Representaciones y de construcciones , Dickinson, Madrid, ; con V. Giordano e S. Parisi eds. Esperienza e percezione del limite tra gli adolescenti , Franco Angeli, Milano, ; con L. Guadarrama Rico, J. Vilchis Valero. Suarez Villegas eds. Modelli, processi, contenuti , Carocci, Roma, I suoi interessi scientifici sono relativi al campo della comunicazione, del transmedia storytelling e dei consumi culturali.
Si occupa inoltre di rappresentazioni televisive, con particolare riferimento alla fiction. Il protagonismo femminile nella fiction italiana , in M. Buonanno a cura di , Il prisma dei generi Angeli ; Sulle onde sonore. Strategie e usi sociali della musica alla radio , in A. De Benedictis e F. I suoi principali interessi scientifici sono relativi al campo della comunicazione, dei social media e dei consumi culturali. Tra le sue principali pubblicazioni, Infiniti Anni Ottanta , Homo Communicans , Potere e comunicazione: Media, politica e istituzioni in tempi di crisi She will address La dolce vita as a musical continuum that fills up the vacuity of precarious existence, thus pointing as an idea to the ways in which sound as created artifact, through its own surplus, has the power to undermine subjectivity, while in the breaks of the continuum, sounds of nature become vehicles for an appeal to intimacy, interiority, and relational being.
She received her PhD from Brown. She is the author of Petrarchs Poetics and Literary History and essays in European medieval and Renaissance literature, European cinema studies, transnational feminist media studies, new media, border art, and eco-cinema. Her areas of interest include Italian cinema, Deleuzian theory, cinema of poetry, intermediality, literary translation, lyric essay and creative writing. A poet and creative nonfiction writer, as well as a scholar, her lyric essay Marathon Meditation was published in the Los Angeles Review of Books Quarterly Journal , and her untitled short poem recently won the Santa Clarita Sidewalk Poetry Contest.
He has published on American, Italian-American, and Italian cinema.
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Phantasmagoria, the Magic Lantern, the Moving Panorama, and then the cinematographic screens are just some of its most typical expressions. The digital revolution has intensified and multiplied our exposure to new screens, such as computer monitors, mobile phones, GPS devices, video games consoles, augmented reality, necessarily involving us in new experiences of mobility, tactility, interactivity, connectivity and immersion.
This panel aims to explore how the Italian arts have creatively responded to the concept and materiality of screens in various forms of intermediality across cinema, video art, video installations, theatre, architecture and urban spaces across the decades. Our papers will concentrate on three periods: ss, s and the New Millennium. Screens and theatricality in Italian art, c. This talk will consider this historical proliferation through the lens of art, by looking at various manifestations of — and takes on — the screen in Italian art of the period, focusing on the vetrini of Bruno Munari ss , the schermi and projections of Fabio Mauri ss , and the Environmental Screen of Marinella Pirelli Revisiting, among others, Michael Frieds well-known notion of theatricality or theatre , and Stanley Cavells conception of the screen as a barrier , I will consider how a significant number of artists in these decades sought to engage both cinema and theatre, and to challenge the barrier of the screen.
The engagement of the screen in the works of Munari, Mauri and Pirelli, where screens envelop ordinary objects, or become props or even stages for the viewer, are exemplary of such attempt to articulate cinema theatrically, so to speak, as an intermedial force which may undo, or at least re-draw, the boundaries of art and its disciplines. Her research explores the interrelations between art and cinema, film and photography, live and recorded media, with a focus on post practices.
Emanuela Patti Royal Holloway, University of London, UK Beyond computer screens: projecting digital moving images in public spaces In this paper, I will explore creative practices which experimented with the projection of computer-generated images beyond their original setting, namely the computer monitor. I will particularly emphasise and compare the purpose and reception of these practices in the period ss and today, as well as the role they have had in our perception of space. Her research interests range across a variety of areas, including modern and contemporary Italian culture, digital screen cultures, intermediality.
Ha pubblicato il libro L'apocalisse postmoderna tra letteratura e cinema Le Lettere, , curato il volume Imaginary Films in Literature Rodopi, assieme a S. Ercolino, M. Fusillo e L. Ha pubblicato articoli e saggi su cinema e letteratura, sul digital storytelling e i nuovi media. Collabora con diversi FilmFest e WebFest. Di prossima uscita il volume co-curato con Silvia Antosa, Sex t ualities. Morfologie del corpo tra visioni e narrazioni Mimesis, Chair: Colleen M. In Italy the series is available on TimVision and, similarly to the American context, followed by large audience.
Francesca is currently working a new edited collection on women and food in Italian literature, cinema and other forms of visual arts. Sordi, Comedy Italian Style Springer, Such perceptions of aging may result from the generally limited presence of senesce onscreen. A monograph-length study on the topic of senescence in Italian cinema has yet to be carried out. Scholarship is limited in scope and follows a decidedly gendered division. Working towards the closure of this lacuna, this paper proposes five avenues for future research on aging in Italian film studies: 1.
The synecdocal relation of the national Italian body and onscreen representations of death and decline in old age; 2. Sexuality in the silver years; 4. Tradition, transition, and generational conflict; and 5. More meaningful images of old age. Lisa works primarily on contemporary Italian cinema and culture, and is particularly interested in the topics of migration, aging, and masculinity. Her refereed journal articles interrogate the fluid sexual and racial identities of migrant protagonists onscreen.
Along with preparing a monograph for publication, tentatively titled Screening Sterile Masculinity: On Male Migrants, Italian Men, and the Future of Italy , she is working on a project that investigates representations of aging in Italian cinema. Critics praise his work for its subtle intertextual ramifications, its original editing, its combination of a distant, burlesque and intimistic tone Curnier At first sight, Tableau avec chutes mainly portrays different sites and types of footage related to immigration showing how migrants can reconnect to their roots.
