The commentary reconstructs piece by piece the way in which Ripa found and used his learning; also, it identifies the painters and the authors who made use of his suggestions. To track down sources — especially if quoted indirectly or, even worse, wrongly — is always a difficult and laborious task, and it is an area where only great erudition can make strides. Italian Bookshelf and emblematic literature both combine images and words , not to mention her detailed knowledge of ancient and modern art.
So much erudition does not distract from her intelligent insights into problems of poetics and questions of mythology or history, which continuously surface in her commentary. Thanks to an exemplary combination of erudition and critical intelligence, Sonia Maffei brings to light the real Iconologia, its experimentation with a new language, erudition, and unique ability to appeal to a vast public for centuries to come.
The learned world can today be thankful to her for being able to read this unique work as the author intended. Much gratitude goes also to Paolo Procaccioli, an excellent philologist, who guaranties the accuracy of the text using philological judgment in making some well justified emendations and slightly updating its orthography. Procaccioli provides a list and bibliographic description of all the editions published before , adding in each case indication of the world libraries where they can be consulted.
Sonia Maffei creates the indexes which facilitate the consultation of this edition. We must thank the two experts who have made this miraculous revival possible. The authors state in the Preface that they wanted to offer these two fundamental texts in new dual-language translations for anyone who is interested in the history of theatre, opera, entertainment, or pastoral poetry. Poliziano Angelo Ambrogini 94 was the author of the first non-religious dramatic piece in Italian theatrical literature?
This work was not translated into English until by Elizabeth Bassett Welles, who used unrhymed iambic pentameter. Although Tasso claimed it was hastily written, Aminta quickly established itself as one of the masterpieces of Italian theatre of the Renaissance. As Brand points out, pastoral drama could easily be performed with music, song and dance, and it did not need elaborate stage settings.
The suspense was maintained by reports about the lovers, and the audience was further entertained by references to contemporary figures of the court. According to Andrews, both works heralded the foundation of spoken-language theatre in Europe and drama expressed through music.
Aminta set the model for pastoral drama with five acts and the use of a chorus. The group which called itself the Florentine Camerata began to speculate on musical delivery during the performance of Greek drama, and hence spurred the innovations that led to opera. Passages from five-act plays were often set to music. Italian Bookshelf music and sung as arias. Andrews traces the trajectory of opera through Dafne, first performed privately in and revised in , with music written by Jacopo Peri and Jacopo Corsi, to future documented operas which addressed the story of Orpheus, who would forever be linked to opera for his musical prowess.
Useful footnotes explain who the speakers are and identify the mythological characters, making this translation accessible to even beginning students. Especially successful is the rollicking and visceral translation of the Bacchantes chorus in Orfeo. The book succeeds in bringing these two important Italian works to new light, using faithful and readable facing-page translations.
This dual-language edition would be useful to students of Italian and to students of translation as well as to anyone interested in the development of opera and drama. Through the informative essays and the rhyming translations that try to reproduce the lyricism of the originals, it shows how the pastoral provided a framework for the way drama could be presented on the stage, and how humanistic interest in mythology led to profane rather than religious works that could thus be considered, as the title states, overtures to the opera.
Armour and Masculinity in the Italian Renaissance. Toronto: Toronto University Press, Italian Bookshelf culture. Rhymes of Love. Maria Pastore Passaro. Ottawa: Legas, Nel testo della Pastore Passaro sono raccolte esattamente poesie suddivise in tre parti. La prima parte 73 poesie, considerando la doppia variante della numero XXVIII contiene le rime dedicate a Lucrezia Bendidio, che Tasso conobbe nel a Padova quando lui aveva diciannove anni e Lucrezia quindici.
Thorofare NJ : Xlibris, Robert M. Every year one or more translations of the original Italian poem appears in English — without counting the numerous translations in other languages. Torrance joins the competitive race with his Italian and English parallel text edition of a new translation in terza rima. In his preface Torrance observes rightly that he views terza rima as an essential aspect of the poem, and that no poetic translation can possibly aim to be literal. As to aids for his own translation, he cites three English versions among those he had access to, namely, those of John D.
Sinclair, Charles S. Singleton, and Carlyle-Okey- Wicksteed. As stated in his short introductory sections, Torrance makes indeed a diligent attempt at preserving the metric and rhythmic patterns of the poem by rigorously laying down ten syllables per line in an overall iambic pentameter pattern. One of the chief differences between Italian and English is that the former lends itself to the bel canto and dolce stile thanks to its rich and short syllabic patterns, while the latter in this regard offers a parsimonious and long- patterned inventory of the same.
