DOCSLIB.ORG

Anti-Semitism, Misogyny and the Logic of Cultural Difference: Cesare Lombroso and Matilde Serao by Nancy A. Harrowitz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anti-Semitism, Misogyny and the Logic of Cultural Difference: Cesare Lombroso and Matilde Serao by Nancy A. Harrowitz Differentia: Review of Italian Thought Number 8 Combined Issue 8-9 Spring/Autumn Article 49 1999 Anti-Semitism, Misogyny and the Logic of Cultural Difference: Cesare Lombroso and Matilde Serao by Nancy A. Harrowitz Carole C. Gallucci Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Gallucci, Carole C. (1999) "Anti-Semitism, Misogyny and the Logic of Cultural Difference: Cesare Lombroso and Matilde Serao by Nancy A. Harrowitz," Differentia: Review of Italian Thought: Vol. 8 , Article 49. Available at: https://commons.library.stonybrook.edu/differentia/vol8/iss1/49 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]. 388 DIFFERENT/A worthy of worship-operates as a by her own evidence. For example, leitmotif binding these individual Bradamante, the "unimpeachable narratives. Taken collectively, the female subject" whose military phase chapters trace the trajectory of the ... constitutes only a temporary activi­ Orlando Furioso itself, which moves ty before her public espousal of the from "romance and deviation" joys of domesticity" seems incompati­ (Angelica) to "epic and closure" ble with the Bradamante who under­ (Bradamante) (19). stands that Rodomonte's mausoleum Although as warrior woman, for Isabella "should not replace a Bradamante might seem the most woman, dead or alive, but should disruptive of Ariosto's collection of represent a woman's right to choose a female figures, Finucci identifies life of her own" (194). Such a contra­ Angelica as his most formidable diction suggests a destablizing crux female. Narcissistically self-enclosed which might work to contravene or and self-contained, uninterested in at least compromise a recuperative suitors and equipped to thwart narrative strategy. But if Finucci would-be ravishers such as Ruggiero, chooses not to foreground such crux­ by becoming invisible, Angelica es in her analysis, it is because her "desires nothing but escape from the main objective--an ambitious one--is desire that creates a place for her in to dismantle an entrenched critical representation" (118). But an tradition which mistakenly attributes Angelica who is "the subject of her protofeminist attitudes to Castiglione own desire" (120) is outside the econ­ and Ariosto. In terms of this task, she omy of the symbolic order. As such, is unquestionably successful. Thus she unmans--or castrates--men who her book represents a keystone study control or possess her (as seen in which will prompt an important shift Orlando's madness), and therefore in critical approaches to major writ­ must be radically degraded in the ers of the Italian Renaissance. narrative. Bradamante, on the other Especially as a first book, it is a hand, although ostensibly threaten­ remarkable accomplishment. ing by virtue of her fiercely male exterior, is never phallically empow­ SUSAN ZIMMERMAN ered: Ariosto's narrative strategy Queens College, CUNY with her is to show "at each opportu­ nity that she is only pretending to be a man" (243). Finucci's examination of both the Cortigianoand Orlandofurioso is extra­ Anti-Semitism, Misogyny ordinarily rewarding because of the and the Logic of polished way in which she integrates Cultural Difference: theoretical premises with richly Cesare Lombroso and detailed textual exegesis. It is true Matilde Serao that occasionally her insistence on By Nancy A. Harrowitz. narrative strategies of recuperation Lincoln & London: University of flattens out contradictions suggested Nebraska Press, 1994. reviews 389 where, Harrowitz utilizes it to draw This study is primarily concerned attention to the fact that the underly­ with the connection between misogy­ ing stereotype is often that of the East ny and anti-Semitism in late nine­ European Jew. Unfortunately, the teenth-century Italy, and specifically reader is left thirsting for more infor­ the place and identity of women and mation . Jews in society. Harrowitz's intention, Chapter four, "Portraits of Self­ as implied in her title, is not only to Abnegation", is one of the most inter­ provide a close reading of the authors esting . In this chapter, Harrowitz in question, but to determine to what addresses the concept of self-hatred degree these prejudices are reinforced by comparing Lombroso's Jewish or even generated by nineteenth-cen­ identity with Otto Weininger and tury science, particularly Darwinism. Franz Boas. Here she examines some She singles out Lombroso and Serao of the limited bibliography on Jewish because both depend on the science self-hatred, including the questions of their day to theorize the status of of definition. Harrowitz is not alone disenfranchised groups, and both in arguing that other factors, such as reveal problematic relationships to complicity with antisemitic policies