DOCSLIB.ORG

Read Ebook {PDF EPUB} the D. Case Or the Truth About the Mystery of Edwin Drood by Carlo Fruttero the D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} the D. Case Or the Truth About the Mystery of Edwin Drood by Carlo Fruttero the D Read Ebook {PDF EPUB} The D. Case or The Truth About The Mystery Of Edwin Drood by Carlo Fruttero The D. Case or The Truth About The Mystery Of Edwin Drood by Carlo Fruttero. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #9fbdcb70-ceaa-11eb-b61c-a3f8fd668051 VID: #(null) IP: 116.202.236.252 Date and time: Wed, 16 Jun 2021 13:56:18 GMT. Carlo Fruttero Franco Lucentini Gregory Dowling. About this Item: Condition: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee. Seller Inventory # 6545-9780701148430. An Enigma by the Sea. Carlo Fruttero,Franco Lucentini,Gregory Dowling. Published by Chatto & Windus 27/03/1994 (1994) From: AwesomeBooks (Wallingford, United Kingdom) About this Item: Condition: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. Seller Inventory # 7719-9780701148430. THE MYSTERY THAT DICKENS DIDN`T LIVE TO SOLVE. ''Completeness Is All: An International Forum on the Completion of Unfinished or Fragmentary Works in Music and Literature,'' is about to convene at a posh hotel. The aim of the conference is to solve by detective work, computers and other electronic gadgetry the riddle of certain unfinished masterpieces and thereby recuperate them for posterity as well as for the financial gain of the Japanese technocrats sponsoring the meeting. Among the works, which include Puccini`s ''Turandot,'' Poe`s ''Narrative of Arthur GordonPym'' and Schubert`s Symphony No. 8, is Charles Dickens` last unfinished novel ''The Mystery of Edwin Drood.'' On the committee to tackle the Dickens novel are a host of noteworthy but notably fictitious detectives of this century and the last, among them the meticulous Belgian detective Hercule Poirot, the cryptic Sherlock Holmes and the hard-drinking American gumshoe, Philip Marlowe. But how can this be, you ask-fictitious characters of a bygone era alive today and meeting at a contemporary Roman hotel? Well, anything goes in the frolicsome world of postmodern detective fiction, known for its borrowed characters, its blend of fantasy and history, and its impudent disregard for the norms of conventional storytelling. The first chapters are engaging enough and full of surprises. Who would expect that we ''Dear Readers'' would be taken into the narrator`s confidence and invited to tag along at the ''Drood work group'' meetings? Who would have thought that we would be in on all the behind-the- scenes gossip, petty jealousies, clandestine love affairs and serious sleuthing going on within their circle? But now the real work begins. Sandwiched between the chapters devoted to detective work, to conference cocktails parties and sightseeing tours to the Roman Forum are the chapters of the real Dickens novel itself. And why not? If the detectives are studying a chapter or two of Dickens each day, and if we the readers are privy to the inquiry in progress, it only stands to reason that we too should read Dickens with them and share the responsibility for the investigation. In alternating chapters, therefore, we first read something of Poirot and his colleagues and then of Drood, the Dickens hero, then again more about Poirot and then more about Dickens. In the Dickens novel Drood has vanished, the victim of foul play perhaps. In the novel about the novel the female Italian conference leader has disappeared with the president of the Dickens society, a victim of passion perhaps. Many clues are dropped to help solve both mysteries-too many. Time after time false speculation lures the reader down the primrose path to a big breakthrough only to end in disappointment. As if things are not confusing enough, in the last pages of the book a third plot and several suppositions are introduced involving Dickens himself and his sudden, untimely death. In the end, however, there will be no answers for the reader, no way out of this tangled web of evidence and multiple plots-only conjecture. ''The D. Case'' is not a real mystery but a tease, a fun-loving parody of the conventional detective story. Its entertainment value rests not in discovering the end to Dickens` novel but in playfully puzzling over it with our detective colleagues in the book. The parts not written by Dickens were written collaboratively by Carlo Fruttero and Franco Lucentini, two writers who have, in the past in their native Italy, enjoyed a measure of fame for their supersleuthing. Talented as the two author-detectives may be at keeping ahead of their readers, they are less talented at keeping up with Dickens. ''The D. Case'' is easily forgotten, while the original unfinished Dickens novel which it contains remains a haunting and memorable mystery. ISBN 13: 9780156236003. The D. Case: Or The Truth About The Mystery Of Edwin Drood. Dickens, Charles ; Fruttero, Carlo ; Lucentini, Franco. This specific ISBN edition is currently not available. The authors combine the text of The Mystery of Edwin Drood, literary scholarship, the detective genre, and their knowledge of Rome to produce a hilarious, offbeat satire. Translated by Gregory