As a result, the most conspicuous and re- sounding effect derived from these two language systems is the different way in which the morphemes and, most importantly, the phonemes in the two idioms are created and function. In the case in question, the effectiveness of terza rima appears to wear out very soon, and the reader is made to overhear the percussions, in the back of the orchestra, as it were, creep heavily into the symphonic beat generating dissonance rather than boosting it — to make use of a musical metaphor. There are even fewer cases in the history of the English language, which fact reinforces the different language model one ought to deal with.
The partial off-rhymes at the end of Canto 21, however, yield a more felicitous result. These two elements, however — the subject matter and its depiction — do not quite coalesce in the English language, and the reader is left with a rather absolute and in many respects inflexible paradigm. Italian Bookshelf Inferno, the prosodic pattern, may be better endured within a less rigid mold that does away with the teasing rhyme and frees the meter. Weinberg and E. Ann Matter, eds. Written in fifteenth century Italy, the Ogdoas is a minor work by a lesser-known author who nevertheless shows interest in themes treated by the major humanists in their well-known works during this time: the role of morality in the political sphere; the place of virtue in civic life and activity; the state of contemporary peninsular politics; and local history.
Very little is known about the author himself, but our editors provide some information about biography and context. According to Carla P. Ann Matter, Alberto Alfieri fl. In his prologue, however, Alfieri indicates that he was born in the district of Vercelli and, thus, that he was also a Milanese citizen. Gabriele Maria has recently been executed by the French governor Boucicaut; it is his arrival in the afterlife that gives way to successive dialogues with souls from the Visconti family. The topic of their discussions centers on the virtuous and just leader and how this conduct leads to eternal salvation.
These encounters are preceded by a prologue in which Alfieri dedicates his work to Jacopo Adorno, the Consul of Caffa. The treatment of themes such as education, morality, justice, and salvation is indeed quite superficial and is generally comprised of insufficient verbal exchanges between the Visconti family members. Alfieri clearly wrote with the expectation that the family would bestow favors upon him.
Without such translations, scholarship in this field risks becoming limited and biased, and so the inclusion of minor works in this corpus is welcome. Italian Bookshelf period. Moreover, it sheds light on the differences with which humanists approached humanistic ideals and on the biases humanists had towards certain powerful families of the Renaissance.
The Ogdoas is, in fact, more effective and convincing as a historical account of fifteenth-century colonialism than it is as a philosophical or moral discussion on education and civic virtue. Processi compositivi e formazione di topoi, Napoli, Liguori, Aspetti e fenomeni naturali nella percezione di Leopardi Lecce, Milella, Percorsi e forme Napoli, Liguori, Soave del di Hugh Blair, A Philosophical Enquiry di Edmund Burke nella traduzione del di un canonico maceratese , il trattato Del Sublime di Longino nella traduzione del di Anton Francesco Gori , e ancora il Werther goethiano nella ben nota traduzione italiana di Michiel Salom Venezia, Lo scrittoio di Leopardi.
Napoli: Liguori, Italian Bookshelf Naples by Liguori in In addition to Moschus, another author important to Leopardi in his early years is Goethe, whose Die Leiden des jungen Werthers the poet read in the Italian translation by Michel Salom. In his discussion of the importance of the sublime for Leopardi, Camerino is at pains to remind us that for the Italian poet the sublime can never be dissociated from moral greatness.
When we think of Leopardi, it is difficult not to imagine him as utterly alone, friendless except for family members, at least in his day-to-day existence for most of his life, certainly without the female company he so longed for, and thus fated to spend most of the hours of his life by himself. Italian Bookshelf Tommaso Campanella. Selected Philosophical Poems of Tommaso Campanella. A Bilingual Edition. Chicago: University of Chicago Press, The group of 43 superbly translated poems presents a wide-ranging series of readings that connect with many of the abstract ideas and expressive topoi circulating in several disciplines in the seventeenth century.
In the introduction Roush includes a biography of this complex author that helps to situate, or rather to identify the difficulties of situating, his poetic work both in the Italian literary tradition and among the work of his contemporaries. Her review of existing scholarship highlights the major moments of the critical tradition and gives scholars new to Campanella studies a substantial guide for exploring related secondary materials.