their selfhood (13). Harrowitz has and acts of anti-Semitism, must be made an impressive effort to draw taken into account before one can parallels between science and litera­ conclude that Lombroso hated him­ ture and to show how prejudice self for being a Jew, and prefers the towards different groups can inter­ terms "self-denial" or "self-abnega ­ sect. Harrowitz has delineated where tion". Equally insightful is her analy­ points of comparison might be sis of the warm reception of drawn, and she has found some com­ Weininger in Italy, especially by mon ground for her choices, if not Florentine intellectuals who were convincing theoretical justification. markedly silent on his anti-Semitism. She organizes her study into seven In the following two chapters she chapters, three of which are centered explores the work of Matilde Serao. around discussions of misogyny and While the first presents an overview anti-Semitism in Lombroso. While of Serao's work, studying her news­ she relays nothing new on the subject paper editorials together with her of Lombroso' s misogyny, amply doc­ novels, the second examines the umented in scores of studies, the dis­ novel La mano tagliata. Both chapters course on anti-Semitism provides an focus on the ambiguous and often important step in opening up new contradictory aspects that character­ fields of inquiry. It is this alleged ize Serao's writing. Like Lombroso, newness of the field that sets much of Harrowitz contends, Serao challenges the tone for her analysis. The last sec­ the status of her own group while tion of chapter three is focused on distancing herself from her own iden­ Bram Stoker's Dracula, as Count tity. Although Serao built a brilliant Dracula is compared to a Lombrosian career for herself, in her newspaper criminal. Although this is a subject editorials she advised women to stay that has already been treated else- at home. In her novels she demon- 390 DIFFERENT/A strated ambivalence and hostility when she applies Barbara Johnson's towards women's subaltern status. "power of feminine contradiction" to Harrowitz does well to point out that Serao as a solution to the problem of a glaring exception to her conser­ female authority in the text: vatism is her anti-Fascist stance "Contradiction is at once a vehicle for which clearly cost her the Nobel this authority and at the same time Prize in literature. Harrowitz spends an analysis of the source of its power; a considerable amount of time, and to this dual characteristic sums up very good effect, studying her three 'love' well the situation in which we find novels, Cuore infermo, Addia amore! Serao" (100). While it is true that and Castigo. rereading Serao in terms of inconsis­ In the second chapter on Serao, tency or tension rather than strict cat­ Harrowitz studies how Serao' s view egorization can be useful, it is less of women as marginalized interacts clear how bound up these terms are with the more fully marginalized and or where they may lead: why, for scapegoated figure of the Jew in some example, are these categories not of her fiction. After an astute analysis applied to writing by men (can "male of La mano tagliata in terms of race, contradiction" exist?) religion and gender, Harrowitz con­ This study of Serao might have cludes that, for Serao, a critique of been improved if the author had paid patriarchy is possible only through closer attention to the critical recep­ the figure of the Jew. tion of Serao during her time, rather One of Harrowitz's intentions is than exclusively providing close the rehabilitation of Serao as a wor­ readings. In addition, Harrowitz, sur­ thy subject of critical analysis. She prisingly, fails to draw upon recent attributes Serao's marginalization to critical studies to strengthen her her "pluralistic literary production" claims. Regarding women's margin­ and "critical prejudice" (82). In doing alization, her study would have ben­ so, Harrowitz lends her voice to the efitted greatly by rereading Serao in current debate as to whether or not relation to other Italian women writ­ Serao can be considered a feminist. ers of the time, like Negri and Harrowitz opts for exploring the Deledda, who also addressed the "feminist tensions" in Serao, yet marginalization and contradiction in Harrowitz herself can be accused of their lives as literary women, as pushing Serao along the spectrum Robin Pickering-Iazzi notes in from ambivalent misogynist to quasi Unspeakable Women: Selected Short feminist too fast. Her analysis, how­ Stories Written by Italian Women dur­ ever, raises an important question: ing Fascism. What are the criteria for judging texts There is a final chapter devoted to "feminist"? It is clear that salvaging a "Gender & the Stigma of Difference," multi-faceted Serao is nevertheless a a study of the history of the word way of rescuing women's voices. "stigmata" in order to illuminate the Yet Harrowitz, though she is cer­ logic of cultural difference in the late tainly not alone, falls into the very nineteenth-century.