Her main area of research is Italian border literature. Her most recent research interests focus on trauma literature, cultural memory and Jewish-Italian literature Liana Millu, Giuliana Tedeschi, Luciana Nissim, Aldo Zargani and on the new Italian documentary of the Italian diaspora.
Rivista europea di studi italiani. From the late s to the early s, the contribution of Italian filmmakers to the development of South American cinema was monumental. Three countries that specifically benefited from the contribution of Italian filmmakers were Brazil, Argentina, and Colombia. Moreover, little is known about the contribution of Italian artists to Colombia's silent cinema in which Italian filmmakers have had the biggest involvement. The objective of this presentation is to enrich Italy's filmography by introducing all the Italians artists known to date who significantly influenced the foundation of Colombia's national cinema.
Currently, Camilo is conducting research on Colombian silent cinema for his Ph. Ancora oggi, l'attenzione su questa presunta dicotomia rimane non priva di discussioni. We intend migration primarily as the movement of people across national borders, as it is represented in film and media, but also the movement of performers, directors, and scripts across different movie industries. Moreover, the maternal bodies represented on the screen interacted with off-screen images of the divas circulating on the magazines of the time, often represented within domestic and family environments, which contribute to define the social meaning of the stars as "mediated texts" and to narrate specific iconographies of the maternal.
Drawing upon the interdisciplinary theoretical basis of stardom studies and gender studies, this paper seeks to historicize specific discourses on female divismo and transnational motherhood in postwar Italian and Hollywood cinema. She has written widely on film genres and gender representation is postwar Italian cinema and is the author of Ercole, il divo AIEP, She was also co-editor of Italian Motherhood on Screen Palgrave, with Giovanna Faleschini-Lerner and is currently working on motherhood and media representantions. I argue that these encounters not only illustrate the role played by Italian cinema within current migration discourses in Italy and Europe, but also help us reflect on the posts Southern Italian folk music and dance revival as a promoter of social change through grassroots and locally-engaged efforts.
Indeed, the current Southern Italian folk music and dance revival has encouraged a re-thinking of Southern Italian identity from a postcolonial perspective and as part of a larger, Mediterranean identity. Originally from Benin, Ibi had started recording her life in Italy through photography and videography, which allowed her to share her experience of displacement with her children and her mother in Africa, where--as an undocumented immigrant--she could not hope to return without risking permanent deportation. Photography was also her business--she worked as a wedding and event photographer and videographer within the African communities of Castel Volturno, as well as for the Cultural Center where the Movement for Migrants and Refugees of Caserta met.
When she died in , Segre decided to tell her story through her images, thus producing the first film almost entirely based on visual self-narration by a migrant woman. This paper analyzes both the film techniques and strategies that Segre adopts to integrate archival materials, photos, and other footage and create an innovative and original filmic narration that moves away from more traditional realist—and often objectifying—narratives of female migration.
She is currently at work on a book-length project on the Italian cinema of migration. Access to the Internet and social media has been a necessary condition for this growth. What has that role been? The topic is controversial: should the media give a platform to the ultra-right and, if so, how? Or should they ignore it, thus taking the chance of reinforcing the accusation of being elitist and aloof? My research addresses this on-going debate by presenting a comparative and historical analysis of media coverage in the United Kingdom and Italy. It implements quantitative measurements of content analysis as well as qualitative methodologies for in-depth investigation.
In she won a prestigious Marie S. Curie Experienced Fellowship to study ultra-right media and communication at the University of Loughborough, with a Secondment at the Scuola Normale Superiore of Florence. Her publications have appeared on numerous international peer-reviewed journals such as The International Journal of Communication , The Journal of Language and Politics , Discourse and Communication , Television and New Media , among others.
This presentation will discuss the role of digital technologies in promoting and marketing the Made in Italy as well as in contrasting the widespread phenomenon of counterfeiting of Italian food known as Italian sounding, which refers to the marketing of food and beverages produced worldwide and labeled with Italian names and misleading words and images.
Patrizia La Trecchia received her Ph. Her research includes film, media, globalization, migration, citizenship, the Italian South, digital food culture, ecocinema, sustainable food movement, food security, and food waste. She is a TED speaker on food waste.
Although metoo was born in the United States, women in different places were met with different socio-political responses. Her decision to leave added another layer to the public debate, bringing in the question of migration. Recent allegations of Argento sexually abusing a younger actor further complicate things. Beginning with Argento and moving to a broader socio-cultural analysis, this paper will look at how the metoo conversation has been deployed in the Italian context, and the uneasy way feminist and nationalist discourses overlap.
Her research and publications focus on questions of gender, race, migration, textuality and social activism. She is a co-founder of the Asterisk taskforce for inclusive pedagogy, and a translator of fiction and journalism; recent pieces include works by Italian authors Dacia Maraini and Laila Wadia, as well as English-language articles about gender and politics in the United States.
She is currently translating a text on digital technology and gender, and co-editing a volume on queer Italian media. Risale a questo periodo la fondazione di Camera Woman con altre compagne.
Journal of Italian Cinema & Media Studies Conference
Inoltre, con la Kitchenfilm ho aperto dal il filone della distribuzione, ennesima sfida al mercato agonizzante con piccoli gioielli pluripremiati. Allieva di Vattimo e Rondolino, ha approcciato il tema del cinema sperimentale antenato del docu-fiction attraverso le analisi di Bachtin e Genette. This quality, already pronounced in Corpo celeste , grows exponentially in Le Meraviglie and particularly in Lazzaro felice , where the border between social drama and magical realism becomes blurred, turning the films young protagonists into messianic, redemptive figures, thereby making them symbols of moral resistance.
