Antonella Elia 1. Emanuele Filiberto 1. Francesco Facchinetti 1. Giusy Ferreri 1. Ficarra e Picone 1. Lorenzo Flaherty 1. Nino Frassica 1 , 2. Ludovico Fremont 1. Fabrizio Frizzi 1. Giulio Golia 1. Giorgio Gori 1. Alessandro Greco 1. Ezio Greggio 1. Alessandro Grieco 1. Sonia Grey 1. Bianca Guaccero 1. Milo Infante 1 , 2. Flavio Insinna 1. Elisa Isoardi 1. Cesare Lanza 1. Loredana Lecciso 1. Miriam Leone 1. Massimo Liofredi. Marco Liorni 1. Claudio Lippi 1. Vladimir Luxuria 1. Georgia Luzi 1.
Giancarlo Magalli 1 , 2. Mara Maionchi 1 , 2. Emma Marrone 1 , 2. Matteo Marzotto 1. Alessandra Mastronardi 1. Roberta Mirra 1. Morgan 1. Giorgio Panariello 1. Federica Panicucci 1. Alba Parietti 1 , 2. Benedetta Parodi 1. Paola Perego 1 , 2. Daniele Piombi 1. Pamela Prati 1. Jason Priestley 1. Platinette 1 , 2. Lola Ponce 1. Nathalie Rapti Gomez 1. Sono di madre europea, questo mi distingue. Attenta che ti strappi! Goccerai sangue. Non sono pura, chiusa, bella. Quelle piccole labbra pendenti, sono brutte. Le gambe immobili, un fiore sul pube, un abito largo.
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Insetti prenderanno la mia mente? Ci laviamo con le altre donne. I miei figli sono i loro figli. Voglio tenere insieme tutti i pezzi. Senza di loro, vecchie ed adolescenti, storpie e bellissime, bianche e nere, io non esisto. I am of European mother, this makes me different. A nimble adolescent.
On the sand, among friends, I fall down split. Those little hanging lips are ugly. Xiran so proud, at the center of everyone. Will the winds ever take me as well? Unhealthy breaths that rising through my guts. Will insects seize my mind? Will a mark on my body, unbalance me? We wash with the other women. My children are their children. I want to hold together all the pieces. Putting on a dress with the others. I am a woman as long as they exist. Saltella tra i binari e vaglia la palude della mente. Isla hadle si sente espropriato. Camminava nella savana per andar a vendere perline ai turisti.
Isla hadle veste ancora anni settanta. I pantaloni a zampa e i capelli crespi gonfi. Isla hadle ha deluso la povera sognatrice. Ha tanta compassione ancora. La voce fluente e i pensieri aggrovigliati. He skips between the tracks and examines the swamp of his mind. He has a fracture that bleeds there between his ribs.
And the pain is so sharp that it terrifies him to touch it. Isla hadle feels dispossessed.
ECCO LE NOSTRE ULTIME NOVITA', OPPURE EFFETTUA UNA RICERCA PER TITOLO O PER GENERE:
He walked in the savanna to sell beads to tourists. His father walked to lead his herds to pasture and from drought. But the bracelets bring in a lot, a lot more. Bell bottom pants and curly teased hair. He still wears a little gold chain given to him as a gift by a whorish aunt who knew whom to make deals with to send him to study abroad. He still has so much compassion. Isla hadle wears leather sandals in the winter. The fluent voice and the entangled thoughts. I can no longer stand to see you unhappy.
The trains come and go. Agronomo, allevava mucche e maiali. Ha risparmiato cinquantamila dollari per la salvezza dei fratelli. Per uno di loro ha comprato maschera e pinne e ora va per mare a pescare aragoste. Ma il dolore non ha senso. Il dolore colpisce a tradimento. Ci vuole molta calma e pazienza. Con calma. Devo capire e distinguere. Vedo punti circolari. Un troppo vasto margine di scelta mi uccide. Voglio vivere in solitudine e addestrare la mia anima.
Voglio vivere in moltitudine e che con gli altri sia condivisione e vita. As an agronomist, he raised cows and pigs. Boots in the mud and a raincoat for the rain. He saved fifty thousand dollars to save his brothers. For one of them he bought a mask and fins and he now goes in the sea to fish for lobsters. Another became rich dealing in sugar and milk. You should hold pain there and learn to bear it. You ought to rock it, caress it, so that it does not eat your heart out.
Much calm and patience is needed. When you want to talk about it you risk betraying it and then it grows bigger and it takes your breath away. If used with conscience pain is a privilege. Pain is illumination and catharsis. Then light can come in, but that, too, must be filtered, too much life could burn you. I must understand and classify. I see circular points. A margin of choice too vast kills me. I want to live in solitude and train my soul.
I want to live among multitudes and let there be sharing and life with the others. Only love can save me. Ti vedevo da lontano arrivare, con grossi libri di scuola, e correvo sempre gioiosa, con mani sporche di terra. And I was the most beautiful actress, I only lacked the hair, the long and raven-black hair of the sweet and distant Indian.
From a distance I would see you arrive, with big school books, and I always ran joyously, with hands dirty with earth. Ricordi di quando sul fuoco, preparai le anguille fumanti e rosse uova alla coque? E tu Nureddin sorridesti Vedrai tutte le amiche, come saranno invidiose. E tardi, verso il tramonto, rinchiusa in una piccola stanza, udii un canto dolcissimo, di donne che battevan le mani. Do you remember the time over the fire, I prepared the smoking eels and red egg a la coque? And you smiled, Nureddin. All that gold weighed heavily. And later, towards sunset, locked up in a small room, I heard a very sweet song, of women that clapped their hands.
I thought that it was already time: the buranbur had begun. Resign yourself today little one, for you can be a bride only once. It was thus that I saw you arrive, from a distance and the sun was red, Nureddin my most loved cousin and I had royal jewels and long raven-black hair. In Bagdad he published his first works of narrative and poetry, working as a journalist for various journals. Currently, he is a member of the advisory board of the journal Al Mefiyon Exiles , published in Lebanon. In exile for many years, he now lives in Florence, where he graduated with a degree in the History of Islamic Countries at the School of Literature and Philosophy, after which he received a doctorate in research from the Oriental Institute at the University of Naples.