Load more

Recommended publications
  • THE HISTORY of ORLANDO FURIOSO
    ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
    [Show full text]
  • The Great Duel Between Orlando and Rinaldo for the Beautiful Angelica's Sake
    PRESENT The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake OPERA DEI PUPI, SICILIAN PUPPET THEATER Italian Puppet Master Mimmo Cuticchio Theater Company Associazione Figli d’Arte Cuticchio PROGRAM OF EVENTS A captivating entertainment for all ages, The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake by the Italian theatre company Associazione Figli d’Arte Cuticchio. This is a rare opportunity to see a performance of the Sicilian Opera dei Pupi, led by master puppeteer Mimmo Cuticchio, one of the last heirs of this theater form, outside of Italy. An understanding of the Italian language is not required to enjoy this enthralling and unique show. Matinée for the schools with recorded music Illusion Theater Wednesday and Thursday, October 24 and 25 @ 10:00 am. Free for schools. Also open to the general public. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339-4944 beginning September. Evening performance with live music Illusion Theater Saturday, October 27 @ 7:30 pm. Free performance. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339- 4944 beginning September. Talk I Figli d’Arte Cuticchio, Tradition and Innovation in Contemporary Sicilian Puppet Theater by Michael Wyatt (Stanford University) Center for Early Modern History, University of Minnesota Friday, October 26 @ 12:15 pm. Free event. Michael Wyatt, leading specialist of Italian early modern literature at Stanford, will introduce the audience to the discovery of the magical world of Opera dei Pupi and the uniqueness of Cuticchio’s theater.
    [Show full text]
  • ARIOSTO – Orlando Furioso – La Fuga Di Angelica
    La fuga di Angelica La figura di Angelica è centrale nell’“Orlando furioso” come lo era stato nello “Orlando innamorato” che era rimasto interrotto dal Boiardo. Il primo canto prefigura la fuga di Angelica dal campo cristiano dopo che, portata da Orlando in Francia, era stata imprigionata da Carlo Magno il quale la offrirà al miglior combattente Orlando o Rinaldo nella lotta contro i saraceni. Durante la battaglia Angelica era rimasta sola e trovato un cavallo si era lanciata in una fuga che metterà in moto tutto il poema: svariati personaggi si metteranno alla sua ricerca intrecciando svariate vicende. Commento [1]: Il principale tratto è certamente quello della inchiesta o ricerca: ogni Commento [2]: personaggio attivo nel canto è alla ricerca di un qualcosa. Gli esempi sono numerosi: Ferraù che cercava l’elmo nel fiume poi cerca Commento [3]: Angelica e alla fine si ritrova a ricercare l’elmo e a causa dello spirito di Argalia si trova alla ricerca di Orlando; Rinaldo cerca prima il suo cavallo poi Commento [4]: Angelica e infine il cavallo; Angelica cerca la libertà. Ed Angelica cerca la Commento [5]: libertà proprio da coloro che la desiderano: Angelica è insomma l’oggetto del desiderio. Con Angelica tutti i protagonisti sono alla sua ricerca: di lei sono innamorati Orlando, Rinaldo, Ferraù, Sacripante. Grazie all’attrazione per Angelica le vicende prendono luogo: la fanciulla si presenta come il motore dell’azione. Tale motore è però passivo: è fuggendo che essa si fa ricercare provocando tutto. Fugge dal campo di Carlo Magno, fugge da Rinaldo e da Ferraù.
