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Sixteenth-Century Spain Was a Propitious Site to Carry out Discovery
BODIES OF DISCOVERY: VESALIAN ANATOMY AND LUIS BARAHONA DE SOTO'S LAS LAGRIMAS DE ANGELICA Charles Ganelin Purdue University ixteenth-century Spain was a propitious site to carry out discovery. But I do not refer to so many outward voyages and both the de Sstruction and "civilizing" that took place in distant lands; rather, my focus is inward to other fantastic voyages of uncovering—literally— new terrain of the human body. The revitalized practice of anatomy and anatomical dissection in Spain, beginning almost mid-sixteenth century, placed the country for a brief time in the forefront of the new knowledge that has been called the "Vesalian revolution." Andreas Vesalius (1514- 1564), a physician and anatomist who trained at the Sorbonne in Paris, taught in Padua, became personal physician to Philip II, and published in 1543 his De humani corporis fabrica} This renewal of learning, a founda tion with profound implications for how knowledge is transmitted, af fected as well the literary representation of the body. In every age science discovers new wonders about the human organism, a constant reinvigo- rarion that fuels ever-expanding horizons about the textual capacity of the body, whether inscribed as a sign within a text, inscribed on itself or even cut in to. Growing out of a post-structuralist concern with inside/ outside dichotomies, seeking to resolve the tensions implicit in the act of dissection (cutting in to) and what it entails, and addressing the notion of "otherness" imbued in what we cannot or dare not see,2 recent studies -
Society for Italian Studies Biennial Conference 2019
Society for Italian Studies Biennial Conference 2019 University of Edinburgh 26-28 June 2019 Programme Welcome Benvenute! Benvenuti! Italian Studies at the University of Edinburgh are truly delighted to welcome you all to the 2019 Biennial Conference of the Society for Italian Studies. We are celebrating the Centenary of Italian at the University of Edinburgh (1919-2019), and we are proud to be hosting this major conference with nearly 300 delegates, including some of the most distinguished keynote speakers, leading academics, and inspiring students from Europe, Australia, North America and beyond. Thank you for your participation. Enjoy the Conference! The Edinburgh Team Edinburgh Team The Edinburgh team consists of staf and students of the University of Edinburgh. Lead Organisers Davide Messina Federica G Pedriali Co-Organisers Nicolò Maldina Carlo Pirozzi Information Desk Marco Palone Daniela Sannino Marialaura Aghelu Helpers Simone Calabrò Daniele Falcioni Niamh Keenan Alessandra Pellegrini De Luca Marco Ruggieri University of Ediburgh School of Literatures, Languages and Cultures Department of European Languages & Cultures 50 George Square Edinburgh EH8 9LH www.llc.ed.ac.uk/delc/italian/sis-2019 For further information, please email the Lead Organisers Davide Messina ([email protected]) and Federica G. Pedriali ([email protected]) Keynote Lectures On Ulysses: in Praise The Changing Fortunes Speaking in Cultures of Literature of Translations Wednesday 26 June Wednesday 26 June Wednesday 26 June 11:00-12:00, Room G.03 1:00-2:00, Room G.03 6:15-6:50, Scottish Parliament Lino Pertile is Carl A. Susan Bassnett is Professor Jhumpa Lahiri is Professor Pescosolido Research of Comparative Literature at of Creative Writing at the Professor of Romance the University of Glasgow, Lewis Center for the Arts, Languages and Literatures, and Professor Emerita of Princeton. -
Renaissance and Reformation, 1978-79
Sound and Silence in Ariosto's Narrative DANIEL ROLFS Ever attentive to the Renaissance ideals of balance and harmony, the poet of the Orlando Furioso, in justifying an abrupt transition from one episode of his work to another, compares his method to that of the player of an instrument, who constantly changes chord and varies tone, striving now for the flat, now for the sharp. ^ Certainly this and other similar analogies of author to musician^ well characterize much of the artistry of Ludovico Ariosto, who, like Tasso, even among major poets possesses an unusually keen ear, and who continually enhances his narrative by means of imaginative and often complex plays upon