His texts in Italian have come out in Eleusis, Varia, D. From what wound do we come, weak wayfarers? There is the whole globe of the earth over our blankets, our cities are under the lead tent. Vedo le donne nude come vetro roteare in danze funebri. Ci ammazziamo nel silenzio, odo candele livide nello specchio. The cold covers me with ice and in love you are my isolated lodging.
In the forest the sparrows crash into me the wind and the storm crash into me but your face was beautiful in the window dust the rooms are white, the stone is like soap. I wait for your water you arrive where the night writes my silence and my drought. Because museums have bastard padlocks and my years flow into the canals with quiet light for us stone is bread, dagger the water.
I see women naked like glass panes whirling in funereal dances. In the feast of the happy butchers I see naked cities, I see a knife longer than our days, longer than the season of peace. We kill ourselves in silence, I hear livid candles in the mirror. Vestiti nudi. From piazza santissima annunziata to the church of san marco the public bus crowns us with its smoke and I under the wall of rain the cry goes on behind the window of the trolley and there is another cry on the sidewalk Dressed naked.
I see naked cities. I soldati del mio tormento, inerti, sono fili di vento e di neve Sono queste ombre volanti, questo brivido segreto nel corpo. Oh, Hillah!
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Oh Eufrate di Nassiriya Nelle foreste, perseguitati dai trattori o dai grappoli dei fiori. The soldiers of my torment, inert, are wisps of wind and snow They are these flying shadows, this secret shiver in the body. They are this overturning in the land of paradise, they are those that slip a sail into the heart of hell. Oh Euphrates of Nassiriya In the forests, pursued by tractors or by bunches of flowers.
Ricordi il sale che ancora resta nel tuo bicchiere? Era questa la strada del riccio, lo stendardo della fame del lamento? Do you remember the salt that is still left in your glass? Who will save the country then? Who will save the water? Who will pour the honey on the table or in the tea glasses in the afternoon? And is this then the disappointment of the lesson of the living? And let the call of goodness rise virtuosly after your death, and let it make, in order to not forget, jewels of your dream! Was this the road of the chestnut husk, the banner of hunger of moaning?
I fari del martire e le sue stelle sono le stelle della famiglia, i nostri vestiti sono intessuti della stoffa delle farfalle. That was the affection that lights the wings of water. Sono di ghiaccio le nostre cinture, si estende la nostra terra per ingravidarsi di fuoco.
Full text of "Nuovo dizionario italiano-inglese e inglese-italiano"
And who among us knows the hour of night? Our belts are of ice, our land spreads to become pregnant with fire. Before they abandon the flesh Un palpito di violenza. A beat of violence. Difficulty in tearing the quiet flash And then what, of an eagle that picks up the tribes of the insult? And what about its severe hostility?
Then what will remain among the density of the city the bursting of the dam? Clouds spring tears towards the eye sockets, towards the suburb, beyond the debris and violence in the dark night. All has by now entered this time of history: time retreats fleeing from the door of the past and from the secrets of human evolution.
Pioggia sopra il nostro espatrio. Colline di sogni. Signore della roccia credono la Morte madre dei nostri figli, la credono signora dei nostri poeti. Rain on our expatriation. Hills of dreams. Ladies of the rock believe Death mother of our children, believe it to be the lady of our poets.
Now I need a song of love that tells the story that I embrace offering my forgiveness. Neppure fuoco sui confini. Se abbaiasse sul tuo viso il vento Che rotolino i giorni e il tuo rifugio triste! Non ho detto che sono del nostro sangue. Non ho detto che i loro elmi rotondi sono regalo della sera. Not even fire on the borders. If the winds were to bark over your face Let the days and your sad refuge roll on!
You are following the wheat without wings from sidewalk to exile from paradise to fire or from fire to fire The first day stitched up your whimper, the Bedouin soldiers sewed you only some of them excluded. And you are following the grain without wings from sidewalk to exile from paradise to fire and from fire to fire.
Ho strappato la punta delle lancette che scimmiottano le ore della mia morte dalle ombre livide inclinate. E la pianta eretta nella sua crescita incerta somiglia alle nostre mani. Vieni, io costantemente ti chiamo, e la mia luna scioglie il ghiaccio della solitudine. Muri, eremiti sospesi nella condotta da ruffiani che hanno posto sotto la testa la pietra corrotta della mia mano, le mie mani tremanti nella marcia spettro della poesia. I ripped the point of the hands that mimic the hours of my death from sloping livid shadows. And the standing plant in its uncertain growth resembles our hands.
Come, I call you constantly, and my moon melts the ice of solitude. Walls, men lined up and prostitutes standing. Walls, hermits suspended condoned by pimps that have placed under the head the corrupt stone of my hand, my trembling hands in the march specter of poetry. Nella notte dicendo il grazioso sogno silente, seduta in quarantena. Tu, profeta analogo dal grido soffocante nella gola, lo sguardo fisso sulle porte chiuse spezza le ostinate barriere del cielo. Questo tempo che io ho preso solo per gioco.
Nella notte seduta, leggera, le mie mani si allontanano dal sibilo della frusta, e come si trascinano il lucchetto e la catena dietro di me! Quando con un voto alla stella di fronte alla finestra vuota io danzo. Mi getto coraggiosa nella vita. In the night saying the charming silent dream, seated in quarantine. Ah, but how heavy beats here the stroke of the clock! This time that I took only for a game. In the night seated, light, my hands move away from the hissing of the whip, and how they drag the padlock and the chain behind me! When with a vow to the star in front of the empty window I dance.
My reckless enthusiasm at the beginning of the trip. Ah, this autumn, vain cypress of your four seasons! I throw myself courageously into life. Tu resta, che non manchi la tua ombra dalla mia testa di girasole. Stay, that your shadows will not be absent from my sunflower head. For friendship the tree knocks at the window. I know when I throw the noose, before the trip, the tree strangles me. The tree promised to your skeleton. And when I wait for death that the condemned from aligned trees know, the command that frees the space is the wind in the air.
E la luce tremante, nel tempo del mio sonno, guarda la mia veglia. Avevo gli occhi negli occhi del vino per poterti bere. Ah, my heart, you so soft playmate of the moon with wings bright and dark you delayed the entrance of the moon. And the light trembling, in the time of my dream, watches my wakefulness. From the tree no sign, all of a sudden the vase of color breaks in the middle of the sky. I had eyes in the eyes of the wine so I could drink you. The measured chalice of my age and the bittersweet slash of a rebellious love.