This is most notable in the first six pieces that evoke Dantean vocabulary, hierarchies, structures, verse form, and ideologies. Italian Bookshelf subject-verb disagreements. These notes offer insight about the translation, background on names or images mentioned in the poems and glosses, as well as bibliographical indications for further reading. Campanella exhorts poets to write about modern heroes such as Columbus and Vespucci, figures that he sees as better models than those provided by any mythological character.
Beyond obvious connections to Bruno and Galileo the latter had been supported enthusiastically by Campanella , the poems express many ideas circulating in the period, including a religious devotion that operates expressly and passionately in tandem with unorthodox philosophical beliefs and intellectual practices. Points of contact include the topos of the book of the world , the nature of the infinite and the indivisible , and Epicureanism If there is one shortcoming in the volume, it is related to the lack of translation of the Latin phrases and quotations that Campanella frequently inserts in both his poetry and self-commentary.
Roush admits that not translating the Latin was done to maintain the linguistic distinctions that Campanella created, admittedly an important feature. This one editorial decision does not lessen the overall value of this excellent volume, but the lack of translation for the Latin text makes these portions of the Scelta inaccessible to readers who have thus far benefited from the facing-page bilingual presentation in this edition. Di Biase. The Diary of Elio Schmitz.
Scenes from the World of Italo Svevo. Leics: Troubador Publishing Ltd, Esse sono sicuramente importantissime dal punto di vista biografico: descrivono i primi anni, gli anni della formazione, di uno dei grandi autori della letteratura italiana. Si tratta, ovviamente, di materiale autentico, appartenente al diario, ma lo studioso non solo lo ha tradotto, lo ha anche riorganizzato. Italian Bookshelf Carlo Goldoni. Memorie italiane. A cura di Epifanio Ajello. Bisogna quindi asserire in partenza che il volume oggetto della presente recensione presenta dei meriti indubbi che ne fanno un contributo importante nel panorama delle pubblicazioni goldoniane.
In che cosa consistono le Memorie italiane? Italian Bookshelf della vita e delle diatribe di Goldoni. Edizione critica del ms. Varia 30 della Biblioteca Reale di Torino. The fundamental novelty of this edition is that it is based on the autograph version of the text sent by Manzoni to Minister of Education Emilio Broglio. This version was recently rediscovered in the collections of the Turin Royal Library Varia 30 , and had not been available to the curators of the previous critical editions of the text Angelo Stella and Maurizio Vitale, Scritti linguistici inediti, Milano, Centro Nazionale di Studi Manzoniani, ; Michele Barbi and Fausto Ghisalberti, Opere varie, Firenze, Sansoni, In the introduction to the volume the editors Claudio Marazzini and Ludovica Maconi present the reader with a detailed reconstruction of the historical circumstances that led to the drafting of the report.
Italian Bookshelf sending it to Broglio. The second apparatus allows the reader to compare the manuscript with the first printed edition in Nuova antologia, March The third published as an appendix schematically summarizes the main changes undergone by the text from the manuscript version to the first printing, including the innovations that occurred in the first and second sets of proofs. For instance, in the report Manzoni argues that the best way to give Italy a national language is to replace the numerous Italian dialects with contemporary spoken Florentine.
In his opinion, Latin is proof for the effectiveness of this strategy, since Latin was the language originally spoken only in Rome, and then imposed on the whole empire. But then — as the first apparatus clearly shows — he immediately changed his mind and removed from the manuscript this reference to literary texts. He most likely realized that this argument could have been easily manipulated by the supporters of Italian purismo, and used against his claim for the adoption of spoken Florentine.
Finally, the second and third apparatuses allow the reader to view the evolution of the text in the process leading up to its publication: in particular, they show how Manzoni systematically restored the original spelling and Florentine phonology that had been modified by the typographer in the first set of proofs. For each discrepancy between the two, the editors indicate which version has been adopted in the previous critical editions, thus establishing a clear and understandable connection to the work of Stella-Vitale and Barbi-Ghisalberti.
The repetition of data that are already available elsewhere is essential as it offers the reader the information that is needed in order to follow all the fundamental stages of the story of the text — from the manuscript version to the proofs, to its publication in a journal and as a separate volume, and finally to the recent attempts at critical reconstruction. The fourth apparatus is thus a valuable addition to the first three. This additional information would have helped the reader to better understand the multi-layered nature of the genetic process.