    [Show full text]
  • The Widow of Valencia
    FÉLIX LOPE DE VEGA Y CARPIO THE WIDOW OF VALENCIA Translated by the UCLA Working Group on the Comedia in Translation and Performance: Marta Albalá Pelegrín Paul Cella Adrián Collado Barbara Fuchs Rafael Jaime Robin Kello Jennifer L. Monti Laura Muñoz Javier Patiño Loira Payton Phillips Quintanilla Veronica Wilson Table of Contents The Comedia in Context A Note on the Playwright Introduction—Robin Kello and Laura Muñoz Pronounciation Key Dedication The Widow of Valencia Characters Act I Act II Act III The Comedia in Context The “Golden Age” of Spain offers one of the most vibrant theatrical repertoires ever produced. At the same time that England saw the flourishing of Shakespeare on the Elizabethan stage, Spain produced prodigious talents such as Lope de Vega, Tirso de Molina, and Calderón de la Barca. Although those names may not resonate with the force of the Bard in the Anglophone world, the hundreds of entertaining, complex plays they wrote, and the stage tradition they helped develop, deserve to be better known. The Diversifying the Classics project at UCLA brings these plays to the public by offering English versions of Hispanic classical theater. Our translations are designed to make this rich tradition accessible to students, teachers, and theater professionals. This brief introduction to the comedia in its context suggests what we might discover and create when we begin to look beyond Shakespeare. Comedia at a Glance The Spanish comedia developed in the late sixteenth and early seventeenth centuries. As Madrid grew into a sophisticated imperial capital, the theater provided a space to perform the customs, concerns, desires, and anxieties of its citizens.
    [Show full text]
  • Nelson, Against Their Will
    http://www.gendersexualityitaly.com g/s/i is an annual peer-reviewed journal which publishes research on gendered identities and the ways they intersect with and produce Italian politics, culture, and society by way of a variety of cultural productions, discourses, and practices spanning historical, social, and geopolitical boundaries. Title: Against their Will: Deconstructing the Myth of the Heroic Rapist in Ariosto’s Orlando Furioso and Machiavelli’s La Mandragola Journal Issue: gender/sexuality/italy, 1 (2014) Author: Scott Nelson Publication date: 2014 Publication info: gender/sexuality/italy Permalink: http://www.gendersexualityitaly.com/against-their-will/ Author Bio: Scott Nelson is a Lecturer of Italian at Coastal Carolina University in the newly formed department of Communication, Languages and Cultures. He received his Ph.D. from the University of North Carolina at Chapel Hill. His research interests include Italian Renaissance literature, 20th-century Italian literature and Italian film. More specifically, his research examines Italian cultural trends, gender studies and identity. Abstract: There are no words that encapsulate the idea of the heroic rapist better than the ones used by Susan Brownmiller in her book Against Our Will: Men, Women and Rape. She writes: “As man conquers the world, so too he conquers the female.” Throughout history no theme rules the masculine imagination more often and with less honor than the myth of the heroic rapist. In Ludovico Ariosto’s Orlando Furioso and Niccolò Machiavelli’s La Mandragola, fortune is always seen from a male point of view. The term fortune, meaning chance or luck as an external or arbitrary force affecting human affairs, is often used in these works yet neither Angelica nor Lucrezia—the two principal female characters—is able to control her own destiny.
    [Show full text]
  • 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.
