Galleria San Ludovico, alle Casa della Musica, alle Biblioteca Internazionale Ilaria Alpi, dalle Armando la porta a casa sua e la Pimpa fa amicizia con tutti: Il tempo scorre, arriva il Natale e da un pacco spunta Olivia Paperina! Palazzo del Governatore, alle Tra le sale della mostra andremo a cercare gli animali che si nascondono tra le opere esposte, raccontando la loro storia fantastica.
Laboratorio gratuito, ingresso mostra: Nel bianco di tutta quella neve vivevano un fratello e una sorella: Le storie che nascevano tra le loro dita, come nastri da regalo, realizzavano desideri e intrecciavano incontri.
Saavedra, Angel de, duque de Rivas
A cura di Teatro del Sole. Max 20 bambini Galleria San Ludovico, alle Lettura teatrale a cura di Jessica Graiani. Fa tutto intorno a noi, se abbiamo orecchie per ascoltare e occhi per guardare. A cura di Teatro delle Briciole. Castello dei Burattini, alle Poesia corale della natura Laboratorio di poesia collettiva per bambini e adulti a cura di Guia Risari.
Un giorno, due fratelli sentono il battito di un cuore e partono per trovarne la provenienza. Teatro al Parco, alle Due vecchi decidono di fare a piedi il viaggio di nozze fino al mare sempre rimandato. Per info e prenotazioni: Itinerario tra le poesie per l'infanzia Lettura teatrale a cura di Jessica Graiani. Fa parole da masticare, da suonare, da inventare. Biblioteca Pavese, alle Narrazione teatrale a cura di Consuelo Ghiretti. Queste sono storie di chi attraversa il bosco, di chi supera prove, di chi crea, risolve, cerca, fa.
Queste sono storie di viaggi, di scoperte, di andate e di ritorni. Storie di chi, cammina cammina, diventa grande. Quando ci si trova in una baraonda si perdono i riferimenti, i sensi si capovolgono, i tempi si mischiano. Il fascino della migrazione degli uccelli raccontata attraverso la storia di due oche selvatiche, fratello e sorella. Una coppia di uccelli che si ama e si capisce al volo genera un uovo e cerca in tutti i modi di costruire il miglior nido per proteggerlo.
Ma solo dopo molti tentativi riescono nel loro intento. A cura del personale specializzato della Pinacoteca Stuard. She then integrates these newly rescued treasures into a body of poetry upon whose authors the fates and centuries have smiled, often by the purest chance. Cox acknowledges that this enterprise was long in unfolding, and given the breadth and depth of the finished product, one can well understand why. The final organizational design features a solid introduction in which Cox situates the tradition of female writing from the fifteenth to the beginning of the seventeenth century within its greater literary, historical and cultural context.
Italian Bookshelf literary production that forms the body of the current volume. Indeed, although the collection focuses on lyric poetry, the authors represented, with a few notable exceptions, reflect the most important female writers of all genres because although better known for narrative or drama, most female writers also composed lyric works of substance that warrant inclusion in an anthology of this nature.
As her introduction unfolds, Cox engages her reader with discussions of the female writer and her context in particular geographic locations and at a variety of court settings, her interaction with her male counterparts, and sometimes her frustration at being praised simply for being female rather than for a critical appraisal of her work. By highlighting the changing light in which females were viewed as the decades progressed, Cox challenges her readers to incorporate contemporary social critiques regarding the role and place of women into their reading of the lyrics.
In a relatively short and succinct narrative, Cox succeeds in setting the stage for her audience to experience a multi-faceted appreciation for each author and her literary production, now keenly aware of the forces that shaped the female writer and her work. Before giving us access to the collection itself, Cox carefully lays out the criteria she used in selecting the works to be included, noting that the breadth and depth of the verse available to her permitted her to be highly selective while still maintaining flexibility to include verse that was not structurally perfect but was spontaneous or rang with emotional truth.
The poems, whose original languages include Latin, Greek, literary Tuscan and the pavan dialect, are divided thematically: They are then compiled chronologically within each theme. One of the defining features of the volume is the mixture of well-known and unknown authors within the same rubric. Each poem offers a treasure trove of tidbits about everyday life, male- female relationships, and societal dynamics that broaden our understanding of life during these centuries in addition to adding important elements to the verse.
We also note a pre-Reformation comment that going to mass was irrelevant as well as a poignant lament on the problems of old age that include no longer being able to chew meat. In addition to the contents of the poems, it is fascinating to see verse written in the pavan Paduan dialect by women.
Cox points out that while they seem not to have taken on the character of a rustic, as was common with men, they still did not write as themselves, taking on an uneducated character. Scarampa cannot see it, she must close her eyes to avoid the pain. Gems await on each page, and the orchestration of the volume with its contexts, translations and copious accompanying material makes it a must-own resource for anyone working in the Italian Renaissance. Moreover, it offers a useable, approachable, friendly classroom text for an undergraduate course as well as being one of the necessary sources for graduate students and scholars alike.
This anthology has opened up the world of lyric poetry by women of the Italian Renaissance to a new audience. Northwestern University Press, Frisardi keeps most of the Latin phrases that Dante employed, including the Latin title Vita nova rather than the more common Italian title Vita nuova. In dividing the prosimetrum poetry combined with prose into chapters, he follows the lead of Guglielmo Gorni, whose system dates from and was followed by Luca Carlo Rossi and Stefano Carrai in and respectively. While clearly in American English, the translation as a whole is fairly free of jargon or slang.
