Pensieri diversi: a cura di Domenico Felice (Script) (Italian Edition)

Gli Highlanders invece patirono un graduale spopolamento ed emigrazione in altri continenti. In un testo toccante, corredato di foto di documenti visivi, ricostruisce le storie parallele della zia paterna, di origine scozzese, e della nonna, siciliana: Il primo saggio, Foscolo Professore. Tra questi, ne figurano due in particolare. Italian Bookshelf e di possedere una fervida immaginazione per esporre il suo pensiero. Tutta la produzione luziana si trova pervasa da questa passione, da questo rapporto dialettico tra arte, vita e scrittura.

Rosanna Pozzi cita le parole di Luzi per chiarire il titolo e la parola turbamento: Veils, Caps and Hats: Questo studio raccoglie e accoglie svariate sfaccettature. Il fatto che le donne, non solo di cultura e di religione islamica, usassero il copricapo e il velo, tende a essere, in epoca odierna, dimenticato dalla cultura occidentale.

Coprire il proprio capo era usanza sia degli uomini sia delle donne, e divenne, poi, obbligatorio in certe circostanze. Tra gli autori che hanno influenzato la scrittura del suo romanzo Portrait with Keys: University of Toronto Press, In this thought-provoking book, Silvia Valisa focuses on eight female figures which are representative of gender issues in the modern Italian novel. Chapter 1 discusses the character of Ge l rtrude, introduced by Manzoni in Fermo e Lucia , and developed in I promessi sposi Two further female characters are analyzed in chapter 3: Chapters 4 and 5 move into the twentieth century.

The work of these scholars interrogates the ways in which different ideological backgrounds condition the production of specific narrations. The choice to concentrate on characters, rather than exclusively on the plot or on the structure of the stories, is deliberate.

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Following Louis Althusser and Teresa de Lauretis on this issue, Valisa assumes that ideologies like narratives never happen in a vacuum; they are always already embodied in the concrete individuals that ideology requires to be operative. The author therefore subverts the assumption of Aristotelian Poetics according to which characters are subordinated to action, and consequently plot is the first principle of narration.

By means of this approach, Valisa also criticizes the sometimes one-sided application of structuralist methodology to literary texts. The eight female characters under discussion show different degrees of all- too-human unruliness. They rebel against the attempts to contain them within the ideology underlying the stories in which they act. This is the case when that ideology is represented by religious beliefs Manzoni , and the same happens with the ideologies subjacent to family values and gender expectations, as in Neera, Verga, and Colombi. In Masino, the character also rebels against the injunctions of the narrator, who is trying to submit the protagonist to its dictates, to the rules of a dynamic, diachronic development of the story.

Contradictions and inconsistencies — dissonances — arise from a variety of female characters who do not resign themselves to be the narrative background of someone or something else. These characters turn out to be problematic not only for a husband, but also for religion and, in the most outrageous cases, for the novel itself. By underscoring the lines of tension within which each single character should be understood, the author succeeds in not fetishizing her narrative points of reference, that is to say, in not isolating a character from its formal context.

That failure, the author argues, is exemplified by the gender dissonances disseminated above all in Aracoeli, but it is also the condition for narration to exist on the imaginary level. Otherwise, Aracoeli would not assume the shape that she has; she would not be told as she is. When the eight protagonists become aware of the injustice they suffer from, do they not gain a somehow privileged point of view on their condition, although negatively, that is to say, through suffering?

Is that grief really nothing more than another ideological construction, or is it rather a clear epistemological signal — an index veritatis — that something in society has to be changed? That suffering is perhaps the affection which could trigger a specific reaction, once again affective.

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As for the latter, faculties and graduate students focusing on post-feminist theory and the burgeoning field of affect studies will undoubtedly find food for thought. Italian Bookshelf Marco Santoro. I Giunta a Madrid: Biblioteca di Paratesto 9. Fabrizio Serra Editore, Firenze University Press, Italian Bookshelf la collection de livres de m.

baron de Charles de Secondat Montesquieu

Nonostante il rimpatrio di Laire, qualche lettera ancora giunse da Sens a Firenze a ridosso della pubblicazione degli annali giuntini. In particolare, il 22 luglio , Laire scriveva a Bandini: A cette occasion, je dirai que dans cette meme ville, on voit en un Philippe Junta, sans doute fils ou petit-fils de Jean. Historia aliquot nostri saeculi martyrum.