    [Show full text]
  • Orlando Innamorato [Orlando in Love]
    Matteo Maria Boiardo: Orlando Innamorato [Orlando in Love] (1495) Jo Ann Cavallo (Columbia University ) Genre: Epic, Poetry (any). Country: Italy. Written for a fifteenth-century Italian court society hooked on Arthurian romance but also attuned to current world events, Boiardo’s Orlando Innamorato [Orlando in Love] charts a complex imaginary course in which characters from diverse cultures encounter one another in ways that range from armed conflict to friendship and love. Although knights and damsels from around the globe are gripped by a number of passions, such as erotic desire, anger, ambition, compassion, and the desire for glory or revenge, their actions are not based on either religious or ethnic differences. The narrative thereby breaks out of the polarization of Christians and Saracens typical of Carolingian epic, presenting a broader cosmopolitan vision of humankind consonant with ancient, medieval, and fifteenth-century historical and geographical texts that were capturing the attention of the Ferrarese court. In the chansons de geste, or historical songs, that formed the basis of the medieval Carolingian epic genre, the hero Roland (later Italianized as Orlando) was celebrated as Charlemagne’s most stalwart paladin. In the twelfth-century The Song of Roland, a Basque ambush of Charlemagne’s retreating army at the mountain pass of Roncesvalles (Einhard) was refashioned into an Armageddon of sorts in which Roland and his companions who formed the rearguard were massacred by Saracens due to his stepfather Ganelon’s treachery. Subsequent elaborations of Frankish exploits in Spain prior to the fatal battle of Roncesvalles, most notably the Franco-Venetian Entrée d’Espagne (c.
    [Show full text]
  • Orlando Furioso by Ludovico Ariosto (1532) Orlando Furioso Is an Italian Epic Poem by Ludovico Ariosto Which Has Exerted a Wide Influence on Later Culture
    Galician Princess Isabella character in Orlando Furioso epic poem by Ludovico Ariosto (1532) Orlando Furioso by Ludovico Ariosto (1532) Orlando furioso is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando Furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando Innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late 1 Middle Ages and continuing in popularity in the 16th century and well into the 17th. Galician Princess Isabel in Orlando Furioso NOT the Isabel (d’Este) mentioned by Melissa in Canto XIII. Orlando finds XII, Backstory and travels with Orlando XIII, mentioned in XVIII as Zerbino’s lover, Gabrina lies to Zerbino about her XX, Rescues Zerbino XXIII, Death of Zerbino and saved by hermit XXIV, captured by Rodomonte XXVIII, slain by Rodomonte XXIX Classical Types Arethusa, Daphne, Juliet Daughter of the King of Galicia, Lover of Zerbino, Kidnapped and Slain by Rodomonte TLDR Beautiful Moor Loses Star-Crossed Lover, Pulls Surprise Death on Would-be Rapist Summary The Christian Scottish Prince Zerbino wins Isabel’s heart when he attends a tournament in her father’s kingdom of Galicia. The faith-crossed lovers arrange an elopement that will bring Isabel by ship to Scotland, but a storm leaves Isabel stranded with a small crew of survivors.
    [Show full text]
  • 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.
    [Show full text]
  • Foreign Consular Offices in the United States
    United States Department of State Foreign Consular Offices in the United States Winter/Spring2016 STATE DEPARTMENT ADDRESSEE *IF YOU DO NOT WISH TO CONTINUE RECEIVING THIS PUBLICATION PLEASE WRITE CANCEL ON THE ADDRESS LABEL *IF WE ARE ADDRESSING YOU INCORRECTLY PLEASE INDICATE CORRECTIONS ON LABEL RETURN LABEL AND NAME OF PUBLICATION TO THE OFFICE OF PROTOCOL, DEPARTMENT OF STATE, WASHINGTON, D.C. 20520-1853 DEPARTMENT OF STATE PUBLICATION 11106 Revised April 25, 2016 ______________________________________________________________________________ For Sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 FOREIGN CONSULAR OFFICES IN THE UNITED STATES ii PREFACE This publication contains a complete and official listing of the foreign consular offices in the United States, and recognized consular officers. Compiled by the U.S. Department of State, with the full cooperation of the foreign missions in Washington, it is offered as a convenience to organizations and persons who must deal with consular representatives of foreign governments. It has been designed with particular attention to the requirements of government agencies, state tax officials, international trade organizations, chambers of commerce, and judicial authorities who have a continuing need for handy access to this type of information. Trade with other regions of the world has become an increasingly vital element in the economy of the United States. The machinery of this essential commerce is complicated by numerous restrictions, license requirements, quotas, and other measures adopted by the individual countries. Since the regulations affecting both trade and travel are the particular province of the consular service of the nations involved, reliable information as to entrance requirements, consignment of goods, details of transshipment, and, in many instances, suggestions as to consumer needs and preferences may be obtained at the foreign consular offices throughout the United States.