It is a pleasure to read not only the prose but also the rhymed poems. For purists who might object to liberties taken with word choice or syntax, Frisardi provides in an appendix pages the Italian texts of all the poems with literal prose translations. In the case of the above sonnet, he helpfully proffers this literal version of the opening quatrain: The notes, as alluded to earlier, comprise a veritable treasure trove of scholarship and deserve repeated consultation.
They also lack individual end note numbers. These editorial decisions make it tiring when one must flip back and forth from translation to notes and challenging to identify quickly a particular glossed passage. University of Toronto Press, Not only does Di Maria place his work within the field of Renaissance theater, he also enters into dialogue with a larger community of scholarship on the notions of imitation and innovation.
Renaissance playwrights, in establishing a theater that was their own, adapted old sources to fit the realities of their times, including morals, aesthetics, politics, and sexual mores. Throughout his study, Di Maria presents analysis of seven Renaissance works for the stage: The first chapter gives an excellent account of theories of imitation from the Humanist study of classical authors to the development of diverse imitation and adaptation practices in the Renaissance. Di Maria provides an overview of important theories of imitation from Greek and Roman authors such as Aristotle, Cicero, Horace, Quintilian, and Seneca, who influenced Humanist and Renaissance writers to a great degree.
He also lays out a historical account of the development of Italian theater from stage performances of Latin classics to translation and adaptation, highlighting the debate among Renaissance writers over the questions of imitation and originality. Di Maria establishes his critical approach as one that considers carefully source material to distinguish the modifications made by playwrights for the Renaissance stage. The importance of these changes should not be underestimated, as he states: Italian Bookshelf to distinguish the adaptation from its original source, establish its own originality, and proclaim its relevance to the audience.
Each of the following seven chapters focuses on a specific theater piece that illustrates different aspects of the imitative process. From this juxtaposition of works Di Maria is able to make compelling arguments about the significance of characters, criticism of social institutions, and prevailing morality.
In fact, drawing from various sources and weaving them together, Cecchi offers new new elements that reflect contemporary society for spectators. Chapter 7 and Chapter 8 focus on tragedies that draw on prose sources. As in Chapter 6, the status of women is well visited together with Machiavellian ideas of the princes and principalities. Italian Bookshelf importance of understanding originality, which consists not only of the invention of new material, but also of the creative adaptation of old sources to new realities.
He accomplishes this new understanding of the poetics of imitation through well-researched and articulate considerations of sources and adaptations as well as sixteenth-century debates on imitation. In the end, Di Maria provides an excellent model to others who desire to engage with schools of rhetoric, imitation, and theories of theater in the Italian Renaissance. Edizione critica dei manoscritti Hamilton 67 e Riccardiano a cura di David P. Italian Bookshelf successo strepitoso sia in Francia che in Italia dove fu presto volgarizzata non una sola volta ma varie volte producendo famiglie di volgarizzamenti talvolta imparentate fra di loro e talvolta affatto indipendenti.
Il primo filologo a pubblicarne un frammento fu Vincenzo Nannuci nel suo Manuale , e lo riprendeva dalla versione oggi conservata nel ms. A dargli sostanzialmente ragione fu Flutre il quale fece un censimento completo dei mss. Da allora gli studi successivi non hanno fatto che confermare la sostanza di quella ricostruzione anche se non sono mancate correzioni imposte da nuovi documenti venuti alla luce nel corso di questi ultimi tre quarti di secolo.
R si trova invece a Firenze nella biblioteca Riccardiana. Le pagine dedicate alla contaminazione 51 costituiscono un apporto fondamentale al valore di questa edizione, e sono anche quelle che lasciano capire quanto sarebbe arduo, anzi impossibile, utilizzare i criteri genetici lachmanniani per ricostruire un archetipo al quale far risalire tutte le famiglie dei volgarizzamenti italiani dei Fet. Altri recensori, con maggiori competenze e su riviste specializzate, non mancheranno di farlo.
Tre studi sul De mulieribus claris. It can therefore be seen to form part of the debate in the Anglo-Saxon world about the interpretation and implications of De mulieribus, especially its construction of female identity. Indeed in the introduction to the three studies that constitute the monograph, Filosa is unequivocal about her critical position. She decisively and passionately rejects the recent tendency to view the work in entirely negative terms and instead focuses on the positive glimpses Boccaccio provides of female potential though admitting traces remain of medieval misogyny.
The crucial point for Filosa is that most of these later changes only introduce a patina of medieval moralising while the humanistic ideals are still a powerful force in the work. Italian Bookshelf The second study continues to emphasise the literariness of De mulieribus by analysing its relations with the Decameron. On her own admission, Decameron 2. Could not this be generalised to the majority of the biographies in De mulieribus? For this reason Filosa compares De mulieribus with contemporary pictorial representations of women in order to illustrate her point that contemporary painting could only manage to portray them as undifferentiated stereotypes unlike the developed biographies of Boccaccio.
Finally Filosa very briefly examines the transformation of De mulieribus in the Renaissance. It offers a glowing account of the radical, progressive representation of women as biographical subjects. Power and Virtue in Renaissance Society, forcefully puts the case that De mulieribus consistently shuts down the possibilities of female power and only allows it when it does not present a threat to male authority.