Dowling. A Helen and Kurt Wolff Book. "synopsis" may belong to another edition of this title. Charles John Huffam Dickens, (7 February 1812 – 9 June 1870), pen-name "Boz", was one of the most popular English novelists of the Victorian era, as well as a vigorous social campaigner. Critics George Gissing and G. K. Chesterton championed Dickens' mastery of prose, his endless invention of unique, clever personalities, and his powerful social sensibilities, but fellow writers such as George Henry Lewes, Henry James, and Virginia Woolf faulted his work for sentimentality, implausible occurrences, and grotesque characterizations. The popularity of Dickens' novels and short stories has meant that they have never gone out of print. Many of Dickens' novels first appeared in periodicals and magazines in serialized form―a popular format for fiction at the time―and, unlike many other authors who completed entire novels before serial production commenced, Dickens often composed his works in parts, in the order in which they were meant to appear. Such a practice lent his stories a particular rhythm, punctuated by one minor "cliffhanger" after another, to keep the public looking forward to the next installm. Carlo Fruttero (born 19 September 1926 in Turin) is an Italian writer, journalist, translator and editor of anthologies. He is mostly known for his joint work with Franco Lucentini, especially as authors of crime novels. The duo was also editor of the science fiction series Urania from the 1960s to the 1980s. Franco Lucentini (December 24, 1920 - August 5, 2002) was an Italian writer, journalist, translator and editor of anthologies. Born in Rome on 24 December 1920 to Emma Marzi and Venanzio Lucentini, a miller from Marche and later the owner of a bakery in Rome. While studying Philosophy at the University of Rome, Lucentini was one of the organizers of a practical joke against the fascist regime: on 5 May 1941 he and a friend distributed among other students paper streamers. When unrolled during a public meeting, they revealed writings such as "Down with the war!", "Down with Hitler!" and "Long live freedom!". Lucentini was arrested and spent two months in prison. Lucentini graduated in February 1943. Called to arms in 1943, he was refused the admission to the training to become an officer. After the Armistice, the Allied armed forces put to use his writing skills as a junior editor for the "United Nations News" press agency in Naples. After the war, Lucentini worked in Rome for ANSA news agency; later, associated with ONA news agency, he went to Prague and Vienna. The atmosphere of postwar Vienna gave him the inspiration for the novella I compagni sconosciuti . After a brief time again in Rome, in 1949 he left for Paris where he was employed in several jobs (deliveryman, teacher, masseur). While in Paris, he first met the two most important people in his life: Simone Benne Darses, 12 years older than him, who was to become his lifetime wife; and, in 1952, Carlo Fruttero, with whom a life-long literary collaboration began in 1957, when Lucentini moved to Turin, where both of them worked for Einaudi publishing house. Lucentini frequently traveled to Paris in scouting assignments for Einaudi looking for new authors and titles to bring to Italy. He discovered, amongst other's, Jorge Luis Borges and was responsible for the translation from the original Spanish versions to Italian. Lucentini also translated several foreign books for Einaudi from many different languages including Chinesse and Japanese. As a very successful and appreciated team, Fruttero & Lucentini wrote books and worked in publishing, directing book series and magazines ( Il Mago , Urania ), and editing fiction anthologies, for Einaudi publishing house and, since 1961, for Mondadori. In 1972 Lucentini and Fruttero began writing for Turin-based newspaper La Stampa (then directed by Alberto Ronchey), writing the column "L'Agenda di F.
Load more

Recommended publications
  • From the Woman in White to La Donna in Bianco Saverio Tomaiuolo
    Screening Collins in (and out of) Italy: from The Woman in White to La donna in bianco Saverio Tomaiuolo Abstract The Woman in White is an intrinsically visual narrative, in which images are as excessive as its themes. In light of the impact and influence of theatricality and of melodrama on Collins’s novel, visuality and sensation are thus constantly aligned in this narrative, which addresses its audience through a constant reference to the powerful appeal on the mind (and imagination) of the sensorial organ of sight. The first- rate value attributed by Collins to optical perception may be considered one of the reasons why many of his texts, and in particular The Woman in White, have had a fruitful visual afterlife on TV and cinema. After introducing a selection of movies and of TV renditions of Collins’s most famous novel, my essay will focus on its Italian adaptation, broadcast with the title of La donna in bianco on the National Public Broadcasting Company (RAI) in 1980. A common denominator in almost all screen translations of Collins’s story is their focusing on marital brutality, women’s legal imbalance, and female assertiveness. In this sense, my analysis aims at showing that