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Her research focuses on the relationship between religion and film, Italian cinema, American cinema, films reception and practices of censorship. Since , she has been acting as peer reviewer for the Journal of Religion and Film and Westminster Papers in Communication and Culture. She has collaborated with the British Film Institute and the Barbican introducing screenings of the work of Italian directors. It seems too convenient. My dialectic is no more ternary but binary. There are only irreconcilable positions. There can be no existence without contradiction, no action without dialectical conflict.
There is no synthesis, no self-consciousness, no moving beyond the dialectical opposition because the position is irreconcilable. His work centers on the relationship between avant garde film and video and mass culture. Davi Pessoa C. Autore di Terza sponda: testimonio, traduzione , Dante: poeta di tutta la vita Attualmente sta traducendo il Petrolio , di Pasolini.
Maturati entro una stessa cornice teorica, i due interventi si divaricano nel prediligere rispettivamente gli scenari del tragico e quelli del comico. Her research interests include modern and postmodern Italian literature, critical and theoretical intersections between literature and cinema, and cinematic screenplays as a literary genre. Her publications include I romanzi in vetrina dal barbiere. She became a maternal figure and his artistic muse. With her constantly at his side, I argue, Federico could continue to dream and pursue figuratively and literally the erotic femme fatales.
This appears clearly both in films where he directs her La strada , Le notti di Cabiria , Giulietta degli spriti and Ginger and Fred , as well as in those without her. He started writing down and illustrating his dreams after the encounter with Jungian psychoanalyst Ernst Berhnard. She was Chair of the French and Italian Department from to She has just completed a book entitled Portrait of the Artist and His Mother. She received several university fellowships, two National Endowment for the Humanities fellowships, and three teaching awards.
Contrarily, a popular Indian road melodrama Marutitha Hinglaj, resignifies the moral narrative in La Strada , pitting an eccentric individual against hegemonic faith. Her interests lie in the fields of cinema, gender, and Postcolonial Studies. Based on research funded by the Fulbright Foundation, she is currently working on two books: a monograph on women authors in the film industries of Pakistan, India, and Bangladesh, and a co-edited scholarly volume on cross-border cinemas in South Asia.
Her articles have appeared in such journals as Screen and Diacritics , and other scholarly venues. Besides paying attention to the evolution of her acting style, he argued that the comparison between Masina and Charlot was facile. Scripted by Fellini, directed by Eduardo De Filippo, scored by Nino Rota and set in Rome, this film was highly praised by Bazin right before he died of leukemia.
Starring Alberto Sordi and Paul Douglas Fleischer, Fortunella stands out as a treasure trove of insights about the role of women in society and the importance of imagination in the history of Italian cinema. The purpose of my paper is to do justice to this little-known and valuable film in historiographical and aesthetic terms. Si occupa di critica cinematografica e letteraria e ha curato programmi radiofonici e televisivi. Flavia Brizio-Skov is Professor of Italian at the University of Tennessee where she teaches modern literature and cinema.
She has written numerous articles that appeared in Italian, American, French, Spanish and Portuguese journals. She has published the book La scrittura e la memoria: Lalla Romano Selene Edizioni, , the critical monograph Antonio Tabucchi: navigazioni in un universo narrativ Pellegrini Editore, , and has edited a collection of articles entitled Reconstructing Societies in the Aftermath of War: Memory, Identity, and Reconciliation Bordighera Press, This is a series written by Pif, directed by Luca Ribuoli, produced and broadcast by RAI and based on the homonym film, also directed by Pif.
The series is set mainly in Palermo, and various cultural heritage sites are shown, as well as typical cuisine products or popular suburban boroughs as Mondello. Some episodes are also set in various locations of the province as Partinico, Isola delle Femmine, and Ficuzza. In what way does this TV series alter and change the discourse on the representation of crime in the Italian context? Her research interests are popular culture and crime fiction.
She is the co-editor with Marco Paoli of a special issue dedicated to the Italian film noir that will be published with Studies in European Cinema in Yet while recent scholarship has seized upon the cultural implications of this phenomenon, the extent to which costuming is integral to these series has yet to be explored. Secondly, I look at how costuming is integrated into a larger aesthetic framework, including set design and soundtrack, to become a visual metaphor for organized crime and its relationship to contemporary Italian society.
In the film, Thierno is a young tailor who decides to leave his native country and move to Rome to pursue his dream of becoming a fashion designer. The film offers several reflections on questions that concern integration and assimilation, while addressing a multifaceted discourse on identity through fashion. Garments become a narrative tool and a performative ethical act. Colors, shapes, and patterns acquire a specific meaning and purpose and, by creating a connection between the fabrics that the people in the African village dye, manufacture, and wear with the hardships the protagonist has to face in his daily life, the director discloses the constant negotiations between the two cultures.
She earned a Ph. With this panel we explore the methodological challenges in the study of such performances, considering in particular the ways in which associated discourses of risk and responsibility are mediated by the industry and the press, and how these might be inflected differently by questions of gender, class, regional and ethnic identity. In the films she examines, including Cloro Sanfelice, , Bellas mariposas Mereu, , Indivisibili De Angelis, , the girl becomes the affective conductor for the human relationship with capital, a liquid, deeply uncertain one.