Franklin further argues that the text is predominantly addressed to men whom its message of circumscribed female agency is meant to reassure. Italian Bookshelf Filosa takes a strong position on De mulieribus as a literary work, quoting both Sapegno and Zaccaria approvingly. It is indeed an area that has received scant attention in the rush to discuss its ideological implications for women.
Her study will ensure that scholars of De mulieribus will look at the literary dimension with renewed interest thanks to her careful research. Honess and Matthew Treherne, eds. Exile, Politics and Theology in Dante. Many volumes of collected essays suffer from a lack of cohesion. Each essay explores a different phenomenon, and by bringing them together the volume as a whole is pulled in several different directions.
Honess and Matthew Treherne. The editors explain in the introduction why they selected the opening of Paradiso 25 as a guiding principle. The few lines of Paradiso 25, they write, reveal in nuce the entire project of the Comedy, with its focus on the heavenly while still engaging in the earthly. The six essays began as a series of papers presented at Leeds but they work together in interesting fashions. Declaration, Pleasure and Praise. Italian Bookshelf dogmatic exposition on Faith, Hope, and Love.
Behind the expositions on the three Christian virtues lies the awareness of the dependence of the created world on God. Philosophical reasoning can equate the creator with God but only Faith can inform humanity that God is a Trinity. In the subsequent two essays, the authors perform similar readings of the cantos of the fixed stars and their disquisitions on the virtues. One acquires the coin of faith through direct experience of God.
- Musical Bouquet: Praeludium Secundum.
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He notes that the entire episode is bracketed between two invitations to look back upon the earth. He then discusses the first-person passages in the cantos, thus concluding that the Christian virtues link Dante back to the community and to the Church.
In the early years, Dante adheres to political factionalism, with the hopes that Henry VII will remedy his situation; later on, however, Dante seemingly recants his misdirected hopes in a political solution, explaining instead that he wants to return to Florence as a poet, that is, as one bearing a prophetic voice.
Gilson concludes, however, that Paradiso 25 did not elicit the same kind of alarm among the commentators that similar passages in Inferno did. Each of the six essays provides unique insights to the passage of the title, but they are not limited to a few verses. Therefore, the volume constitutes an important contribution to Dante scholarship. A Critical Guide to the Complete Works. University of Chicago Press, A Critical Guide to the Complete Works ed.
Victoria Kirkham and Armando Maggi, Chicago: Grossvogel and Epistolae Jason Houston investigate the ways in which Boccaccio used Latin source texts as models for his literary experiments, with many of his earlier works simply serving as exercises in rhetoric and letter-writing. Italian Bookshelf reception as both text and book-object. Brody provides an insightful reading of the Elegia di madonna Fiammetta, which looks at female uses of literature as a healing device, a topic to which Boccaccio would return in the Proemio of his Decameron.
Coleman and the De montibus, silvis, fontibus, lacubus, fluminibus, stagnis seu paludibus et de diversis nominibus maris Theodore J. Here Michael Papio analyses the document and provides anecdotes and historical details pertaining to those people mentioned in it. None the less, the editors certainly succeed in their mission to answer the questions posed in the introductory paragraphs: What did Boccaccio contribute in each case to the traditions he inherited?
How did he reenvision genres or topics? How did he redirect the course of literature? The organization of chapters according to the genres used by the author allows one to readily appreciate the textual, experimental, and structural parallels between many of his texts, and chapters habitually conclude with similar remarks: Even scholars well versed in the works of Boccaccio are sure to learn something of value from this accessible, yet scholarly and well-executed volume.
Studies on Alberti and Petrach. David Marsh, professor of Italian at Rutgers University, has collected in this book his essays on the Italian humanists Leon Battista Alberti and Francesco Petrarca, published over a span of roughly twenty years, the only exception being an article published in All the articles have been reproduced as they were when first published, and therefore their pages show the original numbers they had carried in the journals where they appeared. Italian Bookshelf on Alberti. He also analyzes the evolution of the genre in the work of later humanists such as Bartolomeo Scala and Marsilio Ficino, where the simple apologue becomes embedded with philosophical and allegorical abstractions.
The text continues with a thorough analysis of the short dialogue. The book ends with a section devoted to Poggio Bracciolini and Alberti: The three essays focus in particular upon the presence of works by the two authors in manuscript Vat. Carroll, and Catherine A. The present collection emerges from a conference organized by the Department of Music at University College Cork a few years ago.
One cannot emphasize enough that such occasions for cross-disciplinary dialogue, in person and in print, need to be cherished and cultivated as much as possible. Crucially, resisting the impulse to view such artifacts anachronistically is front and center in both Introduction and essays, models of nuanced layering and penetrating insights. The nine essays are divided in three parts: These three ask readers to expand more limited notions of audience to include a far ampler and more nuanced horizon.
We should pay heed to both terms in the subtitle of this collection: Playing, in the sense of engaging with others following rules and without fear of breaking them occasionally, is what these essays do, with great success. This collection demands attention not only of early modernists or of scholars interested in texts and sexuality, but of all humanists, as it points many fruitful ways forward in our scholarship. Italian Bookshelf Giuseppe Mazzotta. Edizioni di Storia e Letteratura, The reasons for the extraordinary critical stimulus of Dante, Poet of the Desert: Reading Dante and Confine quasi orizzonte.
