Lecturas / Lectures De Renga
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NEW BOOKS & REISSUES September to December 2018 INFORMATION PERSONNEL Sales Manager: Office Administrator: Finance Manager: Alan Brenik Foichl Miah Wendy Saxton [email protected] [email protected] [email protected] Managing Editor: Marketing Manager: Managing Director: Luke Allan Jazmine Linklater Michael Schmidt [email protected] [email protected] [email protected] TRADE TEAM UK Sales Representatives: Compass ([email protected]) UK Distributors: NBN ([email protected]) US Distributors: IPG ([email protected]) CONTACT Carcanet Press Ltd phone: +44 (0)161 834 8730 Floor 4, Alliance House email: [email protected] 30 Cross Street online: www.carcanet.co.uk Manchester M2 7AQ To subscribe to our weekly newsletter, email [email protected]. Visit the Carcanet web store to receive a 10% discount on all of our titles. ACKNOWLEDGEMENTS Carcanet Press receives financial assistance from Arts Council England. CARCANET CLASSICS One generation’s classics look quite different from another’s. Carcanet Classics grow out of FyfieldBooks, a series launched in 1972 to fill the gaps in our library -- before e-books and on line resources papered over the library itself. Carcanet Classics give the book back its dynamic power. They make discoveries and re-discoveries. New takes on ancient texts (two Gilgameshes for example), new readings of the Latin classics, young poets advocating the work of their mentors, all have their place. Some of the books, like the new Beowulf, are vividly annotated. Others are bare and direct, pointed in our direction with a living introduction. The range is from two millennia BC to our own century, from Sumeria to Paterson, New Jersey, from ancient Greece to Anglo-Saxondom. -
Visione Del Mondo
Weltanschauung - Visione del mondo Art Forum Würth Capena 14.09.09 – 07.08.10 Opere e testi di: Kofi Annan, Louise Bourgeois, Abdellatif Laâbi, Imre Bukta, Saul Bellow, John Nixon, Bei Dao, Xu Bing, Branko Ruzic, Richard von Weizsäcker, Anselm Kiefer, Hans-Georg Gadamer, Marcos Benjamin, Twins Seven Seven, Paavo Haavikko, Hic sunt leones, Nelson Mandela, Kyung Hwan Oh, Jean Baudrillard, Huang Yong Ping, Nagib Machfus, Inge Thiess-Böttner, Guido Ceronetti, Richard Long, Yasar Kemal, Igor Kopystiansky, Imre Kertèsz, Svetlana Kopystiansky, Kazuo Katase, Milan Kundera, Frederich William Ayer, Günter Uecker, Durs Grünbein, Mehmed Zaimovic, Enzo Cucchi, Vera Pavlova, Franz-Erhard Walther, Charles D. Simic, Horacio Sapere, Susan Sontag, Hidetoshi Nagasawa, George Steiner, Nicole Guiraud, Bernard Noël, Mattia Moreni, George Tabori, Richard Killeen, Abdourahman A. Waberi, Roser Bru, Doris Runge, Grazina Didelyte, Gérard Titus-Carmel, Edoardo Sanguineti, Mimmo Rotella, Adam Zagajewski, Piero Gilardi, Günter Grass, Anise Koltz, Moritz Ney, Lavinia Greenlaw, Xico Chaves, Liliane Welch, Fátima Martini, Dario Fo, Tom Wesselmann, Ernesto Tatafiore, Emmanuel B. Dongala, Olavi Lanu, Martin Walser, Roman Opalka, Kostas Koutsourelis, Emilio Vedova, Dalai Lama, Gino Gorza, Karlheinz Stockhausen, Robert Indiana, Nadine Gordimer, Efiaimbelo, Les Murray, Arthur Stoll, Mikhail Sergeyevich Gorbachev, Boris Orlov, Carlos Fuentes, Klaus Staeck, Alì Renani, Wolfang Leber, Alì Aramideh Ahar, Sogyal Rinpoche, Ulrike Rosembach, Andrea Zanzotto, Adriena Simotova, Jürgen -
Charles Tomlinson