She puts this idea in dialogue with work by Eva Hayward on the ideologies of aquarium display, showing how these underwater portrayals of girlhood inflect performance in contemporary Italian cinema. She has written widely on gender representation in postwar Italian cinema, and has recently published Italys Other Women: Gender and prostitution in postwar Italian cinema, Peter Lang, In particular, her presentation engages with the difficult negotiations and performances of feminine adolescence Driscoll as these performances relate to the productions desire for a representation of an authentic experience of youth.
Initially limited to the killing of eunuchs who held high administrative positions, the violence quickly spread to Palermo and Messina, where in the s even ordinary Muslim homes were looted. The eleventh chapter further examines the plight of Muslim minorities whose promotion and social mobility were increasingly tied to conversion to Christianity. This said, Metcalfe clearly acknowledges the importance of the kingdom in the transmission of Arabic-Greek and Greek-Latin culture and devotes his thirteenth chapter to a discussion of Norman patronage, especially in the translation of philosophical and scientific texts.
This intellectual exchange is noteworthy but Metcalfe again points out that the translations were primarily from Arabic or Greek into Latin, thus indicating an orientation towards a language, and by implication, a Western culture, of growing hegemony. The chapter traces the succession crisis that befell the kingdom after the death of William II in , leading to the Staufen dynasty of Henry VI of Germany and his son Frederick, both German emperor and king of Sicily. While he patronized Muslim art and science, his court did not promote Muslim subjects to any high administrative positions.
At the same time, however, he accelerated the process towards a wide adoption of Latin Christianity by pushing Muslims to accept the concessions made by his predecessor William to the Bishop of Monreale. His behavior fomented more Muslim revolts, which he promptly crushed before deporting all his remaining Muslim subjects to a single location on the mainland: the colony of Lucera.
This mass deportation, which occurred at the beginning of the thirteenth century, severely impacted Western Sicily, where a sophisticated system of irrigation put in place by the Muslims had enabled a highly diversified production of crops. With the departure of the Muslims, a monoculture of tenant farmers took hold, whose repercussions on Sicilian economy would be felt for centuries to come. By , the demise of the Muslims was sealed: they were sold into slavery and even conversion did not secure their future in the peninsula.
The Chronicle of Le Murate. Saundra Weddle. Toronto: Center for Reformation and Renaissance Studies, This book presents an interesting document disclosing the life of the Benedictine convent of Santissima Annunziata delle Murate, commonly referred to as Le Murate. Among the many religious communities spread throughout Renaissance Florence by the population of nuns in the city had reached 2, , Le Murate was an institution of crucial importance, because of its strong bonds with the most prominent families of the time.
It includes a detailed description of the day-to-day activities of the nuns, as well as their participation in the life of the city. Beyond the enjoyment of Renaissance art, the convent of Le Murate was tightly connected with well-known citizens and institutions. This Chronicle casts light on a religious institution that had a secular import and a major impact in the life of Florentine women of the time. The convent functioned as an essential component of the support network for lay women who, after having received part of their education inside the convent, kept a close relationship with the nuns even once they left the convent walls.
The material of the chronicle is divided into 78 chapters and arranged chronologically. As Weddle reminds us in her introduction, Sister Giustina abided by the intrinsic humility dictated by her habit and rule and was not concerned with the notion of individual authorship. The chapters reveal facts that vary in nature and are often transfigured into signs of the divine plan to which the nuns of Le Murate were strenuously struggling to conform.
Giustina deals as well with practical matters such as construction at the convent, an issue arising rather frequently given the growing population of nuns and, at times, of lay women in need of assistance. Moreover, it provides an example of an enclosed community that was not detached from the secular life of the surrounding city, and, further, that was able to give the women it enclosed the power of decision-making, a benefit that lay women seldom had in those times.
Marina Cocuzza and Lorna Watson. The first major issue is consistency, which the text lacks entirely. To begin with, the editors anglicize names in certain tales but retain Italo-Sicilian names in others. The illustrations by Roberto Moscato, which lack captions and vary greatly in scan quality, sometimes appear only on the Sicilian side of the text 32 , but at other times are needlessly duplicated on both sides ; Beyond its inconsistencies, the translation suffers from many other substantive issues. Technically, it is full of errors, including abundant botched punctuation. Enraged characters mellow when exclamation points disappear in translation.
The most serious problem facing The King of Love and Other Tales is that its intended audience is unclear; it is impossible to say whether the translators have done their work with schoolchildren or scholars in mind. Several examples highlight this fundamental incoherency. Conversely, other choices suggest that the book is meant for an academic readership. These footnotes, frequently superfluous, provide a visual cue that the tales are to be analyzed first, enjoyed later. This begs the question whether the intended reader knows Italian.
If so, why bother with an English translation at all? The overall effect is that the work reads like two books cobbled together, with little correspondence between the Sicilian and English sections. Jonathan R. New Perspectives on the European Bildungsroman. London: Continuum In New Perspectives on the European Bildungsroman, a remarkable study about an intriguing literary genre, Giovanna Summerfield and Lisa Downward explore both traditional and nontraditional European novels that fall into this category.
Typically, the protagonist, whose development is narrated in the third person, is a male belonging to the bourgeoisie. Spirituality is the focus of part one of this study, in which Summerfield discusses bildungsroman by European male authors. In part two, Downward shifts the focus to gender, which complicates the conventional concepts of this genre. Summerfield points out that Italians were the last to adopt the Masonic philosophy, which was embraced by the secret society, la Carboneria.
Summerfield adds Ugo Foscolo to this circle. It is, however, precisely in their common female condition that Downward finds elements of bildung. For example, maternity brings salvation. Downward concludes with Jane Eyre, whose ending is somewhat similar to that of Teresa. Unlike Aleramo, Tamaro and Woolf represent the mother- daughter relationship in a non-linear way. The authors conclude that the bildungsroman as a genre continues to flourish in multi-cultural settings. Undoubtedly, many types of scholars will treasure New Perspectives on the European Bildungsroman, in which Summerfield and Downward have indeed widened the horizons of this classical genre.
