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BIBLIOGRAPHY Acobas, Patrizia, “Elsa Morante.” Jewish Women Archive . Web. 10 April 2015. Adler, Peter. “Beyond Cultural Identity: Refl ections on Multiculturalism.” Culture Learning . Ed. Richard Brislin. Manoa: East-West Center Press, 1977. 24–41. Print. Agamben, Giorgio. “What Is a Destituent Power?” Trans. Stephanie Wakefi eld. Environment and Planning D: Society and Space 32.1 (2010): 65–74. Print. Aiello, Lucia. “‘Looking at the ‘Crack’d Mirror’: Narratives of Restoration and Anticipation in Grazia Deledda’s La madre and Anna Banti’s Artemisia .” Journal of Narrative Theory 42.1 (2012): 21–45. Print. Aly, Gotz, and Susanne Heim. Architects of Annihilation: Auschwitz and the Logic of Distruction . London: Weidenfeld & Nicolson, 2002. Print. Amoia, Alba Della Fazia. 20th-century Italian Women Writers the Feminine Experience . Carbondale: Southern Illinois UP, 1996. Print. Antelme, Robert. The Human Race . Trans. Jeffrey Haight and Annie Mahler. Evanston: Northwestern University Press, 1998. Print. Antliff, Mark. “Fascism. Modernism, and Modernity.” Fascism: Critical Concepts in Political Science . Ed. Griffi n Roger. London: Routledge, 2004. 120–168. Print. Antonelli, Laura. Voci dalla Storia. Le donne della Resistenza in Toscana tra storie di vita e percorsi di emancipazione . Prato: Pentalinea, 2006. Print. Aristotle. Rhetoric . Trans. W. Ichys Roberts. Terre Haute: Indiana State U, 1954. Print. Armes, Roy. Patterns of Realism . New York: A. S. Barnes, 1971. Print. Augias, Corrado. I segreti di Roma . Milano: Mondadori, 2005. Print. Averill, James R. “Emotions and Anxiety: Sociocultural, Biological, and Psychological Determinants.” Explaining Emotions . Ed. Amelié Oksenberg Rorty. Berkeley: U of California P, 1980. 37–72. Print. © The Author(s) 2016 243 S. Milli Konewko, Neorealism and the “New” Italy, Italian and Italian American Studies, DOI 10.1057/978-1-137-52416-4 244 BIBLIOGRAPHY Bagnoli, Carla. Morality and the Emotions . Oxford: Oxford U P, 2011. Print. Baldassaro, Larry. “Pasolini: Revolutionary without an Audience?” Film Studies Annual 1(1976): 207–10. Print. Banti, Anna. Artemisia . Lincoln: U of Nebraska P, 1988. Print. Barberi Squarotti, Giorgio. La narrativa Italiana del dopoguerra . Bologna: Cappelli, 1965. Print. Bassnett, Susan. Feminist Experiences the Women’s Movement in Four Cultures . London: Routledge, 2013. Print. Battistini, Andrea. Le parole in guerra. Lingua e ideologia dell’Agnese va a morire . Ferrara: Benevolenta, 1982. Print. Baum, Rachel N. “Ethics in the Face of Auschwitz: The Emotional and Pedagogical Responsibility of Holocaust Remembrance.” Diss. U of Wisconsin-Milwaukee, 1997. Print. Bawden, Liz. The Oxford Companion to Film . New York: Oxford UP, 1976. Print. Bayman, Louis. The Operatic and the Everyday in Post-war Italian Film Melodrama . Print. Bazin, André. “ Umberto D : A Great Work.” What is Cinema? Trans. Hugh Gray. Berkeley: U of California P, 1967. 81. Print. ---. What Is Cinema? Volume II. Ed. and Trans. Hugh Gray. Berkeley: U of California P, 1971. Print. Beecham, David. “Ignazio Silone and Fontamara .” International Socialism Journal 63 (1994): 155–62. Print. Bellucci, Maria, and Michele Ciliberto, eds. La scuola e la pedagogia del fascismo . Torino: Loescher, 1978. Print. Bendremer, Jutta T. Women Surviving the Holocaust: In Spite of the Horror . Lewiston: Edwin Mellen Press, 1997. Print. Ben-Ghiat, Ruth. Fascist Modernities. Italy, 1922–1945 . Berkeley: U of California P, 1996. Print. ---. “Neorealism in Italy, 1930–50: From Fascism to Resistance.” Romance Languages Annual 3 (1991): 155–59. Print. ---. “The Politics of Realism: Corrente di Vita Giovanile and the Youth Culture of the 1930s.” Stanford Italian Review 8 (1990): 139–64. Print. Bergan, Ronald. Film . New York: DK Pub., 2006. Print. Bernari, Carlo. Era l’anno del sole quieto . Milano: Mondadori, 1964. Print. ---. Per cause imprecisate . Milano: Mondadori, 1969. Print. ---. Le radiose giornate . Milano: Mondadori, 1969. Print. ---. Speranzella . Milano: Mondadori, 1950. Print. ---. Tre operai . Milano: Mondadori, 1951. Print. Bertacchini, Renato. Le Riviste del Novecento: Introduzione e guida allo studio dei periodici italiani: Storia, Ideologia e Cultura . Firenze: Le Monnier, 1979. Print. Bertellini, Giorgio. The Cinema of Italy . London: Wallfl ower, 2004. Print. BIBLIOGRAPHY 245 Biasin, Gian. “The Haunted Journey of Primo Levi.” Memory and Mastery: Primo Levi as Writer and Witness . Ed. Roberta S. Kremer. Albany: State U of New York, 2001. 