He works in Milan as a professional educator in the area of drug addiction and intercultural affiars. He is on the editorial board of the online trimonthly of literature of migrationEl Ghibli and contributes to many journals, among which Internazionale, il manifesto and Caposud. His work has appeared in several anthologies of short stories and poetry.
You leave a reality, an equilibrium, and enter in a new dimension, thus discovering analogies and differences, light and shadow, new noises, new sounds, new words. Feeling itself generates the need to communicate and make ones own emotions comprehensive for the listener. Words are thought, emotions just exist.
What is really important for me is communication, the possibility to tell and de scribe to others what I am living, without appealing to a bilingual dictionary. On the other hand, in the experience of migration words have the same power of notes: even if so few, one is still capable of composing a world of melodies, with infinite vibrations in the musician as well as in the listener.
He lives in Trent. Gianmario Lucini has written about him in Arnold de Vos. I am a small fish not easy to take in, and this is not my home sea. Distance is reckoned to be the breeding ground of desire, a stimulus to authors. So, I succeded for the first time to write real Italian poetry my migrant voice, born in Holland, was accustomed to the use of the Italian language since , while staying with my Dutch wife as archaeologists in the loneliness of the Tunisian countryside near the Algerian border, and then by myself in Tunis. Forse ho preso da lui. Ricaduta a distanza di tempo volente o nolente la raccolgo, una forma contorta che mi brucia tra le mani: La mano non data.
Maybe I take after him. From the blast furnaces of our silence some residue has flown. Fallen again in due time willingly or unwillingly I pick it up, distorted shape burning my hands: The hand not given. The moth-eaten sweater reveals with delight a body that wrinkles. Leaning against the front wall the new door is ready: you will leave the farm all in order, beauty composed for a museum exhibit.
Not happiness however. La rosa della rugiada spina la voce che espettora gli struggimenti della notte e la lena della luce che torna. The rose of dew bone chips the voice coughing up nocturnal heartaches and the force of turning light. Uno si affeziona al male per la bellezza, la vigoria e il rigoglio. One is drawn to sickness because of beauty, vigor and growth. Even water is a gift and I carry the fertilizer which I eat from my garden. What is mine of botanical arts I gladly husband to a lovely plant.
And if you have given me eyes to see beware, if it was to poison my life. Sono davanti al tavolo come davanti al muro. La parola mi inchioda, minchia. Essa ferisce e guarisce, nel mentre la vita va avanti e intristisce. I am in front of the table; as if in front of the wall. It wounds and heals, meanwhile life goes on and gets uglier. Solitudine divina, screzi buio e luce del pensiero. Salvati con il frutto della mente se in previsione non hai il frutto del ventre.
Heavenly solitude, you tinge the dark and light of thought. The seven days of the week are entirely for you: giving and taking is your advantage, giving and receiving reasons from the creations of your own genius. They seek refuge where there is no refuge. Fra i due tramonti giorno e notte sgrottano il grande occhio della creazione.
Dawn opens up to hope. Between the two sunsets day and night unwrinkles the great eye of creation. We have been created but not completed: the music is perfectible in the reed-pipe, necessary the sickle and the distance and the desire to dance on its foot. A varcare stretti clandestini anche se non sappiamo nuotare: i cammelli delle onde ci portano veloci, a predare oltre. To cross clandestine straits even when unable to swim: the humps of waves carrying us swiftly to prey beyond.
The ancient tribe of the desert blocked by frontiers, shuttered in cities flies at the height of the skyscraper on carpets woven inside the tent in the image and likeness of the rare heavens of prosperity, God willing. They shatter on marble pavements already cracked, because the place is in shambles.
I would have done better to cloister myself, but what clause is enclosure?
Italian Surnames - Cognomi Italiani - L
Suffering for the beauty of creation is our tribute to the body that we rent. Insieme, e mai insieme. E lo hai fatto. Together and never together. And you did.
A crooked love was born that I pay off in solitude. My love is a basket weave with broken wickerwork everywhere: the wear and tear does its best but usage has broken the bottom. Composizione per la decomposizione. The old man stares at his useless clean poems, when cleanliness is no longer desired. Composing for the decomposing. Penso alla mia lontana figura sulla luna che il bosco si riprende. I stagger among the tree trunks, an old bark my feet ambushed by the thick under-bush.
I think of my distant image on the moon that the forest reclaims. Dew, what moist carpet you have put down on the mad planet where chipmunks rain down egg-shaped nuts while a church bell invites the spirited mob of this world to come to mass. He received a degree in Albanian literature at Elbasan and in modern literature from La Sapienza in Rome. In he published in Albania his first collection of poetry, Antologia e shiut Anthology of the Rain , which came out after five years of censorhip with the editor N. Also his second book, Il diario del bosco The Forest Diary , suffered the same fate at the hands of the censors, but this time it was never published.
In Hajdari founded with other intellectuals the newspaper Il momento della parola The Moment of the Word , for which he now works as associate editor, writing at the same time for the local daily Republika, and has taught literature in the high school of his city. In Italy he won several prizes, including the Montale Prize for unpublished works , and the Dario Bellezza prize , and has been included in numerous anthologies, among which Ai confini del verso.
Diario in nero Muzungu. A Black Diary, Lecce, Besa Mi senti, tu, terra mia incurvata? In questa dimora di pioggia un filo sottile ci separa Quelli che ancora restano portano i volti di quelli che partono. Are you listening to me, my curved earth? In this abode of rain a fine line separates us Those of us who stay wear the faces of those who go away. Procedo nel verde consumato e non porto niente oltre il mio corpo. I make my way through the worn greenery carrying nothing other than my body.
I will leave nothing behind! Immobile e forestiera in uno spazio imperfetto, mai ospitale aspettando che il silenzio uniforme della sabbia ti parli del segreto. Immobile and a foreigner in a place imperfect, always inhospitable where you are waiting for the monotonous silence of the sand to speak to you of the secret. And all around it will go on, the frailty of things the vanishing of poets who connect the earth and heaven.