VI — XIV. Fregene Roma , Edizioni Spolia Electronic Book. Secondo Procopio, la politica giustinianea tese a scardinare sul nascere la pacifica coesistenza tra barbari e latini. Bookshelf La Cronografia di Teofane fu proseguita, nel X secolo, da vari autori di cui si conserva un corpus noto come Teofane Continuato di intento propagandistico a favore della dinastia macedone che, con Basilio I , riprese la politica aggressiva in Occidente.
Looters, Photographers, and Thieves. The remainder of the introduction outlines the organization of the book into seven chapters, two of which are devoted to the image of the body and a reflection on the visual discourse present in selected works of Italian literature. The chapter continues the discussion on bodies by examining self- portraiture as a genre within photography that positions the self in a public and discursive context. He then proceeds to examine how concerns with the relationship between image and word traverse works by Italo Calvino, Leonardo Sciascia, and Gianni Celati.
For Sciascia as for the French critic, photography leads to a crisis of identity as the body that is photographed ushers in a dissociation of the self. Moving on to Celati, Verdicchio contends that he is one of the most visually interesting authors, as evidenced by his understanding of writing as a visual process and his long collaboration with the photographer Luigi Ghirri and other visual artists, including several filmmakers. While this chapter is full of interesting observations, the topic is probably too broad to be analyzed in a single section of a book. The remaining chapters are devoted to the work of photographers.
Yet, adds Verdicchio, not all early photography served the nationalist agenda. Such concerns, however, were not present in the post- unification war against brigantaggio where photographs of brigands and bandits, often shown through graphic images of decapitated and mutilated bodies, functioned as warnings against the resistance and uprisings of the South.
By so doing, Verga questions nationalist agendas inasmuch as he levels hierarchies between social classes while foregrounding the visual presence of a subaltern group that cannot be erased by the dominant one. While Verdicchio acknowledges the socially minded work of both men, he also notes that their images flattened all ethnic and cultural distinction, turning migrants into faceless others and depriving them of agency and specificity in the new nation.
In it, Modotti wears a Tehuantepec costume, which Verdicchio interprets as an expression of the self as other. The book closes with a short autobiographical chapter where Verdicchio presents a photograph of his family and friends on the day of their departure from Naples for Canada. Belabored bodies on which are inscribed socio-economic constraints tied to emigration, they remain out of focus. Yet, in the imperfection of this shot, Verdicchio locates the transition from one national reality to another: the uncertainty of emigration as well as the expression of a potential still to be achieved in the New World.
Toronto: University of Toronto Press, The result is the most comprehensive analysis of the six tenzone sonnets within the larger Italian literary tradition to date. Arguing for the moral function of literary derision, Alfie grounds his readings of the tenzone within thirteenth-century debates over the nature, value and legitimacy of the Florentine nobility. Leeds: Northern Universities Press, — namely, that of distinguishing between the seemingly autobiographical claims made by jocose poets and their comic masks — Alfie plunders the Alighieri and Donati family histories to throw light upon the highly personal sequence of ad hominem attacks.
The focus instead remains squarely on the tenzoni themselves, on their literary precursors and influence, and on their clear appurtenance to a robust yet currently understudied rhetorical tradition. Citations from Brunetto Latini and others provide the theoretical framework debate poetry as forum for public reproach and correction. A working lexicon of vituperative motifs is then gleaned from close readings of three sonnets by the Florentine caposcuola of derisive verse, Rustico Filippi ca. Alfie flexes his philological muscles in the next chapter, where all six of the tenzoni between Dante and Forese come under close scrutiny.
A formal analysis of each poem is set against a wealth of socio-historical material relating to, for example, familial alliances, mercantile jargon and even female physiognomy. It is within this narrow context that Alfie clarifies that while the picture of conjugal love presented in Purgatorio 23 may in fact constitute a repudiation of his earlier denigration of Nella, it by no means indicates a rejection of the poetics improperium as a whole. A brief conclusion is followed by an appendix containing manuscript transcriptions of the sonnets and analysis of the sources.
Fabian Alfie is to be commended, first and foremost, for having made literal sense of the notoriously cryptic exchange. His paraphrases, translations and glosses render the almost incomprehensible series of interpersonal attacks intelligible to a modern audience. His novel interpretations are thought- provoking and, while certainly plausible, not always beyond debate.
Still, praise for the content and scope of this volume far outweighs any blame for minor stylistic imperfections. Sara E. Tempo liturgico e tempo storico nella Commedia di Dante. Vatican City: Libreria Editrice Vaticana, Rather, Ardissino is interested in liturgy as a synonym for community and also for justice.
Chapter 3 moves on to Purgatorio, where liturgical hymns and penitential rites are of course foregrounded. Focusing on the episode in the valley of the princes, Ardissino puts forward the thesis that their negligence that keeps them waiting outside the gate is of the state, not of religion His sin becomes an abandonment of Beatrice in his poems for other women and in his foray into philosophical prose.
After a sort of contrition and baptism, he is back on track to be the poet of Beatrice. In Chapter 6, Ardissino concentrates on the heaven of the wise men, where music is used as the representation of concord.
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In chapter 7, in keeping with her central concern with the theme of justice, she concentrates on the eagle in the heaven of Jupiter. The final chapter focuses on the celestial rose described in Paradiso 31, where she contrasts, as Dante does, the dysfunctional city of the flower Florence with the ideal community of the celestial rose of saints. This is liturgical in so far as liturgy presupposes community. The pageants in Eden are modeled both on Roman triumphs and on liturgical processions.