Nevertheless, thanks to this fourfold apparatus, Manzoni scholars can now find all the essential philological data relating to this report in one thin and elegant edition, characterized by a rare combination of scientific rigor and usability. The importance of this volume is not limited to its philological component.
The first section of the edition also provides a description of the manuscript Varia 30 as an artistic and historical object. Laura Benedetti. Toronto: Iter Inc, This presentation of the final work by Lucrezia Marinella is a welcome addition to an excellent series in gender studies, The Other Voice in Early Modern Europe.
Laura Benedetti begins this translation of Esortazioni alle donne e agli altri se a loro saranno a grado, written in , with a thorough introduction. Such currents, as Benedetti notes, did not always lead to female solidarity. Italian Bookshelf contrasting herself with such other female contemporaries as Arcangela Tarabotti. In her introduction, Benedetti outlines the text, glossing each of the nine exhortations in turn. She includes in her glosses the occasional key passage to illuminate this dense text for readers, as the exhortations vary in length as well as in scope.
She also reflects on the Exhortations: she writes that they are uneven in style and substance, which my reading confirmed. Her familiarity with the classics and with such revered Italian writers as Tasso, Petrarch, Dante, Ariosto, and Boccaccio is unmistakable. Moreover, Benedetti is careful to add that we cannot read too much of our modern sensibilities into Marinella.
Simply because Marinella retreats from the boldness of her treatise some four decades later does not necessarily mean that she is insincere in her admonitions to both women and men. I want you to know that you must set the example for her life. The ninth exhortation, which focuses on feminine beauty, can be seen as a culmination of these conflicts within the text. The Esortazioni mixes scholarship and the domestic in a fascinating way; simplifying its contradictions would be a disservice to Marinella and her peers that Benedetti has fortunately avoided.
Within her text, Marinella occupies an uneasy role: she acts as the upholder of patriarchal notions of femininity which she herself and the fabric of her text, generously peppered with Latin quotations and philosophical references, do not embody. Yet her exhortations do esteem women and the domestic — the mere application of Aristotelian ideas to women by a woman seems to me to be a significant gesture. Gabrielle E. Chicago: Chicago University Press, She begins with a chapter which examines eighteenth-century Bologna and the relative importance of the old and prestigious university of anatomy and wax figures.
Next, she describes the Museum of Human Anatomy or Internal and External Anthropometry created by the then archbishop Prospero Lambertini, later Pope Benedict, and focuses on the role of anatomy in early modern Italian society and the rituals that were associated with anatomical dissections. Important for advancing the image and reputation of Bologna, this museum is still in existence today and also displays the waxworks done by Anna Morandi Manzolini and her husband, Giovanni.
Italian Bookshelf Subsequent chapters show that the political tensions surrounding the creation of the anatomy museum are linked directly to the fate of Anna and her husband and their practice of wax sculpture and anatomy. Then, once alone, Anna went from being merely a part of the studio dealing with public relations and doing public demonstrations to being an anatomist and the primary creative force. Messbarger is quick to point out that Bologna had a unique way of running official human dissections, which since the Renaissance were performed during Carnival exclusively by male anatomists.
Anna, as a woman, reversed gender roles by performing dissections upon both sexes. The second part of The Lady Anatomist examines the wax sculptures Anna made and the accompanying notebooks she authored, both still in existence today. She is unique not only because of her practice and contributions to anatomy, Messbarger contends, but also because Bologna had to fight with other cities that would gladly have whisked her away. Morandi was, after all, a unique intellectual woman who did her work extraordinarily well. Though Messbarger tends to interrupt the flow of the narrative by offering constant sub-headings that dissect each chapter, she still creates a thoroughly engaging, well documented, fully illustrated, and quite readable study of one learned woman of the past who has now, thankfully, been rescued from obscurity.
Divas in the Convent. Research on and a much heightened awareness of this topic necessitate a new edition, one that is more focused on one convent in Bologna xiv and that is enriched with illustrations xviii , without the extensive apparatus of notes and documentation present in the original xiv. The eleven chapters that follow start by concentrating on one nun and composer, Lucrezia Orsina Vizzana, who entered the convent of Santa Cristina della Fondazza in Bologna as a child and took part in the first of a string of confrontations with the local bishop and the Catholic hierarchy, in the early s.