They say that we will die in opposing lands. My years: a flight through the unknown and dreadful awakenings in the middle of the night. In Italy since , he lives in Milan where he has cultivated his interests in literature and culture through his involvement in many activities and experiences. For twelve years he traveled throughout Italy giving lessons on African history and culture in a variety of schools, as well as discussing the themes of multi-culturalism.
At the request of School Systems Officials, he has given courses on integration to teachers and, for three years he has taught Italian to foreigners as part of the literacy program sponsored by the city of Milan. He has participated in many national and international conferences, held in some of the most prestigious Italian universities Milan, Rome, Bologna on the topics of immigration, culture and literature.
In he was invited to present a cycle of conferences in the U. Almost every year since he has been involved in research, sponsored by centers for studies, by non governmental agencies, and by local as well as provincial administrations, in the fields mentioned above. He has published Io, venditore di elefanti I, Elephant Vendor, in collaboration with Oreste Pivetta, Milan, Garzanti, , which has reached its eighth printing and is being used as a textbook in many schools. That of the vendor is a difficult occupation. Hard, sad, full of humiliations. It has taken some time and a few adventures before I arrived in Milan, where I was an inventor, because I was the one who put up the first small markets in the subway stations with three friends.
By selling we earned enough money to eat and sleep inside. Not always, but often. By selling I also learned Italian. Someone tries to change his job, hoping for a quiet life, to find a house, to reunite a family. There is no shame in it. This is the life of a Senegalese, the life I have known for a time that seems extremely long, but all considered fortunate because, as they say in my country, if you can recount something it means it brought you luck. A lot of guys rip up their staying permits and return to Senegal, because they have had it with Italy, the police, the carabinieri, the selling, the elephants, the ivory eagles, the necklaces, the Lacoste, the Vuitton purses, the hotel rooms, the expulsion orders, the seizures, the cold.
This cold I will never get used to. Many stay and meet Italian girls. They fall in love. There are marriages, and then even separations and divorces. And then more marriages. Children are born. E presto, presto, i vostri cavalli, e spronateli a sangue. Suonate le vostre trombe, eccitate e liberate le vostre mute di cani assassini. Cavalcate, gridate, urlate, attaccate, massacrate alle spalle questo sporco negro che ha il torto di assomigliarvi. And quickly, quickly, your horses, and whip them until they bleed. Blow your trumpets, stir up and set free your hordes of killer dogs.
The nigger hunt is open. Ride, yell, scream, attack, shoot in the back this filthy nigger whose sin is that he looks like you. Justice is done, here in Rwanda. Riempi il tuo cuore di odio prendi il tuo coltello e il tuo manganello. Organizza la tua muta, armala, di fucili, di solide sbarre di ferro, di grosse catene in acciaio temprato. Brucia i semafori clacsona ai quattro venti Fill your heart with hate take along your knife and your nightstick.
Organize your pack, arm them with guns, with solid bars of steel, with thick chains of tempered steel. Step on your cool machine and quickly, quickly ride it at full speed like a damned fool. Ignore the stoplights blow your horn to the four winds… The hunt for the nigger is on.
Get him out in the open, and above all show no pity for this intruding filthy nigger who dares to step on your flowerbeds. A Berlino Indossa i tuoi anfibi, la tua redingote, la tua croce uncinata. Gott ist mit euch. Eccetera, eccetera Fai come a Roma. E non sta mai a casa sua. Fate come a Berlino anche se siete a Parigi. Fate come a Parigi anche se siete a Bruxelles. Milano, Ginevra, anche se siete sul tram, o sul marciapiede.
Fate come in Algeria! In Berlin Put on your army boots, your frock coat, your Nazi cross. Et cetera, et cetera… Do as in Rome. But quickly because you could miss the best part of the nigger hunt knife in the back and with no pity this dirty Italian nigger who stinks too much of macaroni and never stays in his own place. God is with you. Do it as in Berlin even if you are in Paris. Do it as in Paris even if you are in Bruxelles. Milan, Geneva, even if you are on a bus, or on the sidewalk.
Do it as in Algeria! However, the main problem of this project is its little reflexivity. Semiotic portrayals of messages from the media, careful socio-historical comparisons, and a philosophical and interdisciplinary engagement with the social construction of the phenomena experienced in a given culture belong to the most promising features of the type of research made available in this volume. Italian and Italian American uncertainties are collected at an important juncture of insights from a wide spectrum of multifarious social experiences.
Tuscan Spaces: Literary Constructions of Place. With this publication Silvia Ross furthers the field of Place Studies. Through its focus on primarily Italian texts and, as the title suggests, particularly Tuscan spaces, the work enlivens a current debate too centered on American and Anglophone texts and environments. The study is divided into six chapters, some organized around a particular author while others are comparative. She also examines the work of E. The wide ranging and largely discrete chapters are drawn together by a common exploration not only of space, but also of the issues of belonging and otherness.
While she does discuss the various land and cityscapes that make Tuscany what it is, her focus is ultimately on human experience and psychology. The physical home serves simultaneously as a stage for their performance of femininity, an image, in its disorder, of their inner deviation from social normalcy and, finally, a prison, physically confining them just as society ideologically does. Ross analyzes such spaces as realms not just of difference but also of marginalization, both housing and ghettoizing sexual and ethnic difference.
Chapters move away from an early monographic nature as Ross turns to a comparative approach in chapter four. Italian Bookshelf M. Although the pairing of these texts is at first incongruous, they are convincingly united by a shared focus on the effects of the sublime, a sense of difference and individual expression of self.
The house in such texts becomes a link to community, allowing the foreign author a certain measure of belonging, as well as a vehicle through which to shape and display her own vision of Tuscan life. Like Mayes and Leavitt-Mitchell, Belotti narrates a first-person experience of moving to Tuscany she is Roman , setting up house, and feeling alternately that she is an outsider and that her neighbors are very much odd Others. Where her text differs from those of chapter five is in its privileging native fauna over the structures created in its midst.
Covering a wide span of texts and themes Tuscan Spaces presents a nuanced vision of a region too hastily summed up in popular discourse. It depicts Tuscany as host to different explorations of being grounded by a shared space, a location where nature has long met culture and assumptions about place are rarely met, but confrontations with the Other and individual reformulations of self are easily found. It demonstrates the utility of considerations of place when studying literature and related disciplines and is a welcome addition to both Italian and Place Studies.