Thélème. Revista Complutense de Estudios Franceses ISSN: 1139-9368 Vol. 17 (2002): 49-52 Charles Tomlinson MARGARITA ARDANAZ Universidad Complutense de Madrid Nació en 1927 en Stoke-on-Trent. B.A. por el Queen’s College de Cambridge, Po- eta viajero por Italia y EE.UU. en su juventud, formado en la escuela de la poesía ame- ricana (Marianne Moore, William Carlos Williams, T.S. Eliot, Louis Zukofsky), a la que rinde homenaje en Some Americans, A personal Record (1981). Publica poemarios en los que une a sus emociones personales, una mirada del mundo exterior, de las ciudades fantasmas desde el desierto americano a los paisajes urbanos de los Midlands. Cada particularidad es puesta de relieve con una precisión meticulosa y expresada con un lenguaje al que a veces resulta difícil de acceder, debido a los ritmos musicales y a las numerosas alusiones a la riqueza de su simbología personal. Sus aspiraciones como pintor se ven reflejadas en las cualidades visuales de sus versos. Después de haber ejer- cido su magisterio en diferentes universidades de EE.UU., en la actualidad reside en Gloucestershire (Inglaterra). Poesía: Relations and Contraries. Aaldington, Hand and Flower, 1951. The Necklace. Oxford, Fantasy Press, 1955. 2ª edición corregida: Londres, Oxford Univ. Press, 1966. Seeing Is Believing. N. York, McDowell Obolensky, 1958. Londres, Oxford Univ. Press, 1960. A Peopled Landscape. Londres, Univ. Press, 1963. Poems: A Selection. Londres, Oxford Univ. Press, 1964. American Scenes. Londres, Oxford Univ. Press, 1966. The Matachines. New Mexico, San Marcos Press, 1968. The Poem as Initiation. Hamilton, N. York, Colgate Univ. Press, 1968. -
The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself. -
Elio Gioanola Carlo Bo Charles Singleton Gianfranco Contini
Elio Gioanola Introduzione Carlo Bo Ricordo di Eugenio Montale Charles Singleton Quelli che restano Gianfranco Contini Lettere di Eugenio Montale Vittorio Sereni Il nostro debito verso Montale Vittore Branca Montale crìtico di teatro Andrea Zanzotto La freccia dei diari Luciano Erba Una forma di felicità, non un oggetto di giudizio Piero Bigongiari Montale tra il continuo e il discontinuo Giovanni Macchia La stanza dell'Amiata Ettore Bonora Un grande trìttico al centro della « Bufera » (La primavera hitleriana, Iride, L'orto) Silvio Guarnieri Con Montale a Firenze http://d-nb.info/945512643 Pier Vincenzo Mengaldo La panchina e i morti (su una versione di Montale) Angelo Jacomuzzi Incontro - Per una costante della poesia montaliana Marco Forti Per « Diario del '71 » Giorgio Bàrberi Squarotti Montale o il superamento del soggetto Silvio Ramat Da Arsenio a Gerti Mario Martelli L'autocitazione nel secondo Montale Rosanna Bettarini Un altro lapillo Glauco Cambon Ancora su « Iride », frammento di Apocalisse Mladen Machiedo Una lettera dì Eugenio Montale (e documenti circostanti) Claudio Scarpati Sullo stilnovismo di Montale Gilberto Lonardi L'altra Madre Luciano Rebay Montale, Clizia e l'America Stefano Agosti Tom beau Maria Antonietta Grignani Occasioni diacroniche nella poesia di Montale Claudio Marabini Montale giornalista Gilberto Finzi Un'intervista del 1964 Franco Croce Satura Edoardo Sanguineti Tombeau di Eusebio Giuseppe Savoca L'ombra viva della bufera Oreste Macrì Sulla poetica di Eugenio Montale attraverso gli scritti critici Laura Barile Primi versi di Eugenio Montale Emerico Giachery La poesia di Montale e il senso dell'Europa Giovanni Bonalumi In margine al « Povero Nestoriano smarrito » Lorenzo Greco Tempo e «fuor del tempo» nell'ultimo Montale . -