Consequently, the critical voice in Reading Dante carries with it the ring of immediacy and improvisation, as opposed to the voice of theoretical sophistication of Confine quasi orizzonte, whose more focused discussion of a much narrower choice of cantos is aimed at a more specialised audience.
All of this does not mean that in Reading Dante the concomitant gain of personalized energy brings with it a concomitant loss of conceptual validity or sophistication. Nor does it mean that the scholarly style of Confine quasi orizzonte falls into the trap of academic abstraction. At this juncture it would be best to describe the two books under review in some detail. However, the impulse to reach as large a readership as possible does not mean that in the process the Divine Comedy is popularized.
Reading Dante then continues with an analysis of all of the individual cantos making up the Inferno, Purgatorio and Paradiso, in which Mazzotta keeps his constellation of themes in constant motion in an inspired and inspiring fashion. Italian Bookshelf diverse themes that are treated is so complex that it is possible to list only a few of them in a brief review: Perhaps the best way to come to terms with the strategies deployed by Mazzotta in these readings is by drawing on a particularly illuminating online interview with Richard Marshall which appeared in in 3: Although Dante does not quote or explicitly refer to this definition of man as articulated by Aquinas, Mazzotta very convincingly argues that such a conception is key to our understanding of that crucial link between the finite and the infinite on which the entire poem is based.
Following the Preface, the chapters that make up the body of Confine quasi orizzonte treat in order: I have chosen to briefly refer to the first chapter on why Dante wrote the Divine Comedy and how it is read in America since the literary object of investigation with its incisive treatment of a series of interpretive approaches to Dante differs markedly from the remaining chapters of the study. In this chapter Mazzotta launches a three-fronted polemic against the theoretical underpinnings of certain strains of thought which have dominated recent criticism of Dante: Rather than as a bearer of the last word on the Divine Comedy, Mazzotta has presented his vast erudition as an interlocutor engaged in a conversation with Dante, his readers, and himself that is destined to continue in time.
Savoring Power, Consuming the Times: Notre Dame University Press, The Metaphors of Food in Medieval and Renaissance Italian Literature offers a unique and engaging look at how, through food, one can analyze the context, culture, and society in which it is consumed and represented in literature.
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Italian Bookshelf and a literary work: For hermits and Rustico, scarce food was supposed to curtail human appetites and extinguish carnal desires. Among these facets, Pulci uses food to expose the philosophical, political, and social currents of his time; his literary meals reveal the torn texture of chivalric society; and he ultimately excoriates the traditional courtly system that is to him outdated.
Time and again the author draws attention to confetti as emblematic of this hollowness. The meal was used to influence the powerful, flaunt wealth, and intimidate enemies e. The author finds an exemplary literary parallel of this phenomenon in the initial banquet scene of the Innamorato. In it, Charlemagne, too, establishes a powerful connection between food and conflict by bringing together Christians and Saracens in the same dining scene. Ariosto and his readers know, Palma notes, that conspicuous food consumption was considered a major example of Este magnificence. Instead of allowing such consumption to bring about positive effects on his characters, Ariosto opts to describe excessive good eating that renders Ruggiero effeminate and neglectful of his duties.
The scene she selects to demonstrate this world morally turned upside down is one in which the protagonist decides to become a nun and live in a convent. There she does not find lives spent in silent prayer, worldly pleasures renounced, and humble victuals. Instead, she discovers not only a total disregard of the essential vows of chastity, poverty, and obedience, but a preoccupation with alimentary, as well as sexual, excess.
In each chapter this thesis is realized with ample and convincing literary and historical evidence. The evidence presented persuades the reader to look at food in history and literature not merely as nutritionally useful, but as powerful conveyors of meaning. Yet, the book also provides the reader with a fascinating and useful lens through which to revisit the works sampled, and other works of literature. For these reasons, it is a successful contribution not only to scholarship in medieval and Renaissance studies, but to any field in which gastronomy matters.
Italian Bookshelf Alessandro Piccolomini Actes du Colloque International Paris, septembre Alessandro Piccolomini, a scholar and courtier, was the son of the aristocratic Sienese and papal family; he was educated in Padua, and became a cardinal, then an archbishop. The vast majority of his works, printed repeatedly in the sixteenth century, is not available in modern editions as a bibliography included in this volume indicates. Generally recognized for his erudition in an array of scholarly fields, Piccolomini demonstrates in these essays his commitment to a new pedagogy intended for an exclusive, but not scholarly public that included women who were literate in the vernacular.
Driving this new phase of Humanism were the academies that embraced the vernacular, including those in which Piccolomini participated: Piccolomini, in conversation with scholars like Pietro Pomponazzi, Spero Speroni and Benedetto Varchi, reimagined the Italian language as a conceptual tool. His commitment to clarity, precision and methodology synthesizes the essays in the volume. Written in French and Italian, all the essays are interesting and valuable.
They are divided into sections: This essay is followed by discussions of the intellectual culture of the Infiammati in Padua: The next group of essays presents works of moral and political philosophy. The next section presents essays on Piccolomini as playwright. Nerida Newbigen argues that Piccolomini was not merely the comic genius but the Intronato who instructed his colleagues on the theory of comedy.