In this monograph, Professor Laura Salsini examines a number of epistolary novels by Italian women writers published between and By using this traditional genre, Salsini claims, these writers deflected critical attention from their stylistic and ideological innovations, including a radical redefinition of the literary and social expectation of female experiences.
Chapter one opens with the earliest epistolary novel written by a woman in Italy: Lettere di Giulia Willet, by Orintia Romagnuoli Sacrati Through their sentimental epistolary narratives, seemingly conventional, these authors implicitly criticize accepted social codes, such as the erasure of female identity in marriage and motherhood, and articulate acute critiques of the very conventions on which epistolary fiction is founded. Like Benedetta, Manzini invokes the power of literature to transform lives through an innovative articulation of a traditional genre such as the epistolary novel.
Both authors use the epistolary genre in a new way by expanding its traditionally personal, intimate world into an exploration of the complicated, troubled Italian society of their time. Especially in Ginzburg, the exchange of letters emphasizes, instead of a sense of connection, the awareness of loss and defeat brought on by personal detachment and social estrangement In the ss, the period examined in the fourth and last chapter, the epistolary genre continued this process of opening up to social issues; literary exchanges of letters provided the link between feminist poetics and the feminist politics of these years.
I enjoyed reading this book. Its detailed plot summaries of the works examined, which may prove repetitive for those who know the stories already, make it, nevertheless, approachable as well to an audience unfamiliar with these sometimes obscure texts. Addressing the Letter, unfortunately, does not provide a consistent theoretical or comparative perspective and only sporadically places its texts within the abundant international field of epistolary fiction and theory.
Its compelling, clearly presented, and persuasively argued claim that Italian women writers transformed the conventions of epistolary fiction left me to wonder, for example, whether women writers in other countries have carried out analogous transformations. The poet identifies with both landscapes, and sees them as ultimately indistinguishable in the elusiveness and fragility of the life they harbour, and in their metaphysical dimension. Excellent detailed footnotes offer stimulating suggestions for further reading.
Yet their ambivalence towards emancipation remains noticeable, both in storylines and characterizations. Hypertrophied sexuality, one of the symptoms of the malaise of these characters, remains paradoxically their only hope of establishing contact with the Other.
Loriano Macchiavelli, a Bolognese writing for a predominantly low-brow reading public, uses the detective genre to communicate his preoccupations about the problems of contemporary society. His language is standard Italian without prominent features of Bolognese dialect; identity is seen through the lens of social, not geographical differences.
The two central characters in the novel of the Sardinian Giulio Angioni Lo sprofondo , set in the border city of Trieste, wrestle with their loyalty to different identities: regional, professional, and familial. These are now not only Sardinian, but coming from a variety of Italian dialects, and the languages of the minorities living in Italy and near the Italian border. The result is a functioning literary language that has the agility and communicative potential of the spoken language, an italiano regionale nazionale.
Dennis Looney. Ariosto is a central figure in the academic and courtly life of early sixteenth-century Italy; his association with his patrons, the Este ducal family of Ferrara, is apparent in several of his letters. Reference to this battle appears in the final canto of the third edition of the Furioso and is tied to the mythical origins of the ruling family of Ferrara through Ruggiero, a character first invented by Boiardo and maintained by Ariosto.
The English translation closely corresponds to the original letters, and with the exception of the first letter of , all were written in the vernacular. Certain passages are missing in the epistles due to poor conservation or damage of some of the manuscripts. The missives are neatly divided into three sections. The second section of letters, , is the most numerous, spanning over three years. Several epistles were written while Ariosto was ducal commissioner in the Garfagnana, a region in what is today considered Northern Tuscany along the Tuscan-Emilian Appennines.
Ariosto thinks of clever and plausible solutions to difficult situations that arise in several of his letters. Major topics discussed in the epistles include the problems of crime, corruption and banditry, fear of the plague and its possible devastation, inappropriate behavior by church authorities, as well as issues revolving around the transport of salt and the ownership and consumption of chestnuts. There are also a few letters that refer to his theatrical writings; one in particular, letter , presents Ariosto apologizing to Federico Gonzaga for having written his comedies in verse and not in prose.
Apparently, the Duke of Mantua hastily returned the literary works to the poet because their metrical style displeased him. The final entry in this collection, Herbal Doctor, is a delightful short work of satiric prose designed to parody humanism and neoplatonic philosophical thought. The monologue is delivered by an itinerant charlatan named Antonio Faventino, who claims to be a well traveled medical doctor interested in selling a miraculous elixir. There is an interesting connection in this work between the relevance of classical sources dealing with science and medical knowledge and the debate among humanists of their accuracy in the cinquecento.
Readers can attest to his perceptive and pragmatic nature and his obsession with literary redaction. He prudently communicates problems that arise during his tenure as provincial commissioner for the Este family. At the beginning of each letter, the translator conveniently places a short summary of its content for his reader.
Funzioni semantiche e metatestuali della musica in Dante, Petrarca e Boccaccio. Firenze: Olschki, Dire il suono con mezzi espressivi diversi, assumendo di questo tutti i possibili rischi. Fissare lo strumento musicale senza voce, attribuendogli un suono puramente mentale, intellettuale, scritto. Il Dionisiaco? Italian Bookshelf Ed in quel momento scrittori e poeti hanno cominciato a ritrarne in parole gli strumenti, a scriverne i modi, le forme, la fisica, i processi, il tocco.
Come mostra bene questo lavoro, diversi sono i motivi di tale magnetica attrazione della scrittura nei confronti della musica, in particolare lungo il medioevo europeo. Fondazione L. Bianciardi Anthony Cristiano. Franco Pierno. Toronto: Polypus Publishing, This work is one of a kind. On the language side, it is an interlinear translation of the Inferno that alternates on every line with the original so that the translation follows the original at every turn. This process becomes a very convenient way for new readers of the Inferno — but not only for them — to follow the original more closely, and, at the very least, to know what Dante wrote and meant to say.
An interesting feature of this epilogue is that the terza rima gradually breaks down, as does its language, only to end in an incomprehensible gibberish. A good general bibliography and a more specific one on Dante scholarship and materials follow the introduction. Franco Pierno, a linguist and a Romance philologist at the University of Toronto, also speaks as a teacher of Dante and of his experience teaching an undergraduate course on the poet.