sound. The same keenness of ear, however, also enables Ariosto to enrich numerous scenes and episodes of his poem through the creation of the deepest of silences. The purpose of the present study is to examine and to illustrate the wide range of his literary techniques in each regard. While much of the poet's sensitivity to the aural can readily be observed in his similes alone, many of which contain a vivid auditory component,^ his more significant treatments of sound are of course found throughout entire passages of his work. Let us now turn to such passages, which, for the convenience of the non-speciaUst, will be cited in our discussion both in the Italian text edited by Remo Ceserani, and in the excellent English prose translation by Allan Gilbert."* In one instance, contrasting sounds, or perhaps more accurately, the trans- formation of one sound into another, even serves the implied didactic content of an episode with respect to the important theme of distin- guishing illusion from reality. -
Machiavelli and Ariosto: Language, Power, and the War of Words Rosanne H
University of Connecticut OpenCommons@UConn Master's Theses University of Connecticut Graduate School 2-3-2015 Machiavelli and Ariosto: Language, Power, and the War of Words Rosanne H. Pelletier UConn, [email protected] Recommended Citation Pelletier, Rosanne H., "Machiavelli and Ariosto: Language, Power, and the War of Words" (2015). Master's Theses. 715. https://opencommons.uconn.edu/gs_theses/715 This work is brought to you for free and open access by the University of Connecticut Graduate School at OpenCommons@UConn. It has been accepted for inclusion in Master's Theses by an authorized administrator of OpenCommons@UConn. For more information, please contact [email protected]. Machiavelli and Ariosto: Language, Power, and the War of Words Rosanne Helen Pelletier B.A., State University of New York at New Paltz, 1983 Ph.D., Yale University, 1994 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Connecticut 2015 Copyright by Rosanne Helen Pelletier 2015 ii APPROVAL PAGE Master of Arts Thesis Machiavelli and Ariosto: Language, Power, and the War of Words Presented by Rosanne Helen Pelletier, Ph. D. Major Advisor________________________________________________________________ Franco Masciandaro Associate Advisor_____________________________________________________________ Norma Bouchard Associate Advisor_____________________________________________________________ Andrea Celli University of Connecticut 2015 iii Acknowledgments My utmost gratitude goes to Professor Franco Masciandaro, whose seminars inspired this thesis. His own scholarship, as well as his comments and encouragement on drafts of these chapters, have been the most important ingredient. I am extremely grateful to Professor Norma Bouchard, for seminars that were also a cherished part of my education. Her precise comments and positive reaction have been crucial, both to the present thesis, as well as to the more refined work into which I will seek to render it. -
Catalogo Libri.Pdf
Medianizer 1 / 348 Cover Book Summary 02.02.2020. La notte 2 febbraio 2020. È tutto pronto, il grafico incisore che ha avuto dal ministro dell’Economia l’incarico di disegnare la che uscimmo Lira Nuova ha finito, il punto di verde è perfetto. Banconote dall’euro e monete verranno messe in circolazione a partire dalla mezzanotte. Il governo è in carica da un anno e mezzo, e ormai la maggioranza è costituita da un partito unico, il Psi Sergio Rizzo – Partito sovranista italiano. Per tener fede alle promesse elettorali il Psi ha fatto saltare i conti pubblici. Così non c’è altro da fare che... 100 X 100: The Twentieth Century Through Portraits of a Hundred Sardinian Centenarians Luigi Corda 1000 giochi 10, 100, 1000 giochi... per un divertimento stratopico! Una raccolta di giochi enigmistici per tutti i gusti e tutte le età. enigmistici Cruciverba, rebus, labirinti, quiz e tanti altri rompicapo per mettere alla prova le proprie abilità e allenare la mente Geronimo Stilton divertendosi! Parola di Stilton. Età di lettura: da 7 anni. 1984 1984. Il mondo è diviso in tre immensi superstati in perenne guerra fra loro: Oceania, Eurasia ed Estasia. In Oceania la società è governata dall'infallibile e onnisciente Grande George Orwell Fratello, che nessuno ha mai visto di persona. I suoi occhi sono le telecamere che spiano di continuo nelle case, il suo braccio la Psicopolizia che interviene al minimo sospetto. Non c'è legge scritta e niente, apparentemente, è proibito. Tranne divertirsi. Tranne pensare. Tranne amare. Tranne vivere, insomma. Dal loro... 2020 verso un nuovo ecosistema della mobilità Created by Medianizer - www.medianizer.com Medianizer 2 / 348 Cover Book Summary 21 lezioni per il XXI In un mondo invaso da informazioni irrilevanti, la lucidità è potere. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77618 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Kate Elizabeth Willman PhD Thesis September 2015 NEW ITALIAN EPIC History, Journalism and the 21st Century ‘Novel’ Italian Studies School of Modern Languages and Cultures University of Warwick 1 ~ TABLE OF CONTENTS ~ Acknowledgements ………………………………………………………………………...... 4 Declaration …………………………………………………………………………………... 5 Abstract …………………………………………………………………………………….... 6 INTRODUCTION ………………………………………………………………………..... 7 - Wu Ming and the New Italian Epic …………………………………………………. 7 - Postmodern Impegno ……………………………………………………………….. 12 - History and Memory ……………………………………………………………….. 15 - Representing Reality in the Digital Age ………………………………………….... 20 - Structure and Organisation …………………………………………………………. 25 CHAPTER ONE ‘Nelle lettere italiane sta accadendo qualcosa’: The Memorandum on the New Italian Epic ……………………………………………………………………..... 32 - New ………………………………………………………………………………… 36 - Italian ……………………………………………………………………………….. 50 - Epic …………………………………………………………………………………. 60 CHAPTER TWO Periodisation ………………………………………………………….. 73 - 1993 ………………………………………………………………………………… 74 - 2001 ........................................................................................................................... -
Alcina Rediviva. Transformations of an Enchantress in Early Librettos«
!" LIR.JOURNAL.11(19) """""""""""""""! " Dag Hedman, »Alcina rediviva. Transformations of an Enchantress in Early Librettos« " ABSTRACT """"""""""""""""""""""" The aim of this study is to follow the transformations in eighteen librettos of the enchantress Alcina from Ludovico Ari- osto’s popular chivalric epic Orlando furioso (1516–1532). The librettos used were printed in Austria, France, Great Britain and Italy 1609–1782. The texts encompass different genres like ballets, drami/drammi per musica and feste teatrali. There are several reasons for the popularity of Alcina in the theatre of the Baroque Age, among which are her contrasting moods and the possibility of spectacular scenic effects due to the frequent occurrence of magic. The study shows that whereas there is an impressive variety in the librettists’ approach to Alcina’s personality and the plots in which she is involved, there is no clear development of the topic. " Dag Hedman is a Professor of Literature at the Depart- ment of Literature, History of Ideas and Religion, University of Gothenburg. " Keywords: Alcina – sorceress – character development – opera heroine typology – early music drama – libretto " http://lir.gu.se/LIRJ """"""""""""""""""""""""""""""""! lir.j.11(19) 66 !" Dag Hedman """" """""""""""""""""! !" ALCINA REDIVIVA. Transformations of an Enchantress in Early Librettos """""""""! !" According to Lorenzo Bianconi and Thomas Walker, Publius Ovidius Naso’s (43 B.C–17/18 A.D.) role as one of the main sources of inspiration for the earliest Italian librettists was soon taken over by Ludovico Ariosto (1474–1533) and Torquato Tasso (1544–1595), who in their turn were replaced in the middle of the seventeenth century by historical sources. A few Ariostan librettos were written in France in the 1680s, however, and soon Ariosto had a revival in Italy, which lasted a bit into the eighteenth century.1 This development, outlined by Bianconi and Walker, has been challenged by David J. -
Angelica Kauffmann, R.A., Her Life and Her Works