3–19. Print. Biess, Frank. “Feelings in the Aftermath: Toward a History of Postwar Emotions.” Histories of the Aftermath: The Legacies of the Second World War in Europe . Eds. Frank Biess and Robert G. Moeller. New York: Berghahn, 2010. 30–48. Print. Biess, Frank, and Robert G. Moeller. Histories of the Aftermath: The Legacies of the Second World War in Europe . New York: Berghahn, 2010. Print. Blasetti, Alessandro, dir. Quattro passi fra le nuvole . Perf. Gino Cervi and Adriana Benetti. Italy, 1942. Film. Block, Gisela. “Racism and Sexism.” The Holocaust: Theoretical Readings . Eds. Neil Levi and Michael Rothberg. Edinburgh: Edinburgh UP, 2003. Print. Blum, Lawrence. “Compassion.” Explaining Emotions . Ed. Amelie Rorthy. Berkeley: U of California P, 1980. Print. Bobbio, Norberto. Ideological Profi le of Twentieth-Century Italy . Trans. Cochrane Lydia. Princeton: Princeton UP, 1995. Print. Bobbio, Norberto, and Viroli Maurizio. The Idea of the Republic . Trans. Cameron Allan. Bari: La Terza, 2003. Print. Boccaccio, Giovanni. Il Decamerone . Milano: U. Hoepli, 1965. Print. Bonavita, Riccardo. Storia Della Letteratura Italiana . Bologna: Soc. Ed. Il Mulino, 2005. Print. Bondanella, Peter. Italian Cinema: From Neorealism to the Present . New York: Frederick Ungar, 1983. Print. Bonsaver, Guido. Censorship and Literature in Fascist Italy . Toronto: U of Toronto P, 2007. Print. Bornigia, Livia. “Italian Fascism. 1922–1942.” Propaganda and Mass Persuasion: A Historical Encyclopedia, 1500 to the Present . Eds. Nicholas John Cull and David Holbrook Culbert. Santa Barbara: ABC-CLIO, 2003. 125–27. Print. Bos, Pascal Rachel. “Women and the Holocaust: Analyzing Gender Differences.” Experience and Expression: Women, the Nazis, and the Holocaust . Eds. Elizabeth R. Baer and Myrna Goldenberg. Detroit: Wayne State UP, 2003, 35–48. Print. Bosworth, R. J. B. Mussolini . London: Oxford UP, 2002. Print. Bradbery, Jennifer. Oxford American Dictionary for Learners of English . Oxford: Oxford UP, 2011. Print. Bradberry, Travis, and Jean Greaves. Emotional Intelligence 2.0 . San Diego: Talent Smart, 2009. Print. Branciforte, Suzanne. “Intervista con la storia; una conversazione con Liana Millu.” The Italianist 18 (1998): 289–304. Print. Brand, C. P., and Lino Pertile. The Cambridge History of Italian Literature . Cambridge: Cambridge UP, 1996. Print. Bravo, Anna, and Anna Maria Bruzzone. In guerra senza armi. Storie di donne 1943–1945 . Roma: Laterza, 1995. Print. 246 BIBLIOGRAPHY Brenner, Rachel Feldhay. Writing as Resistance: Four Women Confronting the Holocaust . University Park: Pennsylvania State UP, 1997. Print. Browning, Christopher R. The Origins of the Final Solution: The Evolution of Nazi Jewish Policy . Lincoln: U of Nebraska P, 2004. Print. Brunetta, Gian Piero. Cent’anni di cinema italiano . 1st ed. Roma: Laterza, 1991. Print. ---. Storia del cinema italiano . Roma: Editori Riuniti, 1993. Print. ---. Storia del cinema italiano: Il cinema del regime, 1929–1945 . Roma: Editori Riuniti, 2001. Print. Bruzzone, Anna Maria, and Farina Rachele. La Resistenza taciuta. Dodici vite di partigiane piemontesi . Torino: Boringheri, 2003. Print. Bullock, Alan. Natalia Ginzburg . Oxford: Berg, 1991. Print. Butler, Judith and Elizabeth, Weed. The Question of Gender Joan W. Scott’s Critical Feminism . Bloomington: Indiana UP, 2011. Print. Calvino, Italo. Il sentiero dei nidi di ragno . Torino: Einaudi, 1972. Print. ---. Italian Folktales Selected and Retold by Italo Calvino . Torino: Einaudi, 1956. Print. Camerini, Mario, dir. Come le foglie . Perf. Albino Principe. Italia, 1934. Film. Camon, Ferdinando. Conversation with Primo Levi . Trans. John Shepley. Marlboro, VT: Marlboro, 1989. Print. Campisciano, Antonina. “L’Agnese va a morire come romanzo di formazione.” Tropos 25 (1999): 61–71. Print. Cannistraro, Philip. La fabbrica del consenso . Roma: La Terza, 1975. Print. Cannon, Joann. “Memory and Testimony in Primo Levi and Giorgio Bassani.” The Cambridge Companion to the Italian Novel . Eds. Peter Bondanella and Andrea Ciccarelli. Cambridge: Cambridge UP, 2003, 125–35. Print. ---. “Resistance Heroes and Resisting Spectators: Refl ections on Rossellini’s Roma città aperta.” The Italianist 17 (1997): 145–57. Print. Caprotti, F. “Scipio Africanus: Film, Internal Colonization and Empire.” Cultural Geographies (2009): 381–401. Print. Caracciolo, Nicola. Uncertain Refuge: Italy and Jews During the Holocaust . Chicago: U of Illinois P, 1986. Print. Cardullo, Bert. After Neorealism: Italian Filmmakers and Their Films: Essays and Interviews . Newcastle upon Tyne, UK: Cambridge Scholars Pub., 2009. Print. ---. Neorealism, History, and the Children’s Film: Vittorio de Sica’s The Children Are Watching Us Reconsidered.” Filmhistoria online 25.1 (2015). 