Italian Bookshelf in Horatium, where Piccolomini reveals a particular interest in questions of moral philosophy. Piccolomini is rarely very original in his thought, and his progressive pedagogical agenda was conceived not to transform society, but to educate and elevate courtiers and elite women. Nevertheless, the case that he was a transformative figure in Italian and European culture is articulated throughout this volume.
This book will be of great interest to scholars of sixteenth-century Italian literature and culture. Dante poeta, profeta, pellegrino, autore. Strutturazione espressiva della Commedia e visione escatologica dantesca. Dante, come sappiamo, interviene diverse volte nella narrazione, interrompendola, per dare dei commenti, elucidare i sensi di alcuni eventi, ma anche per dare un insegnamento morale.
Allo stesso tempo, grazie alla sua maestria, lo scriba cerca di riprodurre le emozioni che il personaggio aveva provato con un pathos tale che sembra stia veramente rivivendo quelle esperienze. Nel secondo capitolo, Sternel verace autore, particolare attenzione viene accordata alla differenziazione tra autore e poeta. Dobbiamo ricordare che Dante non si proclama mai autore nella Commedia, ma soltanto poeta, scriba, maestro. Egli si considera poeta volgare e profeta, ma mai autore. Nei canti XIX e XX del Purgatorio ritorna la figura della lupa causa di vizi e dei mali, della brama di potere che colpiscono i discendenti di Ugo Capeto.
La professoressa Riccobono si domanda se il pubblico degli appelli al lettore sia lo stesso di quello delle apostrofi. Translated with an introduction and notes by Elio Brancaforte. Centre for Reformation and Renaissance Studies. II, Torino, Einaudi, , p. Speroni, Canace e Scritti in sua difesa a cura di C. Roaf, Bologna, Commissione per i Testi di Lingua, , p.
Lo Speroni rispose alle critiche del Cinzio con due scritti: La polemica prende avvio dal non rispetto, secondo il Cinzio, da parte dello Speroni, del principio aristotelico della catarsi ovvero della immedesimazione dello spettatore con il personaggio e con la sua situazione di disagio, e quindi il fallimento dello scopo di dissuasione dello spettatore dal commettere gli stessi errori dei protagonisti del dramma. Partenia, a Pastoral Play. The Toronto Series Centre for Reformation and Renaissance Studies, Italian Bookshelf University of Chicago Press, The Making of a New Genre Oxford: Born in Parma in to an aristocratic family, Barbara Torelli Benedetti enjoyed popularity as a writer during her lifetime, and was also well connected to literary elites in courts and academies.
The relevance of her pastoral play Partenia lies in its being the earliest known nonreligious play authored by an Italian woman. Set in the Farnese estate near Parma, Partenia revolves around shepherd friends Tirsi and Leucippo and their impossible love for the nymph Partenia, an adept of Diana who is determined to preserve her virginity. In despair for having either to disobey her father or to forsake her vow to the goddess, Partenia resolves to take her own life.
Only at this point are Partenia and Tirsi revealed to be still alive, and the play concludes with their marriage. Despite being a largely successful play at the time, Partenia was never printed. This modern edition is based on the only two surviving manuscripts of Partenia: The book also includes two appendixes: The text of the play is preceded by a very informative and thorough introduction, which includes a detailed biography of Torelli Benedetti.
The volume editors analyze Partenia insightfully, referring to the context of contemporary works pertaining to the pastoral mode, and investigate as well the later fortune and influence of the play. A further point of interest in the critical analysis of Partenia is the exploration of the play within the contemporary panorama of secular drama with a moralizing tone. Princeton University Press, A Biography of Machiavelli. Italian Bookshelf after the reinstatement of the Medici family as its rulers, and a significant sampling of his literary corpus, including public and private writings.
The text is broken down into 23 concise chapters with an informative appendix and detailed notes. Little information is presented about Machiavelli before , since most of what posterity knows about him begins when he assumes the role of secretary of the Florentine chancery. Several parallels exist between his major and minor works and recur in his official and personal missives: During this time Machiavelli exchanged letters with his friend Francesco Vettori, which reflected on the lessons gained during his active political life, including the diplomacy of Florentine territory, diplomatic missions, and military reform.
Vivanti highlights several important concepts and stratagems within this work e. From around Machiavelli participated in gatherings of literary, philosophical, and political conversations in the Orti Oricellari, making lasting friendships with his younger interlocutors, who encouraged him to write. During the last years of his life, Machiavelli learned of catastrophic military defeats on the Italian peninsula, namely, the Battle of Pavia in and the Sack of Rome in These military operations would be the cause of persistent anxiety and reflection for the Florentine until his death.
His intelligence, ironic spirit, and literary genius are masterfully highlighted in this work. The Secret Language of the Self. Una rassegna che si apre con Goldoni e si chiude con Leopardi, passando per Bertola, Alfieri, Manzoni ed altri ancora. Nei successivi due capitoli Camerino indaga sul ruolo giocato dalla poetica di Bertola nel contesto del cosiddetto preromanticismo. Quattro capitoli sono dedicati ad Alfieri, o per meglio dire al linguaggio alfieriano.
Al linguaggio del Saul sono dedicati gli ultimi due contributi sul poeta astigiano: A Manzoni sono dedicati tre capitoli. La rassegna si conclude con due capitoli su Leopardi. Il primo indaga sul precoce interesse per Algarotti, che investe questioni linguistiche, ma soprattutto il concetto di noia.