EX LlBRl THE GETTY PROVENANCE INDEX This edition is limited to lOOO copies for sale in Great Britain and the United States. I ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS BT DR. G. C. WILLIAMSON THE KEATS LETTERS, PAPERS AND OTHER RELICS Reproduced in facsimile from the late Sir Charles Dilke's Bequest to the Corporation of Hampstead. Foreword by Theodore Watts-Dunton and an Intro- duction by H. Buxton Forman. With 8 Portraits of Keats, and 57 Plates in collotype. Limited to 320 copies. Imperial 4to. OZIAS HUMPHRY: HIS LIFE AND WORKS With numerous Illustrations in colour, photogravure and black and white. Demy 410. MURRAY MARKS AND HIS FRIENDS With numerous Illustrations. Demy 8vo. DANIEL GARDNER Painter in Pastel and Gouache. A Brief Account of His Life and Works. With 9 Plates in colour, 6 photogravures, and very numerous reproductions in half-tone. Demy 4to. THE JOHN KEATS MEMORIAL VOLUME By various distinguished writers. Edited by Dr. G. C. Williamson. Illustrated. Crown 410. Dr. G. C. WILLUMSON and LADY VICTORIA MANNERS THE LIFE AND WORK of JOHN ZOFFANY, R.A. With numerous Illustrations in photogravure, colour and black and white. Limited to 500 copies. Demy 4to. THE BODLEY HEAD Digitized by the Internet Archive in 2013 http://archive.org/details/angelicakauffmanOOmann SELF PORTRAIT OF ANGELICA. From the original painting in the possessio?! of the Duke of Rutland and hanging at Belvoir Castle. The Duke also owns the original sketchfor this portrait. ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS By LADY VICTORIA MANNERS AND Dr. G. -
Riti Del Cibo E Costruzione Dell'identità in Natalia Ginzburg, Primo Levi, Aldo
Italogramma, Vol. 2 (2012) http://italogramma.elte.hu Identità italiana e civiltà globale all’inizio del ventunesimo secolo Eleonora Conti RITI DEL CIBO E COSTRUZIONE DELL’IDENTITÀ IN NATALIA GINZBURG, PRIMO LEVI, ALDO ZARGANI La cultura materiale può rappresentare un buon punto d’osservazione per illuminare una civiltà letteraria, e ciò vale anche per il cibo e la cucina, come afferma lo storico Massimo Montanari: Esattamente come il linguaggio, la cucina contiene ed esprime la cultura di chi la pratica, è depositaria delle tradizioni e dell’identità di gruppo. Costituisce pertanto uno straordinario veicolo di autorappresentazione e di comunicazione: non solo è strumento di identità culturale, ma il primo modo, forse, per entrare in contatto con culture diverse, giacché mangiare il cibo altrui sembra più facile – anche se solo all’apparenza – che decodificarne la lingua. Più ancora della parola, il cibo si presta a mediare fra culture diverse, aprendo i sistemi di cucina a ogni sorta di invenzioni, incroci e contaminazioni.1 Tali considerazioni si rivelano particolarmente vere per un paese come l’Italia, patria della buona tavola, e per un filone della letteratura ita- liana che coincide con il prodotto di una comunità numerosa e vitale, come quella degli scrittori ebrei italiani. Il valore conoscitivo del cibo, presente in molte culture, antiche e moderne, è codificata presso gli ebrei da una sorta di precetto che invita a “conoscere prima con la bocca che col pensiero”, come attesta 1 Massimo Montanari, La cucina, luogo dell’identità e dello scambio, Introduzione a Id, (a cura di) Il mondo in cucina. Storia, identità, scambi, Laterza, Roma-Bari 2006, p. -
Ludovico Ariosto's Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights
Re/Writing the Orient: Ludovico Ariosto’s Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights Amanda Batarseh Canto XXIII marks a tragicomic turning point in the Orlando Furioso, as the tension sustaining the titular character’s epic stoicism and romantic chivalry falls away to reveal a maniacal anti- hero. This canto’s staging of Orlando’s madness is, in Albert Ascoli’s words, the “center of ‘otherness’ in the poem,”1 unsettling the binary of medieval and classical literary traditions that Ariosto draws on, and suggesting a novel genre of literary expression. In this article, I explore one of Ariosto’s avenues of disrupting ostensible polarities—his use of dynamic intertextual practices that write and rewrite the “Orient.” I contend that the Furioso both expresses and unsettles opposing impulses, something I will argue by reframing Ascoli’s elaboration of crisis (a “double focus” upon “concord and discord”) to encompass the geo-historical domain of Arabic cultural exchange in the medieval Mediterranean.2 Focusing on Ariosto’s resounding echoes of the Thousand and One Nights’ and the lesser-known Hundred and One Nights’ frame tales, I seek to illuminate the Furioso’s double focus upon movement toward and away from Muslim- Arab cultural affiliation, a push-pull that opens a space of difference where literary traditions can converge neither in reconciliation nor domination of one another. I examine in particular how Ariosto’s poem captures the ambiguous hybridity of the medieval Mediterranean: beginning with a cursory analysis of the Saracen figure as an unsettled construction of “self” and “other,” I then move to a parallel investigation of the poem’s dynamic intertextual practices. -