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Beautiful Lotuses, Beautiful Roses TOWARDS THE CONSTRUCTION OF A POLYPHONIC, MONADOLOGICAL, CREATIVE SPACE Masaru Yoneyama The lotus is a well-known symbol of the East, and the rose that of the West. However, the reason for putting them in the plural form for the title of this conference is to emphasize the fact that even within both the so-called “Eastern” and “Western” cultures, there actually exists a wide variety of differences which should not be ignored. The world’s various cultures have truly flowered each in their own way: the question remains as to whether people who have grown up under the influence of one, can really learn to appreciate the beauty of another one, perhaps a very different one. Can we even learn to find the differences them- selves that exist so clearly between one culture and another, truly as beautiful as they are? I believe that these questions are very important for our day, and con- cern both our academic study and our social lives. Just what does it mean to truly understand a different culture, indeed, how do we understand the concept of culture itself? This question is being newly addressed in our time. It has been a long time since investigations of culture have been referring to such concepts as “interculturality”, “multiculturality” and “transculturality”, and these discussions have often attempted to use these concepts to uproot traditional ideas of culture. One researcher calls such traditional interpretations of culture “unificatory”, (monolithic) “folk-bound” (ethnically or regionally defined) and “separatory” (divi- sive in their effects) (Welsch1). When we refer to traditional concepts of culture, and think of cultures as “islands” or “spheres,” we tend to take such ideas for granted as the “inner homogenization” within each cul- ture, and their “outer separation” from each other. -
Vatra Veche 8, 2019
8 Români din toate ţă rile, uni ţi-vă! Lunar de cultur ă * Serie veche nou ă* Anul XI, nr. 8 (128) august 2019 *ISSN 2066-0952 VATRA, Foaie ilustrat ă pentru familie (1894) *Fondatori I. Slavici, I. L. Caragiale, G. Co şbuc VATRA, 1971 *Redactor-şef fondator Romulus Guga* VATRA VECHE, 2009, Redactor-şef Nicolae B ăciu ţ _____________________________________________________________________________________________ _______________________________________________________________________________ INSCRIP ȚIE Tot ce se poate-nțelege E f ără speran ță și lege Și cre ște dospind din eres Tot ce e f ără-nțeles. ANA BLANDIANA Marcel Lup șe, Buzduganul florilor de in _____________________________________________________________________________________________________________________ Inscrip ție, de Ana Blandiana/1 Vatra veche dialog cu Ana Blandiana, de Nicolae B ăciu ț/3 Cununa de Aur a Serilor de Poezie de la Struga, de Nicolae Băciu ț/4 Cuvântul de acceptare al laureatului, de Ana Blandiana,/5 Cununa de Aur, 2019, de Nicolae Băciu ț/5 Eseu. Staulul Miori ței, de A.I. Brumaru/6 Mai altfel, despre Veronica Micle, de Dumitru Hurubă/ 9 Eminescum, de Răzvan Ducan/10 Remember -30. N. Steinhardt, de Veronica Pavel Lerner/11 Poeme de Dumitru Ichim/12 Ognean Stamboliev, Premiul pentru traducerea lui Eminescu/12 Elisabeta Bo țan, Premiul European Clemente Rebora 2018- 2019/12 Să ne reamintim de… Valentin Silvestru, de Dumitru Hurub ă/13 Coresponden ţa lui Dimitrie Stelaru, de Gheorghe Sar ău/14 Inedit. Blestemul chinezesc, de Francisc P ăcurariu/15 Vremea întreb ărilor (Octavian Paler), de Nicolae Postolache/17 Text și context în diarismul românesc (Eugen Simion), de Florian Copcea/20 Poeme de Tania Nicolescu/23 Scrisori deschise, de Constantin Stancu/24 Ochean întors. -
