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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself. -
Elio Gioanola Carlo Bo Charles Singleton Gianfranco Contini
Elio Gioanola Introduzione Carlo Bo Ricordo di Eugenio Montale Charles Singleton Quelli che restano Gianfranco Contini Lettere di Eugenio Montale Vittorio Sereni Il nostro debito verso Montale Vittore Branca Montale crìtico di teatro Andrea Zanzotto La freccia dei diari Luciano Erba Una forma di felicità, non un oggetto di giudizio Piero Bigongiari Montale tra il continuo e il discontinuo Giovanni Macchia La stanza dell'Amiata Ettore Bonora Un grande trìttico al centro della « Bufera » (La primavera hitleriana, Iride, L'orto) Silvio Guarnieri Con Montale a Firenze http://d-nb.info/945512643 Pier Vincenzo Mengaldo La panchina e i morti (su una versione di Montale) Angelo Jacomuzzi Incontro - Per una costante della poesia montaliana Marco Forti Per « Diario del '71 » Giorgio Bàrberi Squarotti Montale o il superamento del soggetto Silvio Ramat Da Arsenio a Gerti Mario Martelli L'autocitazione nel secondo Montale Rosanna Bettarini Un altro lapillo Glauco Cambon Ancora su « Iride », frammento di Apocalisse Mladen Machiedo Una lettera dì Eugenio Montale (e documenti circostanti) Claudio Scarpati Sullo stilnovismo di Montale Gilberto Lonardi L'altra Madre Luciano Rebay Montale, Clizia e l'America Stefano Agosti Tom beau Maria Antonietta Grignani Occasioni diacroniche nella poesia di Montale Claudio Marabini Montale giornalista Gilberto Finzi Un'intervista del 1964 Franco Croce Satura Edoardo Sanguineti Tombeau di Eusebio Giuseppe Savoca L'ombra viva della bufera Oreste Macrì Sulla poetica di Eugenio Montale attraverso gli scritti critici Laura Barile Primi versi di Eugenio Montale Emerico Giachery La poesia di Montale e il senso dell'Europa Giovanni Bonalumi In margine al « Povero Nestoriano smarrito » Lorenzo Greco Tempo e «fuor del tempo» nell'ultimo Montale . -
Luigi Ballerini the Gastronome and His "Tablecloth of Plenty"
La tovaglia che sazia: Luigi Ballerini the gastronome and his "tablecloth of plenty" by Jeremy Parzen "I'm the king, but you can wear my crown." —Antoine "Fats" Domino, John Marascalco, Tommy Boyce (quoted by Luigi Ballerini)1 Three of the most powerful and enduring memories of my years working closely with Luigi Ballerini involve food (and/or the lack thereof). The one is an image in his mind's eye, a scene he often spoke of: Milan, 1945, the then five-year-old Ballerini watches a defiant Nazi soldier atop an armored car, part of a phalanx in retreat from the Lombard capital, leaving it an "open city"; the muscle-bound German bares his chest in the winter cold, as if impervious to pain even in the moment of ultimate defeat. The Nazis left behind a broken city and people, who had already known hunger for quite some time and would not know prosperity and plenty for many years to come. At five years old, Luigi knew hunger all too well. The next is an anecdote I heard him retell repeatedly: Milan, early 1960s (the outset of the Italian miracolo economico, the economic miracle, Italy's "miraculous" post- war revival), a young American guest in the home of his mother asks for some 1 Ballerini, Luigi, "piccolo e grande testamento," Il terzo gode, Venezia, Marsilio, 1994, p. 103. mayonnaise; when no mayonnaise is to be found, the matron of the house handily whisks some olive oil and egg yolks, transforming the materia prima into mayonnaise. The third image was set against the ultimate land of plenty: Brentwood, Los Angeles, during the mid-1990s, -