Grace, Melancholy, and the Uncanny. This new attention acknowledges Leopardi as one of the most innovative authors not only of Italian nineteenth-century but of European modernity tout court, who was both very aware of the cultural tensions of his own time, but whose work also invites interpretation using the lenses of the most groundbreaking, current scholarship including, for example, Ecocriticism or New Materialism.
Yet, even these minor issues do not diminish the innovative contribution this volume represents. Questo rilievo dello studioso permette di seguire e identificare un percorso di evoluzione della dimensione religiosa del Leopardi. Damiani mostra sempre acutezza di analisi e fornisce copiose evidenze a supporto delle sue tesi. Castiglione di Sicilia CT: Accademia Internazionale Il Convivio, Ai due saggi sulla critica carducciana se ne aggiungono due sulla poesia.
Italian Bookshelf difende il progresso sociale e il libero pensiero simbolizzati nella figura di Satana. Sulla ricezione critica e sul mito del Carducci commemorato dai posteri si concentrano rispettivamente Alessandro Merci ed Elena Rampazzo. Mentre Merci offre una rassegna dettagliata di pareri critici contemporanei e riferimenti a Carducci nei versi di vari poeti successivi, Rampazzo esplora la mitografia di Carducci negli scritti commemorativi di Marinetti e Paolo Buzzi. Fabrizio Serra Editore, Lettere e scritti vari.
Gennaro Barbarisi e Paolo Bartesaghi. Degno di nota il trittico per Silvia Curtoni Verza n. Non mancano lettere che contribuiscono alla ricostruzione della storia interna ed esterna dei testi pariniani, come la n. Tutte le opere edite e inedite. Italian Bookshelf Livio Pestilli.
This is the first monograph on a major Neapolitan painter of the late Baroque. Due to unkind critical fortunes, Paolo de Matteis has been eclipsed by Francesco Solimena and by his own teacher, Luca Giordano. Similarly, many revisionist articles are inaccessible to Anglophone readers. Paolo de Matteis was born in rural Campania. Under noble sponsorship, he acquired a classical idiom in Rome. Nearby, he decorated the architecturally splendid residence of the duke of Monteleone.
Later, connections with Neapolitan cardinals resulted in new sacred commissions from the Papal Curia. Given this curriculum vitae, one wonders how he could have been relegated to the ranks of minori. To the non-specialist, the book seems to begin in medias res. Tantalizing bits of his life story emerge in the course of the study he married, had several children, gave painting lessons to his daughters, was driven to Rome by a difficult second marriage, etc.
One wishes that there had been a clear biography of de Matteis at the outset of the book. Since this is the first monograph, it would have been helpful to assemble all such facts. The earlier material is somewhat confusingly presented, because chapters are organized thematically rather than chronologically. The author grapples with discrete critical problems before having prepared the way with a good exposition. Perhaps the initial unevenness is a matter of trying to distill so much material or simply of priming the authorial pump.
This oft-repeated trope could have been relegated to the biography, freeing the author to move on to stylistic and iconographical analyses. Early on, Pestilli tends to jump among sources, often from different centuries and not always in chronological order. Lacking a critical framework, it is difficult to follow the argumentation. Again, it would have been useful to simply present a cogent survey of criticism. Chapter titles — novellistic rather than dryly functional — do not offer immediate cognizance of the contents, but the tenacious reader will be rewarded with a series of solid discussions on particular works or series of works within their historical contexts.
Chapter six diagrams a fascinating collaboration between painter and patron: Italian Bookshelf philosopher, guided de Matteis through various sketches, drawings, and oil studies of The Judgment of Hercules. A detail particular to Neapolitan artists of his day is the realistic inclusion of worn or weathered ceramic tile floors. These were praised by contemporaries and attracted the attention of foreign visitors.
Chapter ten examines a cycle of paintings at the Certosa di San Martino which depicts the life of St. Here, Pestilli excels in his analysis of the iconographical program, grounding it in a succinct theological overview which includes the Immaculate Conception, the rise of the cult of St. Joseph, and how the modern significance of the Rosary stems from the Battle of Lepanto.
Again, we see how de Matteis was sensitive to the ideology of his commissioner. Innovative details reflect not only St. Such are the attributes of a master painter. The Apparatus includes lists of abbreviations, color plates, and black and white illustrations. Two Appendices contain checklists of works by De Matteis or his workshop arranged by title and by date. Titles analyzed in the text are referenced in the general Index. The lengthy bibliography spans four and a half centuries, comprising art historical studies as well as background readings for important concepts.
Finally, the overall layout is commendable. Art books or exhibition catalogues frequently become embarassed by their own riches: Pestilli and his editors have wisely grouped all color plates at the center, numbered sequentially. Plentiful black and white illustrations are located appropriately within the text; their numbers reflect first the chapter number and then the sequence within that chapter.
This system allows multiple citations of a single image anywhere in the book and the rapid location of any item under discussion. Scholars of eighteenth-century art, culture and history owe a debt of gratitude to Ashgate for undertaking the publication of this handsome, well-produced volume.
