Lettera Da San G Iorgio
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Acting Hysteria: an Analysis of the Actress and Her Part
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1992 Acting Hysteria: An Analysis of the Actress and Her Part Lydia Stryk 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/4291 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] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi ……………. -
— Da Gabriele D'annunzio a Eleonora Duse Ovvero Dal Fuoco Alle Laudi
A ELEONORA DUSE GABRIELE D’ANNUNZIO DA Italianistica 3 — Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco MARIANO alle Laudi Emilio Mariano a cura di Maria Rosa Giacon Edizioni Ca’Foscari Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Italianistica Collana diretta da Tiziano Zanato 3 Edizioni Ca’Foscari Italianistica Direttore Tiziano Zanato (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Alberto Beniscelli (Università di Genova, Italia) Giuseppe Frasso (Università Cattolica di Milano, Italia) Pasquale Guaragnella (Università di Bari, Italia) Niva Lorenzini (Università di Bologna, Italia) Cristina Montagnani (Università di Ferrara, Italia) Matteo Palumbo (Università di Napoli, Italia) Carla Riccardi (Università di Pavia, Italia) Lorenzo Tomasin (Università di Losanna, Svizzera) Comitato di redazione Saverio Bellomo (Università Ca’ Foscari Venezia, Italia) Ilaria Crotti (Università Ca’ Foscari Venezia, Italia) Serena Fornasiero (Università Ca’ Foscari Venezia, Italia) Pietro Gibellini (Università Ca’ Foscari Venezia, Italia) Daria Perocco (Università Ca’ Foscari Venezia, Italia) Ricciarda Ricorda (Università Ca’ Foscari Venezia, Italia) Silvana Tamiozzo (Università Ca’ Foscari Venezia, Italia) Piermario Vescovo (Università Ca’ Foscari Venezia, Italia) Direzione e redazione Dipartimento di Studi Umanistici Palazzo Malcanton Marcorà Dorsoduro 3484/D 30123 Venezia http://edizionicafoscari.unive.it/col/dbc/20/Italianistica Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano -
Rodolfo Pallucchini
- ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PRECISAZIONI ALLA R. GALLERIA ESTENSE UMEROSE sono le opere che attendono che i restauri e qualche parziale ripassatura N una determinazione critica ed attributiva di colore n~n lo hanno troppo modificato, alla R. Galleria Estense di Modena. Nel Cata per cui è legittimo ritenere che i caratteri logo dei dipinti, in preparazione, si darà conto della figura siano ancora quelli originari. per ciascun'opera S'erge il Reden delle particolari tore su di un pae questioni attribu saggio vario, sol tive e bibliografi cato a destra da che, sorte dopo la un corso d'acqua, magistrale pubbli che riflette l'az cazione diA. Ven zurro del cielo, po turi. 1) Qui si pren polato da borghi, de in esame un mura, castella, ed gruppo di pitture, a destra rialzato a non colla pretesa falde brune di ter di applicar etichet reno montuoso. te, ma per tentare Ampia è 1'atmo di determinare il sfera dello sfondo, , , linguaggio figura lmmersa m una tivo, cioè il valore luce solare pome e la qualità della ridiana, per via loro particolare dell'orizzonte te forma artistica. 2) nuto così basso; I. Un problema una vastità aerea attributivo, del e cosmica davvero quale si tenta la intesa attraverso risoluzione, è co la legge prospet stituito dalla tavo tica antonelliana, letta con il Cristo organizzatrice, in benedicente (n. 242) senso nnaSClmen (fig. 2), entrata in tale, delle aspira Galleria nell' ul- FIG. I - GIÀ A VIENNA, RACC. PRIVATA - ATTRIBUITO A B. MONTAGNA zioni pittoriche CRISTO BENEDICENTE timo quarto del dei veneti. -
Diva: Early Film Culture and Image Theory in Italy
Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin: University of Texas Press, March 2008. Introduction. Mater Dolorosa A “diva” is the most important woman singer, the prima donna on the stage of opera, but this word can also describe an arrogant or temperamental woman. Close to the English word divine, “diva” means goddess, while the label “diva” competes for the spotlight with God, the ultimate divine maker of stars. Whereas God coincides with eternity, stars live and die. The point here is that the word diva strives for timelessness and infinity. By contrast, the word star is about someone special or exceptional or super-human (1), but not comparable to a divinity. In her best moments, the diva involves a certain kind of ineffable spirituality, ritualistic otherness, and an intuitive aura about transcendence. In short, the diva is an anomalous “star” in comparison to the Hollywood model which has defined film stardom for the rest of the world. The diva’s unusual contribution to the history of stardom stems from the cultural specificities of Italian modernity. In early Italian cinema, “diva” meant female star in a “long” feature film of at least sixty minutes, with some close- ups for the heroine and a fairly static use of the camera. The 12 point-of-view shot and the shot reverse shot, two basic features of classical American cinema, did not exist in the Italian films made between 1913 and 1918. However, the point-of-view shot begins to appear around 1919 or 1920 in diva-films. The three most famous divas of this period were Francesca Bertini (1892-1985), Lyda Borelli (1887-1959), and Pina Menichelli (1890-1984). -
(Waco) Blaine R. Pasma MA Co-Mentor
ABSTRACT A Critical Analysis of Neorealism and Writing the Screenplay, Mid-Sized City (Waco) Blaine R. Pasma M.A. Co-Mentor: Christopher J. Hansen, M.F.A. Co-Mentor: James M. Kendrick, Ph.D. This thesis outlines both the historical and theoretical background to Italian neorealism and its influences specifically in global cinema and modern American independent cinema. It will also consist of a screenplay for a short film inspired by neorealist practices. Following this, a detailed script analysis will examine a variety of cinematic devices used and will be cross-examined with the research done before. The thesis will also include personal and professional goals. A Critical Analysis ofNeorealism and Writing the Screenplay, Mid-Sized City (Waco) by Blaine Pasma, B.A. A Thesis Approved by the Department of Film and Digital Media Christopher J. Hansen, M.F.A., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements forthe Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick Ph.D., Chairperson Tiziano Cherubini, Ph.D. Accepted by the Graduate School May 2021 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2021 by Blaine R. Pasma All rights reserved TABLE OF CONTENTS CHAPTER ONE .............................................................................................................................................. 1 INTRODUCTION ........................................................................................................................................... -
Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize. -
Giulia Cassini-Rizzotto
Giulia Cassini-Rizzotto Lived: June 15, 1865 - August 24, 1943 Worked as: acting teacher, director, film actress, producer, screenwriter, theatre actress Worked In: Italy by Alessandro Faccioli, Marzia Maino One of the most renowned theater actresses, film actresses, and film acting teachers of her time, Giulia Cassini-Rizzotto was also one of the few female film directors it Italy during the silent cinema era. Possessing wide-ranging interests, she was also engaged in other activities, such as screenwriting and producing, as well as teaching nursery school and authoring short stories. Additionally, she was a correspondent for South American newspapers and a French translator (M.P.R. 1916, 19). Like many of her contemporaries who were involved in both theater and film, Cassini-Rizzotto’s cinematic career was shaped by her theatrical endeavors. A child of artists, Cassini-Rizzotto was born into a family of theater actors on June 15, 1865. Her father, Giuseppe Rizzotto (1828-1895), was a well-known Sicilian dialect actor who was part of Giacinta Pezzana’s troupe during its South American tour in 1873 and 1874. He was then capocomico [director] of his own modest theater company and also ventured into playwriting with plays like “I mafiusi de la Vicaria” (1863). His works garnered interest when they were performed by Giovanni Grasso Sr. and then translated into the Milanese dialect and inserted into the repertoire of Edoardo Ferravilla’s theater company (Becherini 1954, 1035; Pieri 2000, 1099). Cassini-Rizzotto’s brother, Salvatore, who died at age forty-five during World War I, acted in prestigious theater companies and alongside the actress and capocomica Italia Vitaliani, the cousin of Eleonora Duse. -
King's Research Portal
King’s Research Portal DOI: 10.1080/13555502.2017.1285810 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Saunders, H. (2017). Sex, Fashion, Work: James Joyce and the Late-Victorian Actress. JOURNAL OF VICTORIAN CULTURE, 22(2), 166-182. https://doi.org/10.1080/13555502.2017.1285810 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. -
Thethird Past-Present-Catalogue.Pdf
Past Present: Conversations Across Time Masterpieces from the Kress Collection paired with contemporary work by Alison Hall Creighton Michael Gregory Coates Jonsara Ruth & Lorella Di Cintio Pat Badt & Scott Sherk Pinkney Herbert Sanford Wurmfeld February 22 – May 17, 2015 Allentown Art Museum of the Lehigh Valley Past Present: Conversations Across Time Masterpieces from the Kress Collection paired with contemporary work by Alison Hall Creighton Michael Gregory Coates Jonsara Ruth & Lorella Di Cintio Pat Badt & Scott Sherk Pinkney Herbert Sanford Wurmfeld February 22 – May 17, 2015 Allentown Art Museum of the Lehigh Valley Curator’s Notes Past Present: Conversations Across Time magine a conversation between artists — one a 21st Century world-weary, contemporary artist; and the by Stephen Maine Iother, a Renaissance Master of the 16th Century. What would they have to say to each other? Would this be a dialogue, a lesson, an argument? Past Present establishes conversations between contemporary artists and the Allentown Art Museum’s Samuel H. Kress Collection. Art is always part of a larger conversation between artists and cultures, crossing time and place. The art of the past from all cultures has a direct influence on the creation of art in the present. Regardless of different styles and technologies, art can remain fresh through the ongoing discovery of looking. Nine artists working individually or collectively were invited to study the Kress collection and select a specific painting from it. These contemporary artists have created new works that exist in conversation with their Kress selection. In many cases these contemporary artists use very different tools, techniques and technologies than the Kress masters, but each has identified a common interest that they share with the artists of the past. -
Wings of Desire: Aviation, Fashion, and Circus Stunts
Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin: University of Texas Press, March 2008. Chapter 4. Wings of Desire: Aviation, Fashion, and Circus Stunts The first Italian airplane flew in 1908, when the cinema had just taken off; together the airplane and the cinema redefined the boundaries of vision and, consequently, of subjectivity. (1) Both media, one for transportation, the other for communication, accommodated the possibility of living beyond one’s body, in defiance of gravity and history. Italy excelled in the design of airplanes, just as it did in racing cars. The famous brand names, Ferrari and Fiat, found their aerial counterparts in the Savoia-Marchetti, the Macchi, the Monfalconi. (2) The analogy, however, between earthbound and airbound vehicles stops at the cult of elegant design. The perceptual model conjured by the airplane was even more unsettling than the one involved in terrestrial transportation. To be sure, the train, like the cinema, is about time passing and movement through space, but the airplane and the cinema together showed the possibility of flying up further and further, to the point of making everything look small. The invention of the airplane marks the twinning of modern technology with a visual vertigo. In line with the Futurists’ glorification of machines, 219 flying quickly took on cosmic and visionary connotations which are more appropriate for science fiction than for military or commercial applications. In Pirandello’s Shoot!, this quasi- divine version of technology emerges through the special social privileges enjoyed by a professor of astronomy whose last name is Zeme, a strange variation on seme or seed.