11 Lanfranco Binni, La Protesta Di Walter Binni. Una Biografia 13 Premessa 15 1 • Un Inizio Autobiografico
INDICE 11 Lanfranco Binni, La protesta di Walter Binni. Una biografia 13 Premessa 15 1 • Un inizio autobiografico. Schegge di ricordi 37 2. «Ilporto è la furia del mare». L'incontro con Aldo Capitini 39 3. Binni normalista: ritratto del critico da giovane 45 4. La cospirazione antifascista e il liberalsocialismo 50 5- La Resistenza 53 6. Liberalsocialisti e liberalproprietari. Binni socialista 61 7. All'Assemblea costituente 67 8. A Genova 71 9. Binni all'Università di Firenze, «socialista senza tessera» 74 10. L'adesione al Psi e Li battaglia per la democratizzazione dell'università 80 11. Costume e cultura: una polemica 84 12. A Roma 87 13. L'assassinio di Paolo Rossi 95 14. // Sessantotto a Roma 100 15. La nuova sinistra e gli anni settanta 110 16.// riflusso degli anni ottanta 116 17'. //pensiero dominante \TJ 18. Millenovecentonovantasette 135 19. Quasi un racconto 143 Tracce per una biografia. Lettere a Walter Binni (1931-1997) 145 Premessa 147 1. Aldo Capitini, 12 agosto 1931 149 2. Gaetano Chiavacci, 18 settembre 1931 150 3. Aldo Capitini, 6 novembre 1931 151 4. Attilio Momigliano, 17 novembre 1934 151 5. Giorgio Pasquali, 10 agosto 1935 154 6. Luigi Russo, 4 ottobre 1935 156 7. Luigi Russo, 29 febbraio 1936 156 8. Eugenio Montale, 6 novembre 1936 157 9. Luigi Russo, 9 novembre 1939 158 10. Carlo Ludovico Ragghianti, 3 dicembre 1939 159 11. Giuseppe Dessi, 26 marzo 1940 160 12. Arrigo Benedetti, 3 aprile 1940 161 13. Pietro Pancrazi, 3 luglio 1940 162 14. Luigi Russo, 10 luglio 1940 163 15. Luigi Russo, 24 agosto 1940 163 16. -
Poetry and the Visual in 1950S and 1960S Italian Experimental Writers
The Photographic Eye: Poetry and the Visual in 1950s and 1960s Italian Experimental Writers Elena Carletti Faculty of Arts and Social Sciences The University of Sydney A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2020 This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. I acknowledge that this thesis has been read and proofread by Dr. Nina Seja. I acknowledge that parts of the analysis on Amelia Rosselli, contained in Chapter Four, have been used in the following publication: Carletti, Elena. “Photography and ‘Spazi metrici.’” In Deconstructing the Model in 20th and 20st-Century Italian Experimental Writings, edited by Beppe Cavatorta and Federica Santini, 82– 101. Newcastle upon Tyne: Cambridge Scholars Publishing, 2019. Abstract This PhD thesis argues that, in the 1950s and 1960s, several Italian experimental writers developed photographic and cinematic modes of writing with the aim to innovate poetic form and content. By adopting an interdisciplinary framework, which intersects literary studies with visual and intermedial studies, this thesis analyses the works of Antonio Porta, Amelia Rosselli, and Edoardo Sanguineti. These authors were particularly sensitive to photographic and cinematic media, which inspired their poetics. Antonio Porta’s poetry, for instance, develops in dialogue with the photographic culture of the time, and makes references to the photographs of crime news. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Wormwood Review