Per Lione, tuttavia, egli si limita a un rinvio alla sesta serie della Bibliographie lyonnaise di Henri Baudrier,5 pubblicata nel Alla pagina seguente [8] , Camerini ritorna sul suo progetto originale affermando: A Madrid invece, dal al ca. Tutti i lavori citati sono puntualmente inseriti nella Bibliografia segnaletica essenziale da Santoro. Curiosamente la citazione del lavoro del che reca un copyright del e dei complementi del titolo spesso omessi, ma piuttosto indicativi: I documenti sono tutti relativi a due membri della grande famiglia dei Giunta: Italian Bookshelf stampa dei libri, per la fusione di caratteri, per la presa a bottega di lavoranti.

Non mancano — e vista la fonte utilizzata, sarebbe stato strano il contrario — atti notarili che riguardano affari privati di Giulio in quanto membro della grande famiglia dei Giunta. La causa dovette essere piuttosto impegnativa, visto che — secondo il documento n. Il paziente scavo archivistico compiuto da Santoro restituisce anche nomi di personaggi che suonano omonimi con personaggi ben altrimenti noti: Scrivere un libro di novelle.

Giovanni Boccaccio autore, lettore, editore. Memoria del tempo This volume gathers together, in part, a number of studies previously published by Lucia Battaglia Ricci on Giovanni Boccaccio, his manuscripts, and his book of one hundred stories, Decameron. While some chapters have appeared in print before, two chapters are new 4 and 5 , and the volume is bookended with two short chapters of previously unpublished preliminary and concluding remarks.

Italian Bookshelf contemporaneously with the volume under review, though they have all been reworked and updated. Turning to Boccaccio, we are in a very different position with respect to autographs, with numerous books surviving not just of his own work but also of the work of Petrarch and Dante, among others. This discussion is especially relevant to the Paris manuscript, whose drawings have been attributed to Boccaccio himself; Battaglia Ricci casts judicious doubt on these attributions.

The appendix examines the remarkable catchwords in MS Ham. For Boccaccio writing, copying, and learning were intimately related tasks. Boccaccio emerges as a richly varied author, influenced by a wide range of texts and seeking to express that range and variety in his own work. The most compelling part of the book, to my mind, was the first, with its valuable and acutely synthetic discussion of Boccaccio as scribe, maker of books and all that goes into them.

This discussion, nourished by the foundational contributions of Marco Cursi and Maurizio Fiorilla, amongst the most brilliant scholars working on the topic, beautifully sets the tone for how such analyses should proceed, carefully unpicking the problems in technical detail while attending to the literary critical implications of that detail. This is an important book and will be read with profit by all who encounter it. Clarke, University of York Douglas Biow. Men, Their Professions, and Their Beards. University of Pennsylvania Press, What can you tell about a man from his beard?

Italian Bookshelf been embedded in culture and shaped by a particular historical moment; rather, he calls us to be more attentive to how a person might have pushed back against those forces in order to distinguish himself. In questioning to what extent individualism was in fact an important Renaissance value, and how a man could set himself apart from the pack by performing a certain nescio quid, Biow examines a host of writers.

Biow divides his work into three sections, devoting a pair of chapters to each of the following topics: Following an amusing section that devises and then rejects possible training grounds for the aspiring courtier a guild system? In short, Biow sees Castiglione as describing what makes a good courtier, while pointedly avoiding any useful information on how to become one.