Italian Bookshelf Gabriella Romani. Toronto University Press, La creazione di un sistema postale nazionale dopo il ebbe un ruolo fondamentale nel processo di unificazione del nuovo stato e, come scrive Gabriella Romani nel volume Postal Culture: La conseguente riduzione dei costi di tariffazione permise anche alle classi meno privilegiate di partecipare a questa rete di scambio e comunicazione: Painting in Film, Painting on Film.
Is it still possible to say something new and thought-provoking about Federico Fellini? The book opens with a dense introduction devoted to framing the theoretical and methodological ground and to pointing out the polemical targets of the inquiry. On the contrary, as his private library proves, he was well aware of the cultural and intellectual trends in those years, in particular French structuralist and post-structuralist contexts: Italian Bookshelf , preserving a balanced tension between postmodernist issues and a romantic-like global project.
The four chapters into which the book is divided cover four different films, showing from time to time a specific aspect of this relationship. Through a sophisticated film philology, Aldouby untangles the symbolist, intertextual plot that informs the text, convincingly showing the connections between the embedded or concealed specific art-historical quotations and the anti-fascist discourse developed by narration. Here the intermedial dimension primarily concurs to shape a declaration of poetics encompassing both the work of the Italian director and a broad global cultural dimension.
Two converging lines emerge from the film: The third chapter — perhaps the least convincing of the entire book — is devoted to Fellini Satyricon Once again, the analysis of the art-historical intertext contributes to support this reading. Unfortunately, the dense plot created by the several and heterogeneous hidden quotations, which goes from Byzantine art to Klimt, from Bruegel to Picasso and Clerici, seems not to be reconstructed in a sufficiently organic scheme to propose an interpretation not limited to a superficial critique of a postmodernist aesthetics.
Michelangelo Antonioni and Federico Fellini. In the near future someone may well choose to fulfill this task. Nino Aragno Editore, Italian Bookshelf paradigma indiziario di Carlo Ginzburg. The Girl from Vajont. Troubador Publishing Ltd, Tullio Avoledo has published ten novels in less than ten years, but The Girl from Vajont La ragazza di Vajont, is the first one translated into English. The Girl from Vajont is no exception. The setting of the novel is a small town called Vajont in Friuli, which is best remembered for a tragic accident, a collapsed dam, in the early sixties; consequently, almost two thousand people perished.
Maybe this is why Avoledo chose the town as the setting for his fictional novel: The town is as decadent as its inhabitants, as Ania points out: He quickly falls in love with her and soon she becomes an obsession. The protagonist explains that the identity of the mysterious girl must remain a secret: Most characters are nameless, like the girl from Vajont, the Cripple, and the Leader. The first trip together with the girl from Vajont is to this village that no longer exists.
Like Avoledo himself, the main protagonist is a writer. He has fallen ill and, thus, he has to make weekly trips to see a doctor.
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We learn that there is something wrong with his heart, but also with his mind. Although every time he sees a different doctor, they all seem to be more concerned about his writing than his health. It is clear that he has done something terrible and, consequently, he is guilt-ridden: My studies and my passion had been used to this: The protagonist is extremely concerned because the treatment he is undergoing does not make him better; on the contrary, it makes him forget things.
However, as his friend the Cripple points out: The girl from Vajont is a mischling, a half-caste, which is why she is in danger. Italian Bookshelf romantic getaway at a hotel by a lake for Christmas. He buys her a suitcase full of clothes, provides her false documents, and sends her off to Switzerland on a boat. This dramatic ending takes the reader by surprise, as the narrative I recounts their final farewell: I walk down the gangway, with my heart racing and a thousand words suspended in my heart, words that will never be uttered.
Sometime later he receives a letter from her with a picture. She is safe in Switzerland. The Girl from Vajont is a strange, but fascinating story. Avoledo confirms that he is worried about the extreme right-wing and xenophobic currents in Italy today, and their opposition to ethnic minorities. For this reason, he quit his job at a bank and decided to become a writer. John Libbey Publishing, Ltd. Given the prominence of early cinematic developments in Italy, the dearth of critical scholarship on the silent era is both disconcerting and myopic.
Despite interest in Fascism dispelling neorealism as a terminus post quem, the sound barrier has remained largely intact. Giorgio Bertellini is an exception to this tendency. A leading scholar on the early history of moving pictures, he has striven for years to bring this collection to fruition. Well, the eagerly anticipated publication of Italian Silent Cinema: A Reader has finally arrived, and it does not disappoint.
Italian Bookshelf aesthetic, and political developments of the seventh art. Thirty essays organized around seven subject-areas attest to the impressive scope of the project and counter the reductive representation of a period that cinematic histories tend to gloss over. Moreover, these essays, by both internationally renowned experts and newly established scholars, engage in a behind-the-scenes dialogue in which national colors inform, but defer to a shared deference for the silver screen. The next four sections constitute the core of the study as it pertains to both Italian film culture and geographic specificity.
Pragmatically, it specifies pertinent information on where to find Italian silent films Blom and on how to access non-filmic materials Mazzei. The extensive listings of sources and reference works along with a bibliographic appendix and detailed indices also provide generous guidance for future research. Notwithstanding the consistently high quality of the research, the volume retains an accessibility all too rare, though most welcome, in contemporary scholarship. The contributors draw on archival materials, provide historical contextualization, and engage in theoretically informed analyses that challenge a national approach to a transnational medium.