NEW CLASSICS////////////////////////////////////////////// Factotum (Charles Bukowski) $4 fm. Black Sparrow Press, P.0. Box 3993, Santa Barbara CA 93105 — best prose since Buk's 1969 Notes of a Dirty Old Man. J After the Dance (Phil Weidman) $3 f m . Orchard Press, 2855 Old Gravenstein Highway South, Sebastopol CA 95472 — beautifully produced and personally endorsed by the editor of Wormwood; a bar gain fm. a new quality press. IT Details of a Sunrise (Vladimir Nabokov) $8.95 fm. McGraw-Hill, 1221 Avenue of the Americas, New York NY 10020 — brilliant early stories (just translated) written before his first USA publication. 5T Shaker House Poems (Lyn Lifshin) $3 fm. Sagarin Press, 26 High St , Chatham NY 12037 — perfect blend of topic, author, and production. 5 Wally Depew rides again with L ($2) fm. PN Books, 2148 First St., Livermore CA 94550. VERY HIGHLY RECOMMENDED//////////////////////////////////// David Barker's Inside the Big 0 ($1.50) and Edward Field's Variety Photoplays ($3 reissue of 1967 Grove Press edition) fm. Russ Haas Press, P.0. Box 4261, Long Beach CA 90804. J Barbara Drake's Field Poems ($1) fm. Stone Press, 1790 Grand River, Okemos MI 48864. 5T Kirk Robertson's Shooting at Shadows, Killing Crows ($1) fm. The Blue Cloud Quarter ly , Benedictine Missionaries, Blue Cloud Abbey, Marvin SD 57251. J F. A. Nettelbeck's No Place Fast ($2) fm. Rough Life Press, 1306 West 58th St.” Los Angeles CA 90037. f Bob Heman's 12 Prose Poems ($1?) fm. Clown War Press, 373 Ocean Ave. (#A-5), Brooklyn NY 11200. JT Carl Larsen's 01' Peckerhead ($1) fm. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film Permalink https://escholarship.org/uc/item/9385t0bs Author Nadir, Erika Marina Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Erika Marina Nadir 2017 © Copyright by Erika Marina Nadir 2017 ABSTRACT OF THE DISSERTATION Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film by Erika Marina Nadir Doctor of Philosophy in Italian University of California, Los Angeles, 2017 Professor Luigi Ballerini, Chair This dissertation is a comparative study of Italian opera, literature, and film, and traces the textual and musical intermedialities among the art forms. Using the analytical prisms of Elio Vittorini’s linguaggio unitario del musicista and Giuseppe Verdi’s notion of verità, I examine the myriad ways that literature, film, and music interact and the effects on the respective arts. Chapter 1 focuses on literature that is written in such a way as to evoke music. I analyze three texts and their musical components: Vittorini’s Italian Resistance novel, Uomini e no; the postmodern novel Passavamo sulla terra leggeri by Sergio Atzeni—a soundscape of text that mimics contemporary opera structure; and Manzoni’s I promessi sposi, which was the inspiration for Giuseppe Verdi’s notion of verità in art. -
The Poetic Work of Ko Un: Comparing the Incomparable
The Poetic Work of Ko Un: Comparing the Incomparable An Sonjae (Sogang University, Dankook University) Published in Comparative Korean Studies (The International Association of Comparative Korean Studies) Vol. 20, No. 1, April 2012, pages 365-413. 1. Introduction 1 2. An Historical Survey of the Poetry Published by Ko Un 1 a. The Early Years 1 b. The Return to the World 2 c. Public Voice, Private Life 3 d. Creative Explosion 4 e. Into the New Century 6 Toward a Critical Appreciation of Ko Un’s Work 6 a. Criteria 6 b. Forms and Subjects 7 c. Revisions 8 d. Critical and Public Reception 10 e. Unity and Fragmentation 12 f. Definitions and Labels 15 g. Beyond Words 16 3. Towards an Adequate Characterization of Ko Un’s Work 17 a. Ko Un: A Political Poet? 17 b. Ko Un: A Playful Poet? 19 c. Ko Un: A Puzzling Poet? 20 d. Ko Un: An Intelligent Poet? 21 e. Ko Un: A Spiritual Poet? 22 4. Conclusion 24 1. Introduction In the summer of 2012, the Korean writer Ko Un will enter his eightieth year. Although he continues to publish a remarkable amount of new writing each year, it is time to begin to try to formulate a general overview of his work. No Korean poet offers a greater challenge to the critical community. Ko Un has published so much, more than 150 volumes, that it is impossible to talk of the “reception” of his work. Virtually nobody, probably, has read anything approaching everything he has published, and the variety of his published work is such that it defies attempts at overall description or evaluation. -