In chapter 5, Biow investigates what he describes as the sudden shift in portraiture, shortly after , in which men go from appearing clean-shaven to showcasing a miscellany of facial hair. What, he asks, is the root of all this whiskering? Biow proposes that the beard allowed the Renaissance male a unique opportunity to be aligned with a collective and, simultaneously, to present himself as a self-determined man — one both embraced by and free of a communal identity. Italian Bookshelf Orphic portrayal to the furrier face that marked his later state portrait. Chapter 6 looks at a comedy by Giordano Bruno, the Candelaio, which includes among its props no fewer than five fake beards rich in implications of sexual and social virility.

Biow does describe in the introduction how his readings were informed by recent contributions in masculinity studies, but with the compelling exception of the aforementioned chapters on beards, discussion of maleness is on the whole implied rather than explicit. And though most professions were indeed exclusively male, Il cortegiano, a text to which Biow returns repeatedly, contains a significant portion theorizing the vocation of the court lady.

Biow acknowledges the potential for exploring female individuality at the outset, but leaves it for other scholars to pursue. Studi su Boccaccio e Apuleio. According to Candido, Boccaccio engaged with Apuleius throughout his life, and was particularly interested in the fabula of Cupid and Psyche. Beginning around , Boccaccio worked on several manuscripts of Apuleius at different stages of his literary career.

The first chapter provides a summary of recent scholarship on the manuscripts of Apuleius that Boccaccio read and annotated. Chapter two is devoted to the Teseida and the Comedia delle ninfe fiorentine. Chapter five presents a brief excursus on the Elegia di Madonna Fiammetta and the Corbaccio. Italian Bookshelf late-medieval receptions of Apuleius meet and offer their distinctive interpretations of the tale of Cupid and Psyche. The story of Cupid and Psyche is told to comfort a woman in distress see Genealogie Furthermore, the Decameron can be interpreted as the nostos of the brigata: Candido does not directly address these fascinating historiographical questions, even though the title of this book might suggest that he would.

The Decameron Third Day in Perspective. Toronto University Press, The volume collects ten essays by ten different scholars, each one dedicated to a novella of Decameron Day Three. Although focused on individual novelle, the contributors consistently identify also the rich intertextual network with connections among the other stories of Day Three, as well as with tales from other days, and with contemporary literary and religious texts outside of the Decameron. The volume offers a rich array of methodological approaches, including those based on allegory, historicist perception, structuralism, and economic history.

Ultimately, these approaches are successful and offer unique vantage points on the tales of Day Three. A sample of five essays of the ten will help to demonstrate this success. This potential for equality of intellect and spirit is a sign of contemporary society and the possibility for natural ability to overcome rigid social hierarchies.

According to the critic, by casting the lowly groom as an adamant follower of refined courtly codes of behavior, Boccaccio pushes courtly love precepts to extreme limits. In the process, he renders the tale comic, on the one hand, but, on the other hand, he also interrogates the usefulness of those precepts.

He originally proposes that the novella demonstrates the shift from the notion of ethereal courtly love to a more realistic, mundane love. Boccaccio presents that more worldly, everyday love in economic terms that make sense within a mercantile society such as existed in the Florence of his day. In this key of reading, one sees the wife as an unhappy customer in the sexual economy of her marriage, who looks elsewhere on the market to satisfy her needs. She argues that in this tale and in the Decameron as a whole, Boccaccio encourages readers to think about various levels of interpretation and perception.

Ultimately, readers are left to read superficially and gain only pleasure from the stories, or, — what Ruthenberg believes Boccaccio wants for us — they can employ reason and achieve a higher level of literary awareness that leads to a higher truth. In this view, one witnesses the turn from theoretical to practical philosophy and the Decameron as a vehicle to convey new ethical implications of literature. 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. 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. 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.

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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.

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.

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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.

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The Personal and the Political: Three Fables by Montesquieu November, ] 1 Nov Considerazioni sulle cause della grandezza e della decadenza dei romani Italian Edition 20 Jan The Spirit of Laws,: Not in stock; order now and we'll deliver when available. Previous Page 1 2 Next Page. Provide feedback about this page. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. Get to Know Us. Amazon Music Stream millions of songs. Shopbop Designer Fashion Brands. Amazon Business Service for business customers.