6–17. Web. Casadei, Alberto. Il Novecento . 2nd ed. Bologna: Il Mulino, 2013. Print. Cavani, Liliana, dir. La donna nella Resistenza . Italia, 1965. Film. Celli, Carlo. “Italian Neorealism’s Wartime Legacy: Roberto Rossellini’s Roma città aperta/Rome Open
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    Note biografiche Viola Ardeni is a Ph.D. student in the Department of Italian at UCLA. She earned her M.A. in Italian Literature from UCLA in 2014 and her Laurea Specialistica in Italian Studies at the University of Bologna, where she completed a thesis on Elsa Morante’s Il mondo salvato dai ragazzini. Her current research focuses on Italian and French children’s literature. Her other scholastic interests include Italian literature and linguistics, comparative literature, and literary theory. Dalila Colucci is a Ph.D. candidate in Italian Studies at Harvard University. She graduated from the University of Pisa and the Scuola Normale Superiore in 2010 in Italian. Her research interests include Modern and Contemporary Italian Literature, Italian Futurism and the European Avant-garde, Visual Poetry, Travel Literature and reportages. She has worked on the intersections between prose and poetry in twentieth-century authors, publishing a monograph on Goffredo Parise (Nessuno crede al merlo d’acqua� Le ultime Poesie di Goffredo Parise, [Isernia: Cosmo Iannone, 2011]) and various other articles. She is currently working on the poems of Carlo Emilio Gadda, and is also one of the curators of the exhibit “Africa it is Another Story: Looking Back at Italian Colonialism,” opened on April 4, 2014 in the Pusey Library. Simonetta Falasca-Zamponi is a professor of Sociology at the University of California, Santa Barbara. Her research interests mainly fall within the areas of politics and culture. More specifically, she is concerned with studying the political as a site of cultural discourse, cultural identity, and cultural production. Her book, Fascist Spectacle: The Aesthetics of Power in Mussolini’s Italy (Berkeley: University of California Press, 1997) employed the category of “aesthetic politics” to analyze the role that symbolic discourse—in the guise of myths, rituals, images and speeches—played in the making of the fascist regime and the construction of Mussolini’s power.
  • Narrative and Nothing: the Enterprise of Italian American Writing

    Narrative and Nothing: the Enterprise of Italian American Writing

    Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 8 1994 Narrative and Nothing: The Enterprise of Italian American Writing Robert Viscusi Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Viscusi, Robert (1994) "Narrative and Nothing: The Enterprise of Italian American Writing," Differentia: Review of Italian Thought: Vol. 6 , Article 8. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/8 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. Narrative and Nothing: The Enterprise of Italian American Writing Robert Viscusi Early in 1990,1 at a reception for a group of Italian American educators, I overheard a high-school principal boasting to a jour­ nalist, "We are the heirs of the Renaissance." "No," I thought, "we are the orphans of the Renaissance." I kept this wisecrack to myself, but the actual question it implied has continued to trouble me: what can we say about the relationship of Italian Americans to the glorious Italian past? Seeking an ans~er, I looked where a literary historian would look-in that art which a people uses to connect its present to its past: the art of narrative. l. NARRATIVE Narrative art serves a people in many ways. Above all, it models social structure, making it possible for ordinary persons to see themselves in relation to other persons, as well as to other DIFFERENTIA 6fT (Spring/Autumn 1994) 78 DIFFERENT/A places and times.