Philosophy Religion& Books for Courses
2 0 1 1 PHILOSOPHY RELIGION& BOOKS FOR COURSES PENGUIN GROUP USA PHILOSOPHY RELIGION& BOOKS FOR COURSES 2011 PHILOSOPHY RELIGION WesteRn philosophy . 3 Religion in todAy’s WoRld . 3 0 ANCIENT . 3 Religion & Science . 31 Plato. 4 Relgion in America . 33 MEDIEVAL . 5 BiBle studies . 3 4 RENAISSANCE & EARLY MODERN (c. 1600–1800) . 6 ChRistiAnity . 3 5 The Penguin History LATER MODERN (c. 1800-1960) . 7 of the Church . 35 CONTEMPORARY . 8 Diarmaid MacCulloch . 37 Ayn Rand. 11 Women in Christianity . 38 eAsteRn philosophy . 1 2 J u d A i s m . 3 9 Sanskrit Classics . 12 B u d d h i s m . 4 0 s o C i A l & p o l i t i C A l His Holiness the Dalai Lama . 40 p h i l o s o p h y . 1 3 Karl Marx. 15 i s l A m . 4 2 Philosophy & the Environment . 17 h i n d u i s m . 4 4 philosophy & sCienCe . 1 8 Penguin India . 44 Charles Darwin . 19 nAtiVe AmeRiCAn . 4 5 philosophy & ARt . 2 2 The Penguin Library of American Indian History . 45 philosophy & Religion in liteRAtuRe . 2 3 A n C i e n t R e l i g i o n Jack Kerouac. 26 & mythology . 4 6 Penguin Great Ideas Series . 29 AnthRopology oF Religion . 4 7 spiRituAlity . 4 8 Complete idiot’s guides . 5 0 R e F e R e n C e . 5 1 i n d e X . 5 2 College FACulty inFo seRViCe . 5 6 eXAminAtion Copy FoRm . -
Fillia's Verbal and Visual Self-Portraiture: Narrating a Futurist
Fillia’s Verbal and Visual Self-Portraiture: Narrating a Futurist Awakening1 Adriana Baranello University of California, Los Angeles Beginning in 1909, with the “Fondazione e Manifesto del Futurismo,” and lasting until 1944, Futurism championed the awakening of a new, modern consciousness bound to the infinite possibilities of technology and its manifestations in the automobile, the airplane and other mechanical marvels. Early Futurist art was primarily concerned with the depiction of physical sensations of speed, movement and “mechanical splendor” and, in literature, the “destruction of the self” as Marinetti declares in the 1912 “Manifesto tecnico della letteratura futurista.” The focus was on demolishing everything that came before, which Futurism viewed as passé sentimentality and bourgeois banality. Futurism sought to replace sentimentality and historicity with ruthless progress and an unrelenting drive toward an impersonal, machine-driven modernity using new and shocking forms of (both metaphorical and actual) violence and desecration. The emphasis was on a very visceral, tumultuous kind of collective provocation, exemplified by the 1909 “Fondazione e Manifesto del Futurismo” and the early serate futuriste. Fillia (Luigi Colombo, 1904-1936), however, was part of the second generation of Futurist poets, artists, and rabble-rousers who took up F. T. Marinetti’s flag and carried the Futurist agenda forward in the aftermath of World War I. Fillia was the author of poetry, novels and plays, a self-taught painter, journalist, political activist, and editor who devoted his life to the pursuit of his art and the advancement of the Futurist cause. He published volumes on modern architecture, cooking, and design, collaborating extensively with Marinetti as well as with a number of the most important European intellectuals of his time.