    [Show full text]
  • Ludovico Ariosto: Orlando Furioso
    Ludovico Ariosto: Orlando Furioso (1532) Jo Ann Cavallo (Columbia University ) Genre: Poetry (any). Country: Italy. One of the best known works in Italian literature, the Orlando Furioso, is a continuation of the romance epic Orlando Innamorato, which was left unfinished at the ninth canto of Book Three when Boiardo died in 1494. Like Boiardo, Ariosto weaves together Carolingian and Arthurian themes into an intricately interlaced plot, creatively imitating a vast range of works—from classical epic poetry and history to medieval lyric and novella traditions—in order to surprise, delight, and signify. As he continues to mix imaginary sites and the geographical reality of a rapidly expanding globe, Ariosto not only meticulously completes the various threads of Boiardo’s poem, but also adds original episodes following his own creative genius and Weltanschauung. It is generally thought that Ariosto began writing his “gionta” (sequel) in 1505 after the publication of a mediocre fourth book by Niccolò degli Agostini. The first edition of the poem in 40 canti was completed in 1515 and appeared in print in 1516. Ariosto continued to work on the poem throughout his lifetime, producing a second edition in 1521 that contained relatively minor revisions and a definitive third edition in 1532 that included four additional episodes inserted within the poem, bringing the number of canti from 40 to 46. Ariosto had also worked on a continuation, in which Charlemagne’s realm was subsequently threatened both internally and externally by powerful behind-the-scenes forces fomenting violence, but this unfinished sequel, commonly referred to simply as the Cinque canti [Five canti], was never published during Ariosto’s lifetime and only appeared in print in 1545 as an “addition” to the Furioso thanks to Ariosto’s son Virginio (see Quint, introduction, Cinque canti).
    [Show full text]
  • Boiardo and Ariosto in Contemporary Sicilian Puppet Theater and the Tuscan-Emilian Epic Maggio
    Boiardo and Ariosto in Contemporary Sicilian Puppet Theater and the Tuscan-Emilian Epic Maggio ❦ Jo Ann Cavallo Characters from medieval and Renaissance chivalric texts have been given tangible form through the centuries not only in operatic, melo- dramatic, theatrical and, more recently, cinematic adaptations, but also in popular performance traditions such as Sicilian puppet theater (opera dei pupi) and the folk operas (maggi epici) of the Tuscan-Emilian Apennines. This essay traces the reimagining of a sampling of non- Christian characters and non-European places from Matteo Maria Boiardo’s Orlando Innamorato and Ludovico Ariosto’s Orlando Furioso by a number of contemporary puppet theater and maggio companies. My contention is that an examination of select scenes available online, in conjunction with a close reading of the original episodes, may help students think more deeply about perennial issues addressed in the two poems—related to gender roles, the foreign and religious Other, violence, and political power—that continue to be relevant today.1 1The links for the videos discussed in the essay will be provided in the following end- notes. There is additional material from both traditions (scripts, videos of performances, interviews, photographs) in the database eBOIARDO: https://edblogs.columbia.edu/ eboiardo/. All links are current as of 24 February 2018. MLN 133 (2018): 48–63 © 2018 by Johns Hopkins University Press M L N 49 Sicilian puppet theater No art form has devoted as sustained and elaborate attention to the Orlando Innamorato and the Orlando Furioso as Sicilian puppet theater.2 Although today we are past the time when Orlando and his fellow knights relived their adventures a puntate every evening in teatrini across Sicily and beyond, we can still encounter puppeteers, especially in Palermo, Catania, and Siracusa, who regularly present episodes from the two poems.
    [Show full text]