I agree with Pierno. I would like to recommend this book highly to readers at large, but especially to teachers of Italian language and literature. Savonarola and Savonarolism. Essays and Studies Toronto: Centre for Reformation and Renaissance Studies, He thus goes beyond the study by Lorenzo Polizzotto, who, in his The Elect Nation: The Savonarolan Movement in Florence, , closes his analysis of Savonarolism in when the Counter-Reformation was just getting underway.
The book contains a glossary of useful terms, a list of illustrations, and, at the end, a discursive bibliography for each chapter. These features are without doubt necessary tools for the non-specialist reader. It is clear that Savonarola understood the importance of printing as a means of propagating his ideas. It is also a compelling account of the literary tradition concerning Savonarola the man and his teachings.
Each chapter reveals the constant interaction between his supporters and opponents throughout the sixteenth century and how this interplay reached its full expression in the form of literature, which was composed either in defense of or in opposition to the friar. The history surveyed in Savonarola and Savonarolism informs us of the metamorphosis of Savonarolism in the course of a century: from a highly politicized reformist agenda to an increasingly apolitical and devotional movement.
Church authority. Ravenna: Longo Editore, The value of these texts is, therefore, immense when compared to commentaries from later decades and centuries, for which the loss of focus affected by the passing of time renders them less connected with the reality of the poet. On the other hand, access to these medieval glosses is often encumbered and obfuscated by the long and at times inconsistent manuscript tradition that has handled them for the past seven centuries.
The first part contextualizes the edition within the manuscript tradition, including a history of the commentary. The second part addresses questions of ecdotica and of the interpretation of the text, generating authority for establishing this edition as a text in itself. The third part of the introduction examines the phenomenology of the copying tradition of the earliest commentaries. It begins with this prologue or accessus generale and then it is divided into cantos. Hairston and Walter Stephens, eds. The Body in Early Modern Italy.
What did the human body mean in early modern Italy? The fifteen essays in this collection, the result of an interdisciplinary conference held by the Johns Hopkins University in , admirably address and weigh in on this question. The essays are usefully divided into four thematic sections. The first of these discusses bodies in the Petrarchan tradition. Margaret Brose skillfully examines the representations of the body and their multiple, emblematic fetishizations in the Canzoniere.
Luca Marcozzi carefully traces a useful history of the corpus carcer metaphor and demonstrates how its use in Petrarch reveals the debt of his poetry to Christian Platonism. Perhaps the most salient essay in this initial section is that of Ronald L. The second section focuses on philosophical and scientific considerations of the body.
This practice inspected the internal organs after death for corporeal signs of saintliness. Beyond demonstrating the importance of these thinkers in the composition of the Malleus maleficarum, Stephens illustrates how Renaissance discourses of demonic corporeality and witchcraft were philosophical, empirical and protoscientific. Though the essay is somewhat less cohesive than the other pieces in this section, it succeeds in its reconstruction of a broad cultural context of phallic iconology in the fifteenth and sixteenth centuries.
She shows how the image of the saint being transfixed with arrows came to function as a symbol for overcoming diseases such as the plague and syphilis through the transference of classical figurations of the god Apollo onto the Christian saint. At the same time, Talvacchia demonstrates how the figure of Apollo, once transferred onto St. Sebastian, made the task of depicting of the saint an agonistic test of painterly virtuosity. The editors of this collection are to be commended for their careful selection of contributors and for the polyphony that results from these pieces despite their diversity.
The extensive notes, bibliography and index make this volume a useful tool for humanities scholarship, especially for students of gesture and corporality studies, cultural history, art history, Italian literature and gender studies. The collection is an essential text to own for all students of the Italian Renaissance. The breadth of material along with the innovative approaches employed are sure to spark countless ideas for further research as the role of the body continues to be reinserted into the critical consciousness of scholars.
A Critical Guide to the Complete Works. Ronald G. By highlighting the mixing of classical and biblical citations in five public speeches from to the year preceding his death in , and letters concerning these speeches and his time in princely courts, she presents him as Renaissance courtier-humanist avant la lettre. Ann Matter examines the controversial history of transmission of the under-studied Psalmi penitentiales, an Augustinian dialogue that mirrors the Secretum through simultaneous concern for love and penitence.
Stefano Cracolici reveals how the relentless revision of the Invective ad medicum dehistoricized the specific occasion of its composition to become a functional and rational literary genre, rather than a formal example of classical invective. William J. Lynn Lara Westwater reconstructs the more contemporary, but no less public, self-fashioned image of the poet in the Lettere disperse — letters excluded from the Familiares and Seniles, which maintain their historicity, offering a different side of the Petrarch who endlessly revised and reordered letters destined for posterity.
Nevertheless, this volume is a critical tour de force previously unseen in Petrarch studies, whose essays and extensive bibliography are indispensable to Medieval and Renaissance scholars in all fields. Aileen A. By the same token, the research presented on Italian and Spanish primary texts is nicely balanced. The collection is rich as well in its engagement with a variety of generic forms: epic, chivalric romance, treatise, dialogue, figurative and dramatic arts, among other modes of expression. Performativity was paramount, at the same time, as a means to showcase ideas and ideals of manhood.
Malleable and slippery as a concept in practice and in theory, masculinity was created and negotiated on and off the written page, never losing its indisputable bond to social structures that bestowed or withheld power from its male subjects. This is what the majority of the essays in the volume lead us to understand. This idea resonated with theatrical practice wherein female performers were preferred to males in drag, a custom enforced by legislative measures. Moving outside the domain of the superbly popular conduct manual, we come to the equally influential genres of epic and chivalric romance.
The Poetics of Masculinity invites our own creative integration of this fascinating tool of gendered analysis toward an ever more nuanced understanding of the early modern world. Luigi Pulci e la Chimera. Ad ogni modo, il libro dello studioso della Fordham University di pregi ne ha anche altri, oltre quello della chiarezza. Incrociando notizie biografiche e letterarie, lo studioso ci consegna una ricostruzione degli accadimenti molto ridimensionata, rispetto alla vulgata di un dissidio insanabile con il signore di Firenze coniugato al funesto contrasto con il filosofo e il prete di corte e concorda dunque con Decaria per quanto riguarda la portata dello scontro di Pulci con gli ultimi due.