This is certainly true of most references in this poem, liturgical or not. Cachey, eds. Devers Program in Dante Studies Il volume si basa su una serie di seminari organizzati dal William and Katherine Devers Program in Dante Studies per il settimo centenario della nascita di Francesco Petrarca. I primi tre interventi che aprono il libro insistono nel presentare l'immagine di un Petrarca che in maniera consapevole e premeditata cerca di cancellare i debiti che lo legano al grande poeta che lo ha preceduto, Dante Alighieri, proprio nel momento in cui sviluppa una poetica che si oppone in maniera sostanziale al dantismo.
Theodore J. Secondo Cachey Petrarca arriverebbe a sostenere che Dante era un falso profeta e che non era un poeta Albert R. Teodolinda Barolini nel suo intervento si concentra sulla natura metafisica della poesia petrachesca, non in quanto soluzione filosofica, ma come risposta pratica ai problemi posti dalla natura temporale della voce poetica sottolineata da Petrarca. Le preoccupazioni metafisiche di Petrarca emergerebbero soprattutto nelle prime poesie del Canzoniere , e lo porterebbero a ridimensionare notevolmente la materia erotica in favore di una meditazione sulla subordinazione dell'io poetico alla dimensione temporale e molteplice della vita.
Come suggeriscono gli stessi curatori, il rapporto tra Dante e Petrarca andrebbe approfondito ulteriormente includendo nel confronto Boccaccio. Su questo piano appare necessario un approfondimento capace di ricostruire la posizione di Dante e Petrarca nel contesto delle grandi discussioni teologiche e filosofiche del Trecento.
A New Life of Dante. Revised and updated edition. Exeter: University of Exeter Press, Nel riproporre, a quasi dieci anni di distanza dalla prima edizione, la sua fortunata biografia di Dante, Bemrose non ha apportato sostanziali modifiche al suo lavoro. Il lavoro parte dalla premessa, condivisibile, che negli ultimi dieci anni non sono emersi documenti tali da rivoluzionare la biografia dantesca xi. Cangrande della Scala, Guido da Polenta, Moroello Malaspina, Guido da Batifolle, Margherita di Brabante, del resto, compaiono puntualmente nella biografia di Bemrose, ma chi fossero questi individui, quali fossero le loro idee politiche e, in particolare, quale fosse la natura dei loro rapporti con Dante sono questioni cui forse poteva essere rivolta una qualche attenzione.
Per concludere, quindi, il volume di Bemrose risulta una pregevole e stimolante introduzione alle opere di Dante, cui forse avrebbe giovato un aggiornamento critico e storiografico. A cura di Roberta Morosini, con la collaborazione di Andrea Cantile. Firenze: Mauro Pagliai Editore, Il volume rappresenta quindi nella sua interezza un notevole elemento di stimolo e di apertura verso un approfondimento indagativo pluridirezionale, vista la ricchezza di elementi e di dati interpretativi forniti.
Each bite is delightful and the service is smooth, moving from one dish to another so easily that any inconsistency is hardly noticeable. The offerings are varied and wide-ranging, but not exhaustive. However, the Fiordespina-Bradamante incident is central to Hopeless Love mostly in an organizational sense, linking works that precede the two romance epics with works that follow them.
The first chapter explores the antecedents of Bradamante, the object of queer female desire in both the Innamorato and the Furioso. DeCoste does not elaborate, however, and thus misses the opportunity to make a thematic connection: these contrary attitudes towards female autonomy and eros are typical of the two authors, and remain consistent in their characterizations of Bradamante and Fiordespina, as well as in their depiction of queer female desire.
These situations are resolved in an Ovidian mode when the fictive male is transformed, through divine intervention, into an authentic man. The brief section on female hagiography that ends the chapter is helpful in establishing cross-dressing and queer female desire as motifs, but seems otherwise extraneous. This expectation enables Boiardo to imply completion of his tale even while interrupting it; he also utilizes hopeless love to represent the manifold crises — narrative, historical, personal — facing him when he stopped writing his poem.
Indeed, Orlando furioso consistently contains and punishes female desire, whereas Orlando innamorato consistently affirms it. One might almost say that for Boiardo, no female desire is queer, and for Ariosto, all female desire is queer, unless it is represents a response or a submission to male desire. If anything, the comedies appear to be in dialogue with the cantari, with which they share conventional endings. Hopeless Love is necessary reading for anyone interested in the kaleidoscope of sexuality present in Italian Renaissance literature.
Paris: Presses Sorbonne Nouvelle, The eleven articles that constitute the collection are organized chronologically. Some are in Italian, others in French. Italian sources are included in the original language with accompanying French translations where applicable. These individual studies follow an august introductory essay by Anna Fontes Baratto who provides an overview of major classical and medieval authors on amicitia, as well as their contribution to the tradition of related literature and to studies comprising the collection.
Essay titles will be abbreviated in this review. Articles range from historical to literary analyses, with a number of texts constituting interdisciplinary studies that span both categories. Various types of friends and friendships are considered: good and bad, real and ideal, private and public, secular and religious, present and absent, social and political, homogeneous and heterogeneous.
It is not only ideals and practices of friendship that are considered, but also the relationship between friendship and writing epistolary and poetic , and friendship through writing. Five studies analyze actual historical friendships as reflected in personal correspondence, with three focusing on consolation and counselling in material or spiritual matters, one considering friendship among men of unequal stature, and another discussing friendship at a distance as a spiritual phenomenon.