11 Lanfranco Binni, La Protesta Di Walter Binni. Una Biografia 13 Premessa 15 1 • Un Inizio Autobiografico
INDICE 11 Lanfranco Binni, La protesta di Walter Binni. Una biografia 13 Premessa 15 1 • Un inizio autobiografico. Schegge di ricordi 37 2. «Ilporto è la furia del mare». L'incontro con Aldo Capitini 39 3. Binni normalista: ritratto del critico da giovane 45 4. La cospirazione antifascista e il liberalsocialismo 50 5- La Resistenza 53 6. Liberalsocialisti e liberalproprietari. Binni socialista 61 7. All'Assemblea costituente 67 8. A Genova 71 9. Binni all'Università di Firenze, «socialista senza tessera» 74 10. L'adesione al Psi e Li battaglia per la democratizzazione dell'università 80 11. Costume e cultura: una polemica 84 12. A Roma 87 13. L'assassinio di Paolo Rossi 95 14. // Sessantotto a Roma 100 15. La nuova sinistra e gli anni settanta 110 16.// riflusso degli anni ottanta 116 17'. //pensiero dominante \TJ 18. Millenovecentonovantasette 135 19. Quasi un racconto 143 Tracce per una biografia. Lettere a Walter Binni (1931-1997) 145 Premessa 147 1. Aldo Capitini, 12 agosto 1931 149 2. Gaetano Chiavacci, 18 settembre 1931 150 3. Aldo Capitini, 6 novembre 1931 151 4. Attilio Momigliano, 17 novembre 1934 151 5. Giorgio Pasquali, 10 agosto 1935 154 6. Luigi Russo, 4 ottobre 1935 156 7. Luigi Russo, 29 febbraio 1936 156 8. Eugenio Montale, 6 novembre 1936 157 9. Luigi Russo, 9 novembre 1939 158 10. Carlo Ludovico Ragghianti, 3 dicembre 1939 159 11. Giuseppe Dessi, 26 marzo 1940 160 12. Arrigo Benedetti, 3 aprile 1940 161 13. Pietro Pancrazi, 3 luglio 1940 162 14. Luigi Russo, 10 luglio 1940 163 15. Luigi Russo, 24 agosto 1940 163 16. -
Poetry and the Visual in 1950S and 1960S Italian Experimental Writers
The Photographic Eye: Poetry and the Visual in 1950s and 1960s Italian Experimental Writers Elena Carletti Faculty of Arts and Social Sciences The University of Sydney A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2020 This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. I acknowledge that this thesis has been read and proofread by Dr. Nina Seja. I acknowledge that parts of the analysis on Amelia Rosselli, contained in Chapter Four, have been used in the following publication: Carletti, Elena. “Photography and ‘Spazi metrici.’” In Deconstructing the Model in 20th and 20st-Century Italian Experimental Writings, edited by Beppe Cavatorta and Federica Santini, 82– 101. Newcastle upon Tyne: Cambridge Scholars Publishing, 2019. Abstract This PhD thesis argues that, in the 1950s and 1960s, several Italian experimental writers developed photographic and cinematic modes of writing with the aim to innovate poetic form and content. By adopting an interdisciplinary framework, which intersects literary studies with visual and intermedial studies, this thesis analyses the works of Antonio Porta, Amelia Rosselli, and Edoardo Sanguineti. These authors were particularly sensitive to photographic and cinematic media, which inspired their poetics. Antonio Porta’s poetry, for instance, develops in dialogue with the photographic culture of the time, and makes references to the photographs of crime news. -
Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R. -
Research Project: New and Ambiguous Nation-Building Processes in South-Eastern Europe