Konrad Eisenbichler and Nicholas Terpstra. Una docenza fertile, caratterizzata da un singolare approccio dialettico ed interdisciplinare del metodo inquisitivo, in cui storia, sociologia, cultura, antropologia, religione, filosofia convergono e si compongono ordinatamente in un singolare specillum investigativo. Michele a Firenze, venne inaugurata nel Terzo e ultimo della serie, il saggio di Nicholas Terpstra, Catechizing in Prison and on the Gallows in Renaissance Italy: The Politics of Comforting the Condemned , analizza il fenomeno della diffusione delle conforterie bolognesi.
Mantenuta la divisione simmetrica dei tre saggi, la sezione mira ad analizzare la natura dei meccanismi di controllo attuati attraverso 1 la testimonianza dei tribunali vescovili o fori ecclesiastici E. Grendler e i suoi anni canadesi. Chaucer and Petrarch. Cambridge: D. Brewer, The essay by W. Rossiter especially considers the translating and interpretative strategies adopted by Chaucer trying to adapt some of the Latin and Vulgar writings by Petrarch into his own language.
Consequently, it appears that the revered Italian poet is mostly responsible for pointing out the two terms of paraphrase and metaphrase as the two most important theoretical terms of the question. Seemingly as a matter of priority, the author excludes any possibility of an encounter between the two poets The meticulous examination of the linguistic and formal alterations undergone by Petrarchan sonnet in the Chaucerian translation permits Rossiter to promulgate a tripartite conclusion regarding the overwhelming poetic role of Chaucer in England.
First, his primacy in spreading the knowledge and love for Petrarch throughout the country, as well as the foundation of the English sonnet; secondarily, his implicit exertion of the connection between Petrarch and Boccaccio based upon their common stilnovistic inheritance; finally, the extent of themes to which a Petrarchan sonnet can ascribe. For this reason, the plurality of interpretations to which it eventually invites the reader, the author eschews the medieval danger of closing up the hermeneutic richness of the text on a univocal moral conclusion The undoubtedly successful result of exhaustive and thorough research about one of the most relevant early modern authors, the text is in fact also a deep and important reconsideration about some of the literary strategies which modernity has inherited from the past.
La donna nel Rinascimento meridionale. Atti del convegno internazionale Roma novembre Pisa: Fabrizio Serra Editore, Trentuno relatori, italiani e stranieri, servendosi della varia tipologia di fonti archivistiche e degli studi che recentemente hanno arricchito la bibliografia, con determinazione e acribia, hanno delineato la condizione sociale della donna nel Rinascimento meridionale. Ecco il silenzio della donna nelle pagine oscene del Novellino di Tommaso Guardati, detto Masuccio Salernitano. Il breve trattato del cardinale Pompeo Colonna, Apologia mulierum, testimonia la presenza a Napoli di donne che promuovevano concrete iniziative assistenziali e ponevano il monastero al centro di incontri e salotti letterari.
Il Canzoniere di Petrarca tra codicologia ed ecdotica. Francesco Petrarca. Rerum vulgarium fragmenta. Edizione critica. Giuseppe Savoca. Previous editions — from the Aldine edition to the Canzoniere of Gianfranco Contini, first published in and often accorded the status of a critical edition, to the facsimile edition of the manuscript Vaticano Latino published under the direction of Gino Belloni, Furio Brugnolo, H. Wayne Storey and Stefano Zamponi — are all rejected as inadequate by Savoca.
Like every editor, however, Savoca makes decisions that are not defensible on the basis of the manuscript, and in any case, as Savoca points out, Vat. In the 18 th and 19th centuries scholars did not even recognize Vat. Savoca is the first editor to return to the Vat. Commas function both rhythmically and semantically, and sometimes signify a brief pause to negotiate tension between rhythm and significance; they isolate or coordinate elements within and between clauses.
Savoca argues that the subtlety with which the poet used the pause guarantees the musicality of the Canzoniere and the accretion of meaning. This is the principal innovation of the edition. In compensation, the musicality of each work is enhanced, as is the fluidity of the entire Canzoniere as the reader passes from one composition to the next. The first line is punctuated with a colon, which charges the remainder of the sonnet, an accumulation of hyperbole praising the singularity of the beloved, to serve as a proof for the sweeping initial pronouncement. Unlike Contini, but in keeping with Vat.
According to Savoca, the comma in line three invites the reader to reflect on the happy contrast between the blond youth and the white head of maturity, and to mediate and harmonize the sound and sense. Removing the comma in line ten means losing a stylistic trait absolutely specific to Petrarch, that is, the use of the comma before the conjunction e, et. Impressioni di Roma.
La breccia di Porta Pia. Gabriella Romani. Venezia: Marsilio This was an event in which De Amicis himself had participated as a young army officer and military journalist. These accounts are truly passionate, but still embellished, in order to imprint Rome in the hearts of the Italian people, as future capital of the still incomplete kingdom of Italy.
His memories, however, are more pamphlets than detailed reports. Real events and fictional invention are commixed, and his stories become tools to build memories, rather than to preserve them. Emiliano Battista. New York: Berg, , His stories are presented in a delectable way to involve people in the national effort to unify Italy. Ci fu entusiasmo davvero? Thus, as ideological as he would appear, he wants to sell enthusiasm, because it is more moving than rigorous thinking. On the one hand, De Amicis reassures his reader that the unification process is not determined to suppress the Catholic Church.
More than on papal Rome, the new Italian capital will have to be modeled on the classical one. Rather than Catholic churches and altars built by popes to redefine the symbolic value of public spaces, the open-air monuments of Ancient Rome should inspire politicians and common people to shape the new secular Italian capital city. Similarly, there is no reference to Roman Jews still obliged to live in the Ghetto, although most of them interpreted the breach of Porta Pia as a messianic event. The Year A Dream. Nicoletta Pireddu. David Jacobson. Lincoln: U of Nebraska P, The Isle of Experiments comprises other little states, such as Poligama where men have many wives , Polyandra where women have many husbands , Cenobia where men live in ascetism , Monachia where nuns are devoted to the cult of Sappho and, finally, Peruvia where life is modeled on the ancient socialist regime of the Incan Empire.
