Department of Italian School of Arts and Sciences Rutgers, the State

Total Page:16

File Type:pdf, Size:1020Kb

Department of Italian School of Arts and Sciences Rutgers, the State Department of Italian School of Arts and Sciences Rutgers, The State University of New Jersey 15 Seminary Place, Fifth Floor New Brunswick, NJ 08901-8542 Readings Due dates and lessons Listen to lesson ONE: Secondo Lorenzini, Ciò che “Imagining the End: accadde a noi tutti la notte del 9 Apocalyptic Imaginary in settembre 190… (1906) Session 1 Italian Science Fiction” Images of the End Week 1 Livio Horrakh, Dove muore 6/25-7/1 l’astragalo (1971) THE BEGINNING IS ALSO THE END Listen to lesson TWO: Massimo Bontempelli, “Future, and Futurism: the Cataclisma (1924) Session 2 Exciting Terror of Change” Images of the Future F. T. Marinetti, Zang Tumb Tumb (1914) Questionnarie due 7/1 Week 2 Listen to lesson THREE: 7/2-7/8 Dino Buzzati, Il disco si posò “Aliens and Invasion (1954) Paranoia: Is it Weird for the WE ARE NOT Session 1 Martians to Land in Rome?” ALONE: From Outer Space Ennio Flaiano, Un marziano a ALIENS AND Roma (1954) ARTIFICIAL INTELLIGENCE Listen to lesson FOUR: “Artificial Intelligence and G. J. Ballard’s Inner Space: What Session 2 Dino Buzzati, Il grande ritratto If the Threat Did Not Come From Within (1960) From Outer Space?” Questionnaire due 7/8 Italo Calvino’s Le cosmicomiche Listen to lesson FIVE: (1965) “Laser Guns Not Included: Week 3 Italo Calvino’s Leap into the 7/9-7/15 Session 1 Lo zio acquatico Cosmos” Reverse Science Fiction I dinosauri BACKWARDS, Un segno nello spazio FLASH Gli anni-luce FORWARD: THE SCIENCE FICTION OF ITALO Listen to lesson SIX: CALVINO AND Primo Levi, excerpts from “What comes next: Primo Levi PRIMO LEVI Session 2 Storie naturali (1966) and Vizio in the Afterwards” On the Universe di forma (1971) Questionnaire due 7/15 Week 4 7/16-7/20 Listen to lesson SEVEN: Roberto Recchioni, Orfani “Italian Science Fiction and (2013) LASER GUNS Comic Books: a Very Long, AND Wonderful Story” Alfredo Castelli, Martin Mystère BALLOONS: Session 1 Graphic novels and (1982) SERGIO comic books BONELLI Antonio Serra, Nathan Never EDITORE’S (1991) SCIENCE Final paper due 7/20 FICTION .
Recommended publications
  • Normality Fantasy Fantastic Storytelling, Rhymes, Songs; Exploring Italian Through Literature, Poetry and Music
    Normality Fantasy Fantastic Storytelling, rhymes, songs; exploring Italian through literature, poetry and music. By Andrea Francesco Manno • Introduction to Dino Buzzati • Dino Buzzati is an Italian writer, painter, artist and journalist who lived in northern Italy during the 1900s. He is one of the most important Italian authors of the 20th century • His worldwide fame is mostly due to his novel ”The Tartar Step”, although he is also known for his collections of short stories. • His ”Sessanta racconti”, a short-story collection that won the Strega Prize in 1958, features elements of science fiction, fantasy and horror. • Buzzati’s words about normality, style and fantastic: • […] It seems to me that fantasy should be as close as possible to journalism.[…] • The effectiveness of a fantastic story will depend on its being told in the most simple and practical terms.[…] • Una goccia d’acqua sale per i gradini della scala. La senti? Disteso in letto nel buio , ascolto il suo arcano cammino” […]. Dino Buzzati. Una goccia. “ Sessanta Racconti”. • https://www.dariopalma.com/images/Buzzati_Le_S Story telling and torie_Dipinte_3.JPG?378 painting: • https://www.dariopalma.com/images/Buzzati_Le_S torie_Dipinte_4.JPG?378 “Le storie dipinte”. • https://www.exibart.com/repository/media/eventi /2005/05/dino-buzzati-8211-storie-disegnate-e- An art graphic dipinte.jpg novel in which ordinary life meets the fantastic. Introduction to Gianni Rodari. • Rodari is considered Italy's most important 20th- The grammar of century children's author and his books have been translated into many languages. His approach to fantasy in “ Il libro writing and story telling is playful and aims to stimulate the imagination and fantasy.