Desire in the Renaissance: Psychoanalysis and Literature
DESIRE IN THE RENAISSANCE DESIRE IN THE RENAISSANCE PSYCHOANALYSIS AND LITERATURE EDITED BY VALERIA FINUCCI AND REGINA SCHWARTZ PRINCETON UNIVERSITY PRESS PRINCETON, NEW JERSEY Copyright 1994 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, Chichester, West Sussex All Rights Reserved Library of Congress Cataloging-in-Publication Data Desire in the Renaissance : psychoanalysis and literature / edited by Valeria Finucci and Regina Schwartz. p. cm. Includes index. eISBN 1-4008-0228-8 1. English literature—Early modern, 1500–1700—History and criticism. 2. Psychoanalysis and literature. 3. Desire in literature. 4. Renaissance—England. I. Finucci, Valeria. II. Schwartz, Regina M. PR428.P75D47 1994 820.9’353—dc20 94-14499 This book has been composed in Adobe Sabon To Our Students CONTENTS Introduction:WorldsWithinandWithout3 Regina Schwartz with Valeria Finucci FAKING IT: SEX,CLASS,ANDGENDERMOBILITY TheInsincerityofWomen19 Marjorie Garber MistakenIdentities:Castiglio(ne)’sPracticalJoke39 Natasha Korda TheFemaleMasquerade:AriostoandtheGameofDesire61 Valeria Finucci OGLING: THECIRCULATIONOFPOWER Actaeon at the Hinder Gate: The Stag Party in Spenser’s GardensofAdonis91 Harry Berger EmbodiedVoices:PetrarchReading(HimselfReading)Ovid120 Lynn Enterline ThroughtheOpticGlass:Voyeurismand Paradise Lost 146 Regina Schwartz LOVING AND LOATHING: THEECONOMICS OF SUBJECTION LibidinalEconomies:MachiavelliandFortune’sRape169 Juliana Schiesari FemaleFriendsandFraternalEnemiesin As You Like It 184 William Kerrigan DREAMING ON: UNCANNYENCOUNTERS FromVirgiltoTasso:TheEpicToposasanUncannyReturn207 Elizabeth J. Bellamy viii CONTENTS Writing the Specular Son: Jonson, Freud, Lacan, and the (K)notofMasculinity233 David Lee Miller LISTOFCONTRIBUTORS261 INDEX263 DESIRE IN THE RENAISSANCE INTRODUCTION WORLDS WITHIN AND WITHOUT REGINA SCHWARTZ WITH VALERIA FINUCCI HE LITERATURE of psychoanalysis is preoccupied with the liter- ature of the Renaissance. -
Premi Letterari
Un’idea da leggere percorsi e tracce di lettura a cura della Biblioteca PREMI LETTERARI Marzo 2020 1 I premi letterari sono riconoscimenti a scrittori di narrativa, saggistica e poesia che giurie, composte da critici e/o da tutti coloro che conoscono la capacità di giudicare un’opera letteraria, conferiscono. Sono diversi i premi che annualmente vengono conferiti alle opere letterarie, il più prestigioso rimane il Premio Nobel, che, a differenza della gran parte dei riconoscimenti, premia l’intera produzione letteraria dell’autore assegnatario. I premi, solo in Italia, sono centinaia. Alcuni hanno una lunga storia alle spalle, altri sono famosi per le polemiche da cui sono accompagnati, altri ancora sono ambiti per la visibilità (e le vendite) che garantiscono a chi se li aggiudica. Parliamo dei premi letterari che, in molti casi, nel corso dei decenni hanno contribuito a dare una svolta alla vita (e al percorso editoriale) delle vincitrici o dei vincitori. tratto da: www.illibraio.it Per i Premi Nobel per la letteratura si rimanda alla bibliografia dedicata 2 PREMIO STREGA Il premio nasce nel 1947 da un’idea della scrittrice Maria Bellonci e da Guido Alberti produttore del liquore “Strega” da cui il premio prende il nome. Ogni anno premia un opera narrativa tra quelle pubblicate in Italia. Cinque le opere finaliste selezionate da un direttivo composto da lettori selezionati da librerie indipendenti, critici, traduttori, studiosi e intellettuali italiani e stranieri. Tradizionalmente si assegna il primo giovedì di luglio nel cortile di Villa Giulia a Roma. Negli ultimi anni oltre al premio relativo alla narrativa italiana si sono aggiunte due nuove sezioni: Premio Strega Europeo che omaggia autori internazionali che nei paesi di origine sono assegnatari di riconoscimenti per le loro opere; Premio Strega Giovani i cinque libri finalisti vengono giudicati anche da una giuria di ragazzi delle scuole superiori del territorio nazionale.