his young bride and his escort on their way from Palermo airport to the city does not draw from Carbone a thundering cry of condemnation, but the following subdued comment: The muted bitterness of the final line is more effective than a grandstand indictment of the mafia could have ever been.
Carbone deals with other problems, both old and new: Italian Bookshelf Chiara Ferrari. Chapter 1 focuses on three speeches delivered by Mussolini at crucial moments: Italian Bookshelf in a way that forged direct contact with the people, while supporting collaboration among social classes in the attainment of national goals. In Chapters 3 and 4, Ferrari analyzes selected literary and non-literary texts by Gadda and Vittorini, two writers who, while not explicitly fascist, were initially sympathetic to the regime. Ferrari posits that sacrificial rhetoric and the mechanisms of integrating the Italian people into emerging mass society played a key role in the works of both writers, despite their differences.
Theoretically rigorous and replete with intriguing textual analyses, The Rhetoric of Violence and Sacrifice in Fascist Italy. Italian Bookshelf assessment of fascist sacrificial discursive rhetoric during the ventennio and in the postwar years. Rozier, University of Arkansas Daniela Gioseffi. Pioneering Italian American Culture. Escaping La Vita della Cucina.
Tuttavia, Gioseffi non ha esitato a rendere note spiacevoli ingiustizie subite dagli italo-americani, come nel caso del suo poema portato nei teatri: Secondo Gioseffi, il fatto che siano italo-americane costituisce un elemento imprescindibile che le ha orientate a prendersi cura di se stesse e della famiglia in modo del tutto distintivo. Questo volume fa emergere con forza non soltanto la passione intellettuale che ha contraddistinto gli interventi di Gioseffi nella vita pubblica americana sia in termini intellettuali che in termini concreti, ma anche la ricchezza di risorse che Gioseffi mette a disposizione dei lettori.
I saggi, le recensioni, le interviste si presentano come un valido punto di riferimento per coloro che studiano la letteratura italo-americana, come anche per coloro che vogliono per la prima volta entrare nel vivo di un ambito culturale non privo di sfumature e chiaroscuri che Gioseffi ha saputo sapientemente mettere in evidenza.
Un Nuovo Cinema Politico Italiano? Lavoro, Migrazione, Relazioni di Genere. Italian Bookshelf sarebbe interessante se il prossimo volume riuscisse ad affrontare. In altre circostanze ci si trova dinanzi ad antologie di memorialistica che probabilmente offrono un contributo alla comprensione della dimensione lesbica, gay, bisessuale, transessuale LGBT solo se si circoscrive il tema a un contesto etnico ben preciso e limitato.
Italian Bookshelf cultured, creative, white-collar, and high-class. Dispiace anche notare la totale mancanza, in questa raccolta, di voci bisessuali e transessuali. Aspetto questo purtroppo trascurato, che fa scrivere a Frank Anthony Polito: Could a name possibly get any more Italian than that? E verrebbe da glossare: Actually, it sure can! Italian Bookshelf introduzione da parte dei curatori. Inglese, internazionalizzazione, politica linguistica.
Terre di poesia | La Casa di Nuto | Pagina 2
Is it right to do so? These questions are at the core of an ongoing debate within Italian academic circles. This debate was touched off by the recent announcement by the provost of the Politecnico di Milano that courses for engineers and architects would be offered in English. In an attempt to frame the nature of the debate surrounding the use of English in Italian universities, the prestigious Accademia della Crusca a research center dedicated to Italian studies was inspired to create this book.
In it are letters and short essays on this topic by writers, university professors, teachers, and researchers from many fields including science, law, and language and literature. Most of the contributers to the book are Italian; a few are from other European countries. Italian Bookshelf The essays in the book are loosely organized into sections. The third and fourth sections of the book offer the opinions of other intellectuals. The essays look at different ways to conceive of the university, the constitutionality of a decision that excludes the official language of the country, and the public, social, and cultural use of English in relation to its scientific, and humanistic use in research and dissemination of research worldwide.
They consider which subjects should be taught in English, and why English alone would be the alternate language. In that light they also ask which of the world languages will be dominant in the future, and bemoan an absence of strategic vision on the part of Italian university administrators and educators.
It is impossible to summarize everything that is discussed in this book. The overarching topic is timely and interesting; the book itself pages in length offers such a variety of tone and writing style that it does not seem intended to be read in one sitting. Instead, it is useful to peruse from time to time, allowing readers to select one subtopic or another as needed.
In this light it would have been helpful if the subtopics had been better organized. One example of such a subtopic within the larger debate is how other countries have fared in terms of teaching in English or in other foreign languages at the university level. What has been implemented and how successful has it been? There are three essays that address this argument, presenting results from Poland, China, and France. In Poland, not surprisingly, there has been a dramatic rise in courses offered in English since , correlated with a dramatic fall in courses offered in Russian.
In China, the number of Italian-language schools has been rising since the s but English is still the predominant foreign language used at the university level. Anyone reading this book will find it to be relevant not only with respect to teaching courses in English in Italy, but also on micro- and macro-levels: Italian Bookshelf own life on a micro-level where the issue of language for living and for instruction is constantly at the fore.
My own school district debated for one year whether and how to immerse native English students in the Spanish language. Ironically enough, while this book discusses the teaching of science in English as opposed to Italian, our district actually considered the teaching of science in Spanish. It was then that all of the non-native scientists of our town stood up and announced that they never would have been able to become scientists in America if they had not learned science in English a topic that is addressed in this book as well. I remember well sitting in an Italian opera class, straining to understand every single word in Italian.
If more courses had been offered in English at La Sapienza, I might have stayed there longer!