Bookshelf The remaining two of these studies turn to important literary figures: Dante and Petrarch. Fictional or literary friendships also constitute an important focus of the collection. In addition to specific literary friendships, the topic of friendship in literary texts is a third unifying theme of the collection. The classical sources of medieval Italian conceptions of friendship and the ends to which they were appropriated are duly highlighted in this comprehensive study on amity as an idea and as a reality in Italy of the Middle Ages: friendship as lived, theorized, and penned.
A Bilingual Edition. Troy Tower and Jane Tylus. Jane Tylus.
Chicago: University of Chicago Press, King and Albert Rabil Jr, which also includes the recent publication of the works of Lucrezia Marinella and Chiara Matraini, among other female writers. The importance of this volume resides in several aspects. First, it is the only modern edition to restore the original order of the poems that appeared in the edition prepared by Cassandra Stampa after the death of her sister Gaspara.
The poems are grouped by genre in three sections: sonnets, capitoli tercets of hendecasyllables linked by concatenation , and madrigals. Second, this edition proposes to reproduce the original Renaissance text with its inconsistencies in elisions, spelling, capitalizations, and diacritics; discrepancies among subsequent editions are signalled in the notes to the text grouped at the end of the volume. Selected Poems, New York: Italica, , which presents a limited critical apparatus. She first gives some biographical information, engaging with preceding critical interpretations i.
Next, she addresses the poetic influences on Stampa starting with Petrarch, but including also Sappho, Ovid, Horace, Propertius, Tibullus, Catullus, as well as some of her male and female contemporary writers. All of these essays are lucid and informative, a perfect starting point for undergraduate and graduate study alike, especially given the useful select bibliography that follows and complements them. Also, at the very end of the volume, the editors have inserted three Appendixes.
Tylus at times modifies the internal ordering of words and the sequence of lines for the benefit of the rhythm, but this technique does not work to the detriment of the original meaning. One problem the reader not proficient in early modern Italian might face is that of understanding when the translation drifts apart from the original and becomes more interpretative than literal. If Tylus on occasion expresses concerns about translation in the notes, this is not always the case in the volume as a whole.
A larger number of footnotes to the Italian text could have helped in disentangling some syntactic and semantic complexities which otherwise remain obscure. If, on one hand, this translation aims to function intrinsically as a commentary on the original, therefore reducing the need for the multiplicity of notes the Italian reader is accustomed to in traditional Italian critical editions, on the other hand the reader now and then is left with some lingering textual concerns.
Also, it might have been helpful to include line numbering for the poems. Della Repubblica fiorentina. Roma: Aracne, Mandricardo e la melanconia. Bruxelles: Peter Lang, Giudicetti dispiega uno sguardo focalizzato sulle due questioni — alle quali sono dedicati grosso modo le due parti che compongono il libro — avendo cura di farle convergere fino al loro contatto, momento in cui si raccolgono tutte le suggestioni accumulatesi nelle pagine. A questo scopo, viene premessa una breve rassegna critica della bibliografia ariostesca, suddivisa per temi rilevanti, in modo da chiarire le connessioni con i lavori degli studiosi che lo hanno preceduto.
Il motivo ispiratore e la lente attraverso cui guardare alle ottave ariostesche sono sempre chiari, e sono i momenti in cui la parola si organizza e assume determinate caratteristiche Il desiderio di stringere una soluzione, per quanto opinabile e passeggera si voglia, rimane. Alcune parti non mancano di convincere, e offrono un punto di vista interessante sui meccanismi della parola nel poema, come nel caso di Rinaldo nel secondo capitolo della seconda parte. Metamorphosing Dante is the second volume in the series Cultural Inquiry, a project directed by Christoph F.
The more specific focus and achievement of this volume is that it draws theoretical models of tension from Dante that support and give meaning to tensions found in contemporary literary thought and its expression. In the Introduction, Camilletti, Gragnolati and Lampart pay special attention to the contextualization and definition of the term metamorphosis as a profoundly comprehensive and multifaceted notion. The book is divided into four sections. Among the successes of this volume beyond the vast identification and thoughtful analyses of appropriations of Dante in contemporary literature is the discovery and re-appropriation of the notion of tension itself as a positive, rather than as a negative term.
Each of the tensions identified in the various essays marks a locus of fecund ground, where literary exploration and innovation happen. Overall, this volume succeeds in demonstrating through its nineteen unique analyses that the act of metamorphosing Dante is a widespread twentieth- and twenty-first-century literary and artistic phenomenon, worthy of our attention not only as proof that understanding the past notwithstanding its medieval-ness can help provide a positive foundation for the present, but also as evidence that discovering fruit in spaces of tension has historical legitimacy.
Building a Monument to Dante: Boccaccio as Dantista. In chapter two, Boccaccio the biographer is examined as a force that shapes a figure of Dante that supported his own position in contemporary political and intellectual debates. In the third chapter, Houston delves into two lesser known works of Boccaccio in order to support his proposal of Boccaccio the apologist.
Boccaccio, whose diverse literary pursuits made him too complex to fit in traditional medieval editing categories, broke the mould with his much more emancipated relationship as editor to the author. Ever acting as a mediator of his two dominant masters, Boccaccio upheld Dante as an icon and an authoritative counterpoint to the philosophy of Petrarch. In the biographical Trattatello in laude di Dante, Houston finds that Boccaccio combines the various contemporary forms of biography to figure Dante as a man ordained by divine providence to instruct through his poetry.