A Dream is a book that bespeaks more of its own era than of the future it purports to unveil. Utopia, and Antonio Ghislanzoni Abrakadabra. The Year A Dream constitutes an important addition to the relatively small number of nineteenth-century Italian novels available in English and is an invaluable text to add to any class, whether within a comparative context or not, teaching nineteenth-century Italian literature.
La parola scritta e pronunciata. Nuovi saggi sulla narrativa di Vincenzo Consolo. San Cesario di Lecce: Manni Editore, I vari contributi, disposti cronologicamente a seconda del testo di cui si occupano, sono chiusi da un saggio dello stesso Consolo che, per la sua pregnanza di significati ed allusioni ne arricchisce il volume.
Oxford: Peter Lang, Nella seconda sezione, gli interventi si concentrano sul rapporto tra alcuni modelli teorici o aspetti concettuali e il pensiero postmoderno. Alessia Ronchetti, invece, analizza il postmodernismo alla luce della scuola italiana della differenza sessuale, basando le proprie riflessioni sui lavori di Luisa Muraro e Adriana Cavarero. New Haven: Yale UP, Domande di comprensione e suggerimenti per la discussione in classe seguono ogni sezione di testo.
Gli studenti possono anche consultare due appendici, che offrono una selezione di saggi, racconti e testimonianze, a illustrazione delle problematiche precedentemente toccate. Anche in questi capitoli, Bartalesi-Graf integra la propria sintesi storico-sociale con testimonianze documentarie, tra le quali interviste da lei condotte in Basilicata nel A Levi e alla sua opera sono dedicati i tre capitoli centrali. Laddove opportuno, le schede contengono indicazioni per considerazioni inter-testuali rispetto al Cristo oppure ad altri quadri.
Il capitolo si chiude con due sezioni dedicate ad argomenti di ricerca e discussione, e con una breve ma completa bibliografia e lista di siti internet dove trovare riproduzioni dei dipinti di Levi. Il capitolo si sofferma soprattutto sul confronto tra il testo e il film, approfondendone poi alcune tematiche comuni. I testi nelle appendici, inoltre, permettono di ascoltare, oltre a quella di Levi, altre voci dal sud. Remapping Cultural History 7. New York: Berghahn Books, While connected by these concerns, each chapter in Journeys through Fascism is nonetheless fairly autonomous, not simply with regard to the geographical region under consideration, but also in terms of the kind of writer examined and, to some extent, the critical approach adopted.
Wisely, Burdett restricts the scope of his study in a number of ways: in addition to focusing on texts produced in the s and s and stopping short of the Second World War , he chooses to address more or less prominent authors, for the most part journalists writing for major newspapers subject to Fascist censorship. Geographical displacement is often accompanied by a sense of temporal displacement. This important work certainly points toward other complimentary areas of research, including the broader phenomenon of domestic and foreign tourism among the general public already examined by Richard Bosworth.
Drawn and Dangerous: Italian Comics of the s and s. Jackson: UP of Mississippi, The number of rigorous, book-length studies devoted to the critical evaluation of comics can scarcely fill one shelf in an average-sized bookcase. Although the study of comics is beginning to gain the status that the study of cinema attained on university campuses in the s, the volume of scholarship is playing catch- up. In his first section, Castaldi discusses the post-war Italian comics that tended to feature adventure stories, or riffs on American genres such as the western, that were produced primarily with a younger audience in mind.
As Castaldi notes, the artistic quality of these comics varied widely. The magazine also routinely carried American strips, such as Peanuts, along with the left-leaning strips Pogo and Doonesbury. He points to the introduction of the independently published Cannibale in the spring of as the beginning of new adult comics. Additionally, the comic addressed contemporary issues often as they were happening that few publications and certainly no other comics were featuring, including drug addiction and homosexuality.
The most popular of all adult comics, Il male, began in February The comic which carried Cannibale as a supplement until it stopped publishing was overwhelmingly satirical in tone, adhering to no strict political line other than to attack any dominant value or convention of the era. Il male reached the peak of its popularity during the Moro kidnapping. Cannibale, which ceased publishing after nine issues, resurfaced in late as the less political Frigidaire.
It found an audience in a generation tired of the political slant of the previous decade by embracing characteristics of the Italian high-post-modernist phase in the s. This dilemma makes the third section, in which Castaldi provides thorough evaluations of key artists and writers, all the more essential. I found myself on Amazon, searching in vain for the work of Pazienza, Tamburini, the Valvoline Group, and others mentioned by Castaldi, and had no luck with the exception of the occasional used copy, usually in Italian.
Hopefully, Drawn and Dangerous will inspire a new and heightened interest in these artists, leading to greater awareness and availability of their works in the U. Scrivere contro. Viaggio nella narrativa sperimentale italiana del XX secolo. Piacenza: Scritture, Ma Scrivere contro si segnala soprattutto per la coerenza del metodo.
Decisamente un ottimo lavoro questo di Paolo Cherchi e Cosetta Seno Reed che proprio nel carattere divulgativo del progetto ha il suo maggior pregio. Anzi proprio la grande fortuna della gastronomia, secondo quanto ricostruiscono Paolo Cherchi e Cosetta Seno Reed, sembra ricucire quella cesura originaria di due formati, di due culture, di due Italie divise. I vocaboli sono divisi per campi semantici di appartenenza abbigliamento, alcolici, architettura, ecc. Sono fornite anche informazioni sulla specie grammaticale e notizie sulla storia dei termini e sulle eventuali mediazioni o interferenze con altre lingue.
Quali previsioni si possono fare? Quali saranno i prossimi italianismi che entreranno ad ogni diritto nel vocabolario inglese per rimanervi? Due to these circumstances, the notion of italicity must be expanded beyond the borders of the Italian peninsula to include a transnational network of people who are connected with or interested in Italian culture. Italian Bookshelf According to the author, the catalyst of this movement was the increased possibility of communicating and traveling at a low cost.
The benefit of this new and more inclusive definition of citizenship is that it will allow Italy to claim a more significant role in the international arena and to incorporate into Italian culture the richness of a transnational network of experiences. Notwithstanding the interesting premises offered by Bassetti, however, a question remains unanswered: who exactly is an Italic? Does this category include everyone who has ever been interested in Italian culture? Or does membership demand some type of accompanying action?