Each essay rarely does a chapter exceed ten pages is concise and lucid in its exposition. Such brevity facilitates the incorporation of these materials into Italian film studies courses that too often dismiss the pre- talkie era with a quasi-silent nod to historical epics and little else. The compelling presentation of the volume is certainly enhanced by its visual appeal — well over images grace its pages. While the illustrations do bestow a necessary visibility to a bygone era, they also inform and complement the analyses. The end result is that Italian Silent Cinema: A Reader makes an indispensable critical and historical contribution to film studies in and beyond the Italian context.
In this essay, which is inspired by the outcome of a doctoral research, Emma Bond proposes to analyse from a clearly psychoanalytic perspective some of the most representative prose texts by Italo Svevo, Giorgio Pressburger and Giuliana Morandini. Drawing on the recent ideas of Julia Kristeva, who overtly refers to Freudian and Lacanian concepts, Bond focuses on those elements and phenomena which escape conscious control and which are rendered via subversive narrative techniques.
Italian Bookshelf and Morandini, have interwoven traces, symptoms, and signs related to physical illness which are mirror elements of mental suffering. Illness, Silence and Identity in Svevo, Pressburger and Morandini starts from the assumption that illness can be defined as the trigger that allows something to be revealed to the sufferer himself or herself. A pre- or extralinguistic element disrupts semiotic processes, which cannot be captured in language. The writing on that illness is not only the enactment of the inner struggle, it enhances the recovery of the problematic past of the characters.
Therefore, Bond considers as mandatory the unraveling of the narrative plotting process , as intended by Peter Brooks in his Reading for the Plot: New York, Knopf, Her detailed, well-structured, and chronological analyses show how male and female characters deal differently with their own illnesses, or struggles, or the ones of others. Revelatory in this respect is female illness as a sign of death but also of desire. Both signs become intertwined in a destructive dialectic of repression. The plotting of the illness is communicated through a narrating voice which tends to conceal its identity — think of the use of initials or false names — or to hide behind other characters to the extent that Zeno becomes the unreliable narrative instance par excellence.
The latter seem to handle poorly their symptoms, such as the progressive loss of speech, the incapacity to hold on to an almost maniacal dependency on order, and the ambiguous fascination with the void. The logocentricity of male characters contrasts with the tendency to silence of the female characters. Within the suffering of the latter, silence has a potential for generating meaning, whereas the failure of language of the male characters the desemantization, for instance contaminates the narrative itself.
Italian Bookshelf so-called exile in his writings illustrates clearly the otherness in and of displacement. Female characters take their own space with them, forging a link between vocal and bodily expression. This process results in an acceptance of the dialectic between semiotic and symbolic spheres. Illness, Silence and Identity in Svevo, Pressburger and Morandini presents insightful findings based on a very representative selection of works by Svevo, Pressburger, and Morandini.
It is not clear why she chose these three particular authors for her research, and some fundamental references in the two-fold bibliography are missing. Figures in Italian Migration Literature. Hybridity in Italian Colonial and Postcolonial Cultures; ed.
Cambridge Scholars Publishing, ; In this monograph, she continues to examine Italian migration literature, namely, published narratives authored in Italian by migrant writers from the s to the present. The eight authors and associated novels she focuses on are: This is a departure from many other studies, which focus on how these novels describe the phenomenon of immigration and its consequences for Italian society. The body of the book is divided into five chapters: In the first chapter, Burns examines the ongoing process of identity formation present in novels by Methnani and Fortunato, Tawfik, and Fazel.
The second chapter utilizes memory studies to look at the tension between remembering and forgetting, present in examples of narrative memory. These works, written in Italian, also take on a performative function, as they not only tell the histories and cultures of other places, but also introduce them to an Italian audience and place them in dialogue with contemporary Italian culture.
Italian Bookshelf protagonist of Lontano da Mogadiscio acknowledges her inability to be at home in any one space, suggesting that the sense of being at home involves frequent renegotiation between different spaces. The fourth chapter looks at the relationships migrants form with places — generally real, named locations — and spaces — more indefinite or imagined areas — as they move through them. Throughout, she argues that migration literature is particularly suited to destabilizing the image of the Italian city as fixed and steeped in history through the figure of the migrant, who is both a city inhabitant and an outsider.
The last chapter begins by examining the role of writing and books within migrant narratives and then turns to the field of Italian migration literature itself and possible comparisons with magical realism, postcolonial literature, and resistance literature. Overall, this monograph successfully demonstrates the value of examining works of Italian migration literature, not just within the context of Italian society and Italian literature, but as examples of interactions between different cultures, histories, and spaces, which is apparent both within the narratives and in the publication and circulation of the novels themselves.
Italian Women Filmmakers and the Gendered Screen. Italian Bookshelf spazio rimasto per troppo tempo scoperto. La selezione degli interventi non segue altro tipo di categorizzazione tematica, geografica, ecc. Italian Bookshelf intervento discute la figura di Pasqualino attraverso la lente dei gender studies e delle teorie di Judith Butler. La seconda parte della raccolta offre interessanti ed inedite interviste ad alcune protagoniste del cinema italiano contemporaneo. Palazzeschi, Govoni e Boine. Capello si sofferma sui sonetti del Vas luxuriae, un gruppo di componimenti erotici rimossi dalle Fiale.