These advocates generally rely on the justification that Boccaccio must have undergone a radical spiritual and moral conversion in the early s. In order to make the text accessible and meaningful to the popolani, Boccaccio keeps his Esposizioni relatively tangible with his vision of poetry as fundamentally political and ethical. In order to harmonize his reading of Dante among humanists and critics of vernacular literature, he downplays the specifically Christian allegory and interprets the Commedia as a secular text. According to Houston, Boccaccio wrote at the helm of all new literary constructions that translated wisdom, whether pagan, Christian, vernacular, or Latin, to leaders of his day who could benefit from its moral lessons.
Nonetheless, Houston pertinently reminds the reader that, despite these differences, throughout his lifelong monument-building process on behalf of Dante, Boccaccio always kept Petrarch in mind, and never abandoned the hope of harmonizing his two masters. As a result, not only Boccaccio scholarship but also students and scholars of the literary environment of the tre corone will benefit greatly from this book.
Dante in Oxford. The Paget Toynbee Lectures. Nine lectures delivered between and are presented in this collection of the Paget Toynbee Lectures; four of these are here published for the first time. Regarding textual changes introduced by De Robertis, Leonardi points out sentences with a modern syntax and, vice-versa, syntagms whose meanings have precedents in Duecento poetry.
He also discusses choices relating to three enduring debates. He dwells on sources such as Boethius, pseudo-Seneca, Ovid, Juvenal, Lucan, at times mediated by Brunetto or Boethius himself, through whom Dante renewed the concepts of nobility and generosity , This essay briefly outlines the initial diffusion of the poem with bibliography updated to to concentrate on metaphors variously elaborated by Dante, each time enriching them to complete their meaning. Distancing himself from Charles S. The use of important editions such as Brunetto Tresor, edited by P.
Beltami et al. Some inaccuracies also occur in the index of names. The book offers an overview of on contemporary Dante Studies from various countries, and it thus shows how different approaches, from Italy and from the Anglo-Saxon scholarship, can exchange results. Disreputable Bodies gives a refreshing perspective on these philosophical discourses. Simultaneously, however, matter is the active force behind the ever-changing couplings of the elements.
Matter is akin to the sexually aroused woman who continually couples with a fervent desire. These thinkers arrive at such symbols not based on Aristotle alone, but on the interventions of other thinkers and traditions. The Neoplatonic tradition, Plotinus, Maimonides, and Thomas Aquinas are but some of the influences Kodera recognizes in postulating the association between matter and a sexually desirous woman or prostitute. He establishes two parallel and at times complementary lines of investigation that are evident in this first chapter and continue throughout the book: gendered metaphors and deliberate misreadings of ancient sources.
In the Neoplatonic context, Kodera examines the many female and overwhelmingly negative associations Ficino makes with matter. Matter is the mirror image that ensnared Narcissus the soul and pulled him down to destruction ; matter is the female womb that traps and imprisons the soul, and, through the mirror influence of the liver, can receive alien imagery that changes the foetus. How does Kodera arrive at these bold assertions and expose the implicit meaning of these metaphors?
Such misreading is at times the result of Renaissance thinkers tempering their Peripatetic or Platonic philosophies with the interventions of other authors such as the Rabbinic tradition in the Neoplatonic works of Leone Ebreo , or even new technologies distillation, primitive forms of plastic surgery that offer more dimensions to an already existing metaphor. In other instances, the Renaissance philosophers deliberately ignore or misconstrue passages from Platonic texts that are contrary to their personal philosophy. Disreputable Bodies gives thought-provoking perspectives on long-studied philosophical discourses.
It is not by accident that Kodera begins most chapters with citations from Shakespeare that make use of the very metaphors and abstract concepts under review in the chapter, demonstrating that by explicating these metaphors in their philosophical context, Renaissance scholars will be able to elucidate further other lingering quandaries in an assortment of literary texts. In many ways the African American reception of Dante follows the trends in reading Dante over the centuries, but Looney focuses on what makes the African American reception of Dante unique; namely, the suggestion that Dante is a kind of abolitionist and the Divine Comedy a kind of slave narrative.
The second half of the introduction tells of the surprising presence of Dante in a wax museum in Cincinnati created by Francis Trollope in First, Looney briefly considers the debate between W. Du Bois and Booker T. Washington at the turn of the century over appropriate models of education for African Americans. At the heart of the chapter is a discussion of the imitation of the Inferno in the film Go Down, Death!
While Williams uses Dante as a signifier of integration, Wright uses the Comedy to mark migration, and Ellison, as Looney explains in the concluding analysis of this chapter, employs Dante both to migrate into and to integrate his work with the European canon. During the Black Revolution, Dante continued to be seen as a powerful model of activism and emancipation as evidenced by the early work of Baraka LeRoi Jones , who employs Dante in his expression of a new kind of militant black identity.
Looney argues that, unlike Ellison and Wright who see Dante as a gateway into European culture, Baraka uses Dante first to measure the growing distance between himself and European literature, and subsequently to separate himself from it completely. Loftis, Dudley Randall, Askia M. In terms of academic significance, Freedom Readers fills a gap in the reception of Dante in America. The chronology of African American Dante reception examined has been almost completely ignored by Dante scholars, as well as by Americanists and African Americanists.
The literary imitations inspired by Dante which are examined in this book are not only useful for furthering an understanding of African American culture, but also for revealing unforeseen features of the Divine Comedy. Il primo capitolo riguarda la linguistica. Stazio assurge a esempio paradigmatico del rapporto ambiguo — e si potrebbe aggiungere poietico —col testo virgiliano. Dante seguirebbe qui la stessa metodologia agostiniana, nella rilettura di testi classici in un nuovo sistema di significati. Si tratta di Catone, Dido ed Enea. Marchesi non solo adotta un approccio costruttivista nella sua speculazione, ma lo attribuisce allo stesso Dante, quale autore e teorizzatore del linguaggio poetico.
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