    [Show full text]
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
    [Show full text]
  • Pdf Ennio Flaiano Y Rafael Azcona: Historia De Un Universo Compartido / Giovanna Zanella Leer Obra
    Università degli Studi di Udine Ennio Flaiano y Rafael Azcona Historia de un universo compartido Giovanna Zanella Memoria de Licenciatura Facultad: Lengua y Literatura extranjera Directora: Dott. Renata Londero 2000-2001 UNIVERSITÀ DEGLI STUDI DI UDINE FACOLTÀ DI LINGUE E LETTERATURE STRANIERE Corso di Laurea in Lingue e Letterature Straniere Tesi di Laurea ENNIO FLAIANO Y RAFAEL AZCONA HISTORIA DE UN UNIVERSO COMPARTIDO Relatore: Laureanda: Dott. Renata Londero Giovanna Zanella ANNO ACCADEMICO 2000-2001 AGRADECIMIENTOS Durante la realización del presente trabajo he estado principalmente en la Universidad de Alicante, donde he podido contar en todo momento con la valiosa colaboración y los imprescindibles consejos de Juan Antonio Ríos, y con la disponibilidad de la Biblioteca Virtual Miguel de Cervantes, que precisamente este año ha abierto un portal de autor dedicado a Rafael Azcona (consultable en cervantesvirtual.com), cuyo material ha sido fundamental para mi estudio. Asimismo, por lo que concierne el material sobre Ennio Flaiano, he utilizado las numerosas publicaciones de la “Associazione Culturale Ennio Flaiano” de Pescara, cuyos volúmenes siempre han sido el apoyo más valioso en toda investigación sobre la figura y la obra del italiano. Por lo que respecta a la difícil labor de conseguir películas de los años 50, 60 y 70, tengo que agradecer a Cristina Ros de la Universidad de Alicante por haberme ofrecido la oportunidad de ver El Anacoreta, de Juan Esterlich; a la “Cineteca del Friuli”, que me ha facilitado la visión de La cagna de Marco Ferreri; al “Laboratorio Cinema e Multimedia” de la Universidad de Udine y a la “Filmoteca del Museo” de la Universidad de Alicante.
    [Show full text]
  • Descrizione Centro Manoscritti
    Il Fondo Ferrieri presso il Centro Manoscritti dell’Università di Pavia Nicoletta Trotta Il Fondo Ferrieri è stato acquisito dal Centro di ricerca sulla tradizione manoscrit- ta di autori moderni e contemporanei dell’Università di Pavia nel 1991 per volontà dei figli di Enzo Ferrieri: in una lettera del 12 settembre 1991Anna Ferrieri Castelli e Giuliano Ferrieri scrivevano al Magnifico Rettore dell’ateneo pavese per confer- mare la donazione di «tutto il materiale autografo inedito conservato da Enzo Fer- rieri, che testimonia l’intenso scambio di corrispondenza, di idee e di iniziative culturali» che il loro «padre ebbe con i protagonisti della vita intellettuale italiana ed europea durante il ventennio tra le due guerre» e promettevano di consegnare,a completamento del materiale già affidato, i numeri disponibili della rivista «Il Convegno». Qualche mese prima il Centro Manoscritti aveva dedicato a questa importante acquisizione una mostra documentaria dal titolo “Il Convegno”di Enzo Ferrieri e la cultura europea dal 1920 al 1940, tenutasi a Pavia, presso la Sala dell’Annunciata, dall’11 al 25 maggio.Il ricco catalogo,1 curatodaAngeloStella,siapreconlacorpo- sa sezione Le sale della letteratura italiana diAnna Modena,seguono i contributi di Guido Lopez, Eugenio Levi, la“coscienza inquieta” del“Convegno”, di Maria Fancel- li,2 Oltre Chiasso e diAndrea Mancini, I segni della regia: la voce,l’albero,la bottiglia rovesciata;chiude il volume lo spoglio della rivista, “Il Convegno”: indice degli auto- ri e delle opere recensite,perlecuredichiscrive.
    [Show full text]
  • Dino Buzzati Published on Iitaly.Org (
    Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) Honoring a 20th Century Renaissance Man: Dino Buzzati Natasha Lardera (October 30, 2012) Kairos Italy Theater, Casa Italiana's theater company in residence, and a leading group in the making of bilingual theater in New York City, has undergone the mission to bring Dino Buzzati's work to the United States. It organized a successful evening of literature, theater and cinema @ Casa and introduced theater performances to be held at the Cherry Lane Theater next week (weather permitting). “Each one of us has a favorite Buzzati: the author of The Tartar Steppe, the artist and illustrator or the journalist of Il Corriere della Sera.” With these words Stefano Albertini, Director of NYU's Casa Italiana Zerilli Marimò introduced an exciting evening of literature, theater and cinema to mark the 40th anniversary of the death of Dino Buzzati, a real Renaissance Man from the 20th century. The evening was designed by Kairos Italy Theater, Casa Italiana's theater company in residence, a leading group in the making of bilingual theater in New York City. Its founder and creative director, Laura Caparrotti, used Albertini's words to further explain the Renaissance man concept, explaining Page 1 of 3 Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) that Buzzati was a writer whose work was mandatory in high school so kids read his work unwillingly without really appreciating it. Those same kids discovered him later in life when no one was forcing them to read his stuff.
    [Show full text]
  • Translating Buzzati
    Translating Buzzati: Domesticating and Foreignising Strategies By Niall Harland Duncan A thesis Submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Literary Translation Studies Victoria University of Wellington 2011 Abstract Methodologies within Modern Translation Studies are often broadly defined by two seemingly polarised ideologies: foreignisation and domestication. Current theory tends to favour foreignising translations which has led to a marginalisation of domestication as a viable and valid approach. This thesis is an examination of domestication as a still-legitimate approach in the field of translation. The project consists of original translations of four short stories by noted Italian author Dino Buzzati, which together with commentaries provide a practical platform on which to analyse the characteristics and advantages of the approach. Additionally, building on these examples is a more general discussion of these two approaches, an examination of their respective strengths and weaknesses and an evaluation of domestication as a methodology that can still offer advantages in effective translation. 1 Acknowledgements I would like to extend my gratitude to the Italian Programme of The Victoria University of Wellington which I have greatly enjoyed being part of for the past five years. Special thanks to Dr Claudia Bernardi for her assistance as supervisor for the beginning of this project; and to Dr Marco Sonzogni for his much appreciated guidance, support and friendship. Many thanks to Jimmy, my family and friends for their invaluable love, support and feedback. Finally, I would like to thank Dino Buzzati for writing the excellent stories that provided the basis of project: grazie mille.
    [Show full text]
  • Maria Truglio
    MARIA TRUGLIO Department of Spanish, Italian and Portuguese, Pennsylvania State University 152 Burrowes Building, University Park, PA 16802 Tel: (814) 865-1155; Fax: (814) 863-7944; E-mail: [email protected] http://sip.la.psu.edu/directory/mxt34 _______________________________________________________________________ DEGREES Doctor of Philosophy in Italian Language and Literature. Yale University, 2001. Dissertation: “Beyond the Family Romance: The Uncanny Poetry of Giovanni Pascoli.” Adviser: Professor Paolo Valesio. Master of Arts in Italian Language and Literature. Yale University, 1996. Bachelor of Arts in Italian Studies and English. Wesleyan University, 1992. High Honors in English; Phi Beta Kappa, 1990. EMPLOYMENT ACADEMIC Professor of Italian and Women’s, Gender, and Sexulaity Studies. Department of Spanish, Italian and Portuguese Pennsylvania State University (University Park). 2019-present Associate Professor of Italian and Women’s, Gender and Sexuality Studies. Department of Spanish, Italian and Portuguese. Pennsylvania State University (University Park). 2009-2019 Assistant Professor of Italian. Department of Spanish, Italian and Portuguese. Pennsylvania State University. 2003-2009 Lecturer in Italian. Department of Spanish, Italian and Portuguese. Pennsylvania State University. 2001- 2003 ADMINISTRATIVE Co-Organizer, Spanish and Italian Modernist Studies Forum. Pennsylvania State University (University Park). 2012-2020 Interim Head, Department of Spanish, Italian and Portuguese. Pennsylvania State University (University Park).
    [Show full text]
  • Ekphrasis and Narrative, Or the Ideological Critique of Artworks: Alma-Tadema, Ennio Flaiano and the Legacy of Heliogabalus
    Guido Mattia Gallerani Università di Bologna Ekphrasis and Narrative, or the Ideological Critique of Artworks: Alma-Tadema, Ennio Flaiano and the Legacy of Heliogabalus doi:10.7358/ling-2016-002-gall [email protected] 1. INTRODUCTION: ENNIO FLAIANO, ALMA-TADEMA, AND HELIOGABALUS Ennio Flaiano (1910-1972), Italian screenwriter and journalist, is best known for his work with Federico Fellini as co-writer of screenplays such as La dolce vita (1960) and 8½ (1963). He was also the author of a number of collections of satirical short stories and articles. His talent was recognized throughout his lifetime, and as early as 1947 Flaiano was awarded the esteemed Premio Strega for his novel Tempo d’uccidere (Longanesi), which is set during the Italian colonial war in Ethiopia in 1935-36. Flaiano’s novella “La penultima cena” was included in a collection of short stories from 1928 entitled Le ombre bianche. The collection can be read as a fierce satire of both the entertainment industry and society of the ‘dolce vita’ Rome of the time (cf. Ruozzi 2012, 241-53). As are most of the other stories in the volume, “La penultima cena” is set in Rome, at a party held in an upper-class setting. The party takes on the guise of an ancient Roman feast, reenacted in modern times. This fictional scene is based on the host’s copy of Alma-Tadema’s well-known painting, The Roses of Heliogabalus (1888) (Fig. 1) 1. ———————— 1 The Roses of Heliogabalus was the result of a commission from Mr John Aird – who would later become Sir John Aird, 1st Baronet from his successes as a civil engineering Linguæ & – 2/2016 http: //www.ledonline.it/linguae/ 27 Guido Mattia Gallerani Fig.
    [Show full text]
  • Bontempelli E Buzzati. Forme Del Realismo Magico
    Corso di Laurea Magistrale in Filologia e Letteratura Italiana Tesi di Laurea Bontempelli e Buzzati. Forme del Realismo Magico Relatore Prof. Alberto Zava Correlatori Prof.ssa Ricciarda Ricorda Prof. Alessandro Scarsella Laureanda Gaia Milocco Matricola 844167 1 Anno Accademico 2019/2020 INDICE INTRODUZIONE 4 CAPITOLO PRIMO IL REALISMO MAGICO 6 I.1. La teoria generale del Realismo Magico e il suo legame con la Metafisica 6 I.2. Il Realismo Magico e il Surrealismo 17 I.3. Il Realismo Magico e l’Italia Magica 29 CAPITOLO SECONDO IL REALISMO MAGICO NEL ROMANZO ITALIANO: BONTEMPELLI, BUZZATI E LA NARRATIVA FANTASTICA 42 II.1. Le forme del fantastico nell’opera di Bontempelli (1922-1940): La scacchiera davanti allo specchio, Eva Ultima, La donna dei miei sogni 42 II.2. L’eredità di Bontempelli nell’opera di Buzzati: Il segreto del Bosco Vecchio (1935) 65 II.3. La tradizione tedesca del fantastico nel Realismo Magico di seconda specie: l’eredità di E.T.A. Hoffmann nella scrittura di Buzzati 76 CAPITOLO TERZO IL REALISMO MAGICO E LA FANTASCIENZA: FIGURE DI AUTOMI 85 2 III.1. Il grande ritratto (1960) di Buzzati: il riuso dei moduli bontempelliani e il rovesciamento delle istanze metafisiche 85 CONCLUSIONI 98 BIBLIOGRAFIA 100 BIBLIOGRAFIA GENERALE 101 BIBLIOGRAFIA CRITICA SU MASSIMO BONTEMPELLI E SU DINO BUZZATI 104 OPERE PRESE IN ESAME 106 3 INTRODUZIONE Seguendo lo spunto del brillante saggio Metafora e sogno: la narrativa di Buzzati fra «Italia magica» e «Surrealismo italiano»1 di Alvaro Biondi (in cui l’autore, con un’attenta indagine di storiografia letteraria, tratteggia la differenza tra il Surrealismo italiano di derivazione francese e la produzione magico-realista inscritta nel frame temporale che va, all’incirca, dal 1935 al 1945), si approfondiranno – mediante gli strumenti della Teoria della Letteratura – le due principali declinazioni italiane del Realismo Magico, che confluiscono rispettivamente nelle figure paradigmatiche di Massimo Bontempelli e di Dino Buzzati.
    [Show full text]
  • Cas Li 354 Contemporary Italian Literature Syllabus
    BOSTON UNIVERSITY STUDY ABROAD PADUA COURSE CAS LI 354 CONTEMPORARY ITALIAN LITERATURE COURSE LANGUAGE Italian INSTRUCTOR INSTRUCTOR EMAIL OFFICE HOURS weekly COURSE SCHEDULE Twice a week, two hours per appointment COURSE VALUE 4 CREDITS LEARNING OUTCOMES OF THE 1. Demonstrate increased proficiency in Italian language from elementary PROGRAM to advanced level. 2. Demonstrate knowledge of Italian culture with respect to three of the following areas: history, politics, economics, religion, literature, film and the arts. 3. Develop an awareness of cultural difference and an understanding of culture’s role in shaping beliefs and practices. 4. Develop new perspectives on one’s own culture and an ability to think critically about one’s own values and beliefs. COURSE DESCRIPTION The course introduces students to examples of the main authors of contemporary Italian literature, starting from the period following the end of the Second World War until today. In this time frame, narrative and poetry focus on the representation of the post-war situation, the industrial development, the identity crisis of Italian cities and their inhabitants, the emerging social problems, the female condition and new postmodernist ideas. The course will follow some geographical coordinates that will allow the students to acquire knowledge of the major literary authors and movements and set them in their geo-historical context. The students will familiarize themselves with some of the most important voices of the contemporary Italian panorama, such as Pasolini, Buzzati, Calvino, Ortese or Morante. Genres include short stories, novels, and poetry, but also documentaries and films. Required on-site classes will provide students with the opportunity to contextualize readings in their historical setting and therefore better understand style, language and motif.
    [Show full text]
  • Dino Buzzati and Anglophone Culture
    Dino Buzzati and Anglophone Culture: The Re-use of Visual and Narrative Texts in His Fantastic Fiction Submitted by Valentina Polcini to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Italian, July 2010. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) …………………………………………………………… Abstract This thesis explores the relationship between Buzzati’s fiction and Anglophone culture, particularly the re-use of narrative and visual sources in his works. The analysis of the intertextual stratification in Buzzati brings to the fore the author’s urge to convey the significance of imagination through the fantastic mode. It also reveals an optimistic and playful side of Buzzati, which lies behind a pervading pessimistic tone. Buzzati’s re- working of images from other authors and of generic topoi is aimed at decrying the loss of imagination occurring in the transition to adulthood as well as a general disregard of fantasy characterizing modern technologized societies. Nonetheless, intertextual practices are a means to recover and originally re-present the fantastic imagery conveyed by the artists from whom Buzzati drew inspiration. Buzzati was especially keen on Anglophone literature and art; hence, the focus of this thesis, which is divided into four chapters.
    [Show full text]
  • Roma 1950 - 1965” an Exhibition Curated by Germano Celant Presented by Fondazione Prada 23 March – 27 May 2018 Prada Rong Zhai, Shanghai
    “ROMA 1950 - 1965” AN EXHIBITION CURATED BY GERMANO CELANT PRESENTED BY FONDAZIONE PRADA 23 MARCH – 27 MAY 2018 PRADA RONG ZHAI, SHANGHAI “Roma 1950-1965,” conceived and curated by Germano Celant and presented by Fondazione Prada, will open to the public from 23 March to 27 May 2018 within the spaces of Prada Rong Zhai in Shanghai. The exhibition explores the exciting cultural climate and lively art scene that developed in Rome during the period following the World War II, bringing together over 30 paintings and sculptures by artists including Carla Accardi, Afro Basaldella, Mirko Basaldella, Alberto Burri, Giuseppe Capogrossi, Ettore Colla, Pietro Consagra, Piero Dorazio, Nino Franchina, Gastone Novelli, Antonio Sanfilippo, Toti Scialoja and Giulio Turcato. Within a historical context characterized by the Italian economic boom and an increasing industrialization, the intellectual and artistic debate focused on notions of linguistic renewal and political commitment. In Italy, from the mid-1940s, innovation was embodied from a literary and cinematographic perspective through the neorealist movement, represented by film directors such as Luchino Visconti, Roberto Rossellini and Vittorio De Sica, while writers and intellectuals like Elio Vittorini and Cesare Pavese created an extraordinary period of experimentalism and international openness. In the art scene, people witnessed the spread of ferocious debates and polemics, as well as the proliferation of opposing groups and theoretical positions. Rome was one of the most vital epicenters of this clash of ideas which translated into a rethinking of idelogical realism, promoted by artistic figures like Renato Guttuso and Giacomo Manzù, as well as into an attempt to reconcile collective life with individual experience, abstraction with political militancy, art with science.
    [Show full text]