Research Project: New and Ambiguous Nation-Building Processes in South-Eastern Europe Working Paper Series THE POET ON THE BRIDGE IN THE BIBLICAL LAND: ETATIZATION OF ART THROUGH FESTIVALS AND BRAND-NATIONALISM IN THE REPUBLIC OF MACEDONIA Rozita Dimova http://www.oei.fu-berlin.de/nation-building/resources/wp/dimova_02 New and Ambiguous Nation-Building Processes in South-Eastern Europe http://www.oei.fu-berlin.de/en/projekte/nation-building The Poet on the Bridge in the Biblical Land: Etatization of Art through Festivals and Brand-Nationalism in the Republic of Macedonia1 Rozita Dimova, Free University – Berlin Introduction In his unfinished, posthumously-published Aesthetic Theory ( 1970/1997), Adorno elaborated on the relationship between art and reason (the rational). He argued that art is inevitably engaged in dialectic with reason in its various forms: as cognition, construction, technique, spiritualization, objectification etc (see also Nicholsen, 1997). Art overcomes the constraining and unreflective nature of rationality through the very act of expression of non- identity (the void) within itself and thus brings us closer to truth. The 'truth-value' of art arises from this ability to sustain "a discrepancy between its projected images (concepts) of nature and humankind, and its objects' actuality" (see also Held, 1980/1995, p. 82). In other words, art has a capacity to grasp truth(s), although in itself art is not an immediate truth.2 By arguing this, Adorno makes clear distinction between projected images and the objects’ actuality. The slice between these two domains, according to Adorno, creates the very dynamic in which art is considered as an autonomous field, a creative force able to grasp “truths” and to carry a strong critical perspective. -
Giuseppe Carrara
LA LINGUA DELLA MILITANZA. EDOARDO SANGUINETI PUBBLICISTA (1973-1982) Giuseppe Carrara 1. SAPER BENE COME SCRIVERE MALE Sul numero del 29 settembre 1978 dell’“Europeo” viene pubblicata una lettera inviata alla redazione del giornale da un lettore, tale Mario Faini da Brescia, verosimilmente lo storico e scrittore, in cui si lamentava il diritto a maltrattare la lingua (e soprattutto a ignorare il congiuntivo), non più riservato ai presentatori televisivi, ma ora esteso, per via degli articoli firmati Edoardo Sanguineti, anche ai collaboratori del settimanale. La lettera era accompagnata dalla pronta risposta di Sanguineti: Con la grave autorevolezza che in me discende dalla professione di professore universitario, accerterò come documentabile, e documentata di fatto, una forte tendenza depressiva di massa, e di massima, nell’uso italiano del congiuntivo: in altro io non pecco, ove mai pecchi, se non nel favorire talora, mimando l’oralità, la diffusione scritta dell’irreversibile fenomeno. Con la filosofia libertina, e il filosofico libertinaggio, invece, che in me si connette con lo statuto di scrittore, applicherò alla lingua, e più alla grammatica, l’ellenica sentenza memorabile, che nacque, se non m’inganno, a proposito di puttane e che qui trascrivo scandalosamente, a caldo e a calco, per lo scandalizzato mio recensore: ‘Ho, non sono avuto’. Grave errore sarebbe, comunque, presso chi mi leggesse, il credere di poter ritrovare nel mio dettato un qualche incitamento a delinquere, ovvero a maltrattare, senza fondato motivo, così le grammatiche come le puttane. Alle quali une ed altro porto del pari, ancorché di lontano, il debito rispetto. (Sanguineti, 1985: 154) Accuse alla scrittura giornalistica di Sanguineti non erano infrequenti, e alla sciatteria imputata da Mario Faini si accompagnava anche la critica alle «interrogazioni retoriche e piuttosto tortuose» denunciate da Annabella Rossi sulle pagine dell’“Unità”.