Chapters 5 and 6 outline the dissensions within the monastery, how music played into them, and how the Church hierarchy investigated them. At the very end of the century, in , the nuns of Santa Cristina enjoyed their first success, prevailing on the local bishop to carry out the rite of the consecration of the virgins according to the letter of the Pontificale Romanum, which included a ritual showing of the nuns wearing crowns and rings as sponsae Christi.
Chapters 9 to 11 recount this legal fight and describe the resulting ceremony, with the help of additional archival sources relative to consecrations of and Attracting attention to events and people from long ago has positive and concrete consequences, as Monson underscores xiv , although Bologna is currently more enlightened than most Italian cities Second, as female networks have emerged as sites of power or resistance and as creators or sponsors of texts and visual culture, convents become a crucial piece of the puzzle, if we are to gain a full picture of the times.
Nuns make for a quintessentially non-traditional research topic; they were female, isolated in cloisters, even deprived of their birth names. Nor were these walls effective in severing all contacts with the lay world. Family ties remained paramount, especially in convents like Santa Cristina that catered to noble and well established clans, and through existing familial and new monastic connections nuns were able to plead their cases and make their influence known in town and all the way to the Roman curia.
Musicologists, art historians, and cultural historians have led scholars to convents, and researchers of performance have followed, including to places further afield from Florence and Tuscany. Letters Familiar and Formal. Meredith K. Ray and Lynn Lara Westwater. Toronto: Centre for Reformation and Renaissance Studies, Arcangela Tarabotti lived in seventeenth-century Venice as a cloistered Benedictine nun. Born in , she entered the convent in and shortly thereafter began writing literary works, of which seven are extant.
Italian Bookshelf she denounces the common though officially prohibited practice of coerced monachization, namely, the forced cloistered enclosure of women with no religious vocation the dowry required of a convent being much lower than that needed for marriage, and Tarabotti was one of six sisters. Ray and Lynn Lara Westwater interpret as a bodily metaphor of physical and psychological constriction and that is reminiscent of later accounts of hysterical patients. Tarabotti insistently uses her letters as a carefully considered and edited vehicle of self-defense and self-promotion.
Writing was indeed the primary means of communication with the outside world for this woman often attacked for her literary aspirations and controversial ideas, and yet enclosed within a convent and thus unable to respond in person. Some of these letters were explicitly composed with publication in mind and the rest were certainly revised before publication. The Letters only appeared in a modern edition in , their first reprint since the original publication. The introduction is very helpful, although I am disappointed that a serious press such as that of the University of Toronto did not subject the manuscript to a more thorough copy-editing in order to eliminate redundancies and stylistic infelicities.
The footnotes to both the introduction and the translation are extensive and extremely thorough, making the text very accessible to the public — including undergraduate readers. Marsala: La Medusa Editrice, Giraffes in the Garden of Italian Literature.
In works such as Sul modernismo italiano, a collection of essays recently edited by Romano Luperini and Massimiliano Tortora, Pirandello, Svevo, Tozzi and Gadda, have emerged as the central figures in a possible modernist canon. For Amberson, Svevo, Tozzi and Gadda place at the centre of their narrative the embodied character of experience as a means of criticizing the materialist and capitalist ideology of nineteenth-century modernity. The book is divided into four chapters. Simultaneously assaulted by the new stimuli of metropolitan modernity, and challenged by new technologies of perception that underscore the limitations of the senses, modern individuals live their bodily experience as one of crisis, to which modernist artists respond by foregrounding precisely those moments in which bodies break under the stress of modernity.
However, in his last novel in particular, Svevo effects a reversal of the health-sickness binary.
Illness — whether physical or psychological — results in a greater awareness of the embodied dimension of experience. It allows for desire and tension towards change, whereas health results in stagnation. A similar process is at work in the physical body of the text, in its very language. This hypersensibility often takes the form of a disgust of physicality, both of the self and of others, and in particular of sexuality, associated, like health and physical wholeness, with the figure of the father.
Well written and clearly argued aside from the occasional lapse into turgid and obscure prose in some of the more theoretical sections , Giraffes in the Garden of Italian Literature is a highly original and sophisticated reconstruction of a possible Italian modernist canon that opens up many venues for future research. La rivista come agente letterario tra Italia e Germania Pisa: Pacini Editore, Innanzitutto, due parole sulla scelta del corpus dei periodici analizzati. Particolarmente interessanti si rivelano le operazioni in controtendenza rispetto alle direttive di regime, come la pubblicazione di scritti di autori ebrei e di rappresentanti della Emigrantenliteratur su riviste italiane i due Zweig, Thomas e Heinrich Mann, etc.