  • I Più Segreti Legàmi

    I Più Segreti Legàmi

    Enrico Bernard I più segreti legàmi Sinergie neorealiste tra letteratura e arti visive nel carteggio Bernari – Zavattini (1932–1989) Abhandlung zur Erlangung der Doktorwürde der Philosophischen Fakultät der Universität Zürich vorgelegt von Enrico Bernard, angenommen im Frühjahrssemester 2014 auf Antrag der Promotions-kommission [Prof. Dr. Tatiana Crivelli «hauptverantwortliche Betreuungs- person», Prof. Dr. Francesca Bernardini, Prof. Dr. Raffaella Castagnola] als Dissertation angenommen. Thesis Presented to the Faculty of Arts and Social Sciences of the University of Zurichfor the Degree of Doctor of Philosophy by Enrico Bernard, accepted in the Spring Term 2014on the Recommendation of the Doctoral Committee [Prof. Dr. Tatiana Crivelli «main advisor», Prof. Dr. Francesca Bernardini, Prof. Dr. Raffaella Castagnola]. [Rom-Trogen, 2014] BeaT © 2014 BeaT - Enrico Bernard Entertainment Art Verlag Die vorliegende Arbeit wurde von der Philosophischen Fakultät der Universität Zürich im Frühjahrssemester 2014 auf Antrag der Promotions-kommission [Prof. Dr. Tatiana Crivelli «hauptverantwortliche Betreuungs-person», Prof. Dr. Francesca Bernardini, Prof. Dr. Raffaella Castagnola] als Dissertation angenommen. Enrico Bernard Entertainment Art Verlag Speicherstrasse 61 CH-9043, Trogen Via Maria Giudice 37 I-00135, Roma [email protected] ISBN: 978-3-03841-016-4 Edizione online (pdf): ISBN: 978-3-03841-017-1 2 SOMMARIO Premessa L’idea neorealista..................................................................................................................
  • Carlo Bernari Critico D'arte1 Rocco

    Carlo Bernari Critico D'arte1 Rocco

    BIBLIOTECA DI RIVISTA DI STUDI ITALIANI CONTRIBUTI LUCE, COLORI E NARRATIVA: CARLO BERNARI CRITICO D’ARTE 1 ROCCO CAPOZZI University of Toronto n po’ scherzando e un po’ sul serio Carlo Bernari ha spesso parlato dei suoi “cento mestieri” 2 quali apprendista sarto, lavoro in Ulavanderia, schedatore libraio, redattore, narratore, giornalista, fotoreporter , corrispondente di guerra, inviato speciale, poeta, sceneggiatore e, come testimonia l’introduzione all’opera di Tintoretto 3, critico d’arte. Rispetto a quest’ultimo mestiere, svolto innanzitutto durante gli anni ’60 e ’70, credo che siano pochi coloro che conoscono la miriade di scritti del Bernari critico d’arte. Mi riferisco sia ai saggi sui lavori di vecchi amici quali Paolo Ricci, Camillo Catelli, Luigi Crisconio, Carlo Cocchia, Eduardo Giordano detto Buchicco e Antonio D’Ambrosio, sia alle recensioni e prefazioni ai cataloghi di artisti più recenti, ad esempio Carlo Levi, Corrado Cagli, Alberto Sughi, Ernesto Treccani, Franco Villoresi, Nancy McAdams, Sarai Sherman, Roberto Ercolini, Domenico Purificato, Ettore de Conciliis, Enzo Frascione e Domenico Cantatore 4. 1 Si veda immagine 1 (Appendice) . 2 I lettori di Bernari ricorderanno che questa battuta dei “cento mestieri” appare in Era l’anno del sole quieto (p. 15), dove viene pronunciata dal vecchio custode del ripostiglio sotterraneo (un labirinto infernale) saturo di statue e statuette in gesso e in marmo. 3 Tintoretto , Milano: Rizzoli. 1970; Collana “I Classici dell’Arte”, Vol. 36. 4 L’elenco non è completo perché ci sarebbero altri artisti come ad esempio il pittore svizzero che viveva a Minturno, Zanetti Righi, a cui Carlo dedicò la poesia “sopra la maga pacchiana di Zanetti Righi”.