Anna Antonello, tenendo sotto controllo il vastissimo materiale archivistico a sua disposizione, fa parlare i carteggi, li anima a partire da un assiduo lavoro di escussione degli stessi, portando alla luce figure di germanisti che svolsero la funzione di mediatori tra Italia e Germania in quegli anni e anche dopo, come Bonaventura Tecchi e Alberto Spaini.
Italian Bookshelf Helen Barolini. Crossing the Alps. New York: Bordighera Press, While Umbertina spans four generations of Italian-American women, Crossing the Alps begins in and tells the story of a year in the life of a young college graduate, Fran Molletone, a third-generation Italian-American from upstate New York. Her reason for choosing Italy is the desire to pursue a relationship with Walter, a married Italian graduate student she had met in the United States.
Fran also sees living in Rome, where she partly supports herself by writing articles about Italian life for a newspaper back home, as a natural continuation of her study of art and literature, and her attachment to the Italian language, which she has been studying with Mr. It is travel prompted not by economic necessity, but by love, for a man and a language, and a quest for self-knowledge and self-realization, intellectual and sexual. Her love affair with Walter, which represents the central element of the plot in the first part of the novel, gradually takes second place to her voyage of discovery of post-war Rome, and her sexuality not with Walter, but with Balestrini, a middle-aged professor of Italian whose course she attends in Rome.
Yet, her most important discovery is that of her existential need to maintain a hybrid identity, neither Italian nor American, but both. At the end of the novel, Fran leaves Italy aware that her quest, that of a writer poised between two languages and two worlds, and anchored there by the redemptive power of art, is bound to be a solitary one. With no models of successful cultural integration in her own family, and no paradigm for an intellectually and existentially fulfilling life among the women that surround her in Italy or at home, Fran is the new kind of Umbertina.
She crosses the ocean to search for herself, and ends up becoming a new model of Italian-American woman: a writer freeing herself from the boundaries of her ethnicity, class and gender, but drawing a different, personal kind of strength from all of these. Essays on Italian American Literature and Culture. Italian Bookshelf conventions. Undoubtedly, it represents an important contribution to the growing scholarship of Italian American literature and culture, assembling a fine group of speakers.
The array of subjects investigated in the nine articles includes identity, gender, passing, and a rather optimistic and encouraging final discussion by Michael Antonucci on the future of Italian American literature. Each article is intelligent, filled with sufficient insight to keep the reader interested, and as a group they are arranged following the historically relevant trends within the study of Italian American culture. In what follows I look more closely, if necessarily briefly, at what I take to be a representative sample of the nine articles included in this volume.
The first essay, written by Gina Miele, former director of the Coccia Institute at Montclair State University, explores the growth of Italian American studies in four academic institutions in the New York metropolitan area, all of which have contributed to the visibility of Italian American literature and culture by offering varying degrees of specialization in the field.
The article also details the various cultural initiatives, including workshops, symposia, and lectures, that former and current directors of the four Italian American centers have employed to reach out to the general public. Cody established his career playing Native American characters, wrote a biography in which he presented himself as Native American, and even wrote a book on Native American hand signals. What could he have achieved as Oscar DeCorti, a son of Italian immigrants?
Italian Bookshelf possibilities for women and for Italian Americans of both genders. As they progress with their lives, each of these women eventually confronts prejudices and ethnic tensions. According to. McCormick, these women, ironically, were equipped to survive in the outside world by their ambivalent, conflictual, and occasionally demeaning relationships with their fathers. Although on the one hand patriarchal control has limited them, nevertheless it has prepared them to make their way in the world. Domini ably demonstrates how poetry itself enables Di Piero to understand and bear such a world.
Floreani thoroughly discusses the sense of isolation of the protagonist, whose hybridity renders him a misfit. Essays on Italian American Literature and Culture will engage scholars, but will be even more appealing to a general audience interested to learn more about the dynamic field of Italian American studies. The informal style of the essays makes the volume accessible and inviting. Luigi Bonaffini. New York: Chelsea Editions, Charles Tomlinson.
West Lafayette, Indiana: Parlor Press, Attilio, il suo poema in America. Italian Bookshelf presentano come dei veri e propri rompicapi. Eleonora Lima. Italian Bookshelf ad una serie di disegni di Renato Guttuso. Semplicemente per fare opera originale di poesia. Un grande desiderio.
Spero presto. Nella Appendice appare il saggio di Ungaretti dedicato ad una serie di disegni di Guttuso. Marburg: Schuren, Italian Bookshelf Contextualizing into the national film tradition a group of films released between and , and analyzing television shows broadcast by RAI, the book aims to deconstruct stereotypical images of women conveyed by the two different media. Through a sociological approach, it questions to what extent contemporary Italian film and television portray the actual social and economic condition of Italian women and proposes new perspectives on gender and identity issues.
The book focuses mainly on film, leaving less space to the discourse on television. Looking at a group of films that were box-office successes, Bieberstein identifies the recurrent themes of the search for identities and the inability to cope with reality, which mirrors and constructs a critical discourse on the crisis Italy was undergoing during the period covered in the book, and which it still is. The author comments on the postwar period, noting the marginal narrative roles women had in neorealist films; the Fifties, the decade of the maggiorate fisiche when women symbolized a desire for prosperity; the Sixties, the golden age of the auteurs versus commercial cinema; and the Seventies and the Eighties with erotic comedy.
Despite some inaccuracies regarding the cinematic production that arose during the second wave of the feminist movement — it is worth noting that women filmmakers like Cecilia Mangini, Dacia Maraini, Sofia Scandurra among many others are not mentioned by Bieberstein — this overview, which still demonstrates extensive research, serves to prove a continuity in Italian film in terms of modalities of representation of women. As a consequence, some of the most important feminist film theorists — such as Laura Mulvey, Teresa De Lauretis, and Mary Ann Doanne — are relegated to the footnotes, a gesture which further marginalizes their work.
Ultimately, Bieberstein shows how, in lacking subjectivity, female characters function in the narration as a metaphor of the nation, of its desire for prosperity, or of its crises. By analyzing images of women conveyed by different media such as film and television, this volume contributes in a unique way to the limited but significant scholarship on the subject recently developed within Italian Studies. This extensive study contains a rich bibliography, ranging from film criticism and film history to psychology and cultural studies; it also includes a useful appendix with synopses of the films analyzed reporting the box-office numbers as well as biographies of actresses and directors.
Despite the lack of an original theoretical approach and the interest in the specificity of cinematic language, this ambitious study, which perhaps attempts to cover too much territory, represents a valuable tool for those scholars who want to undertake further research in this field.
Parma: UNI. NOVA, Italian Bookshelf ricostruzione della biografia dello scrittore e per approfondire la portata del suo contributo alla letteratura futurista. Italian Bookshelf ancora di essere ri scoperto negli archivi o tra le pagine di giornali di provincia e di rivistine di pochi mezzi e grandi ambizioni. Un carteggio. Simone Dubrovic. Roma: Vecchiarelli Editore, The correspondence between Carlo Linati and Emilio Cecchi collected and edited by Simone Dubrovic covers a time period of about twenty-five years, from July through June As supplement , the editor has included a collection of non-reprinted texts by Linati essentially the narrative writings mentioned by Linati in his letters; a few translations; and two articles published in the American journal The Dial, thanks to the interest of Ezra Pound.
Dubrovic has included two review articles of two publications by Linati the translation of the tragedies by W. Yeats, and the book I doni della terra, published in and As is evident, the predominant literary subject discussed in this epistolary is the literatures of the United States and Britain. This epistolary can be therefore interpreted as an important document concerning the process of sprovincializzazione Italian literature was undergoing in the first part of the twentieth century.
Another recurring matter in the letters is the reflection about the act of writing, critical and creative, which most commonly takes the form of a judgment often polemic about the most fashionable stylistic manner of the time, frammentismo. As a matter of fact, critical and creative writing are subjects of inquiry that are never treated as if they were separate, and are instead most often considered as two sides of the same critical coin.
Italian Bookshelf hommes de lettres. Anyone want a free iPhone, free ipad, free ipod and more? If yes then hurry up as here is an exciting offer to grab one of your desired gadget. Are you shocked? Dont be as this is somewhat designed for you. My dream retirement would be living in Udaipur, India! I've been towards the city and love the folks and Indian culture. I'd be thrilled to be able to see this film which takes place in the very best place in the entire world! Robert, they vary. It's up into the authors. Many of the letters coming up are handwritten, or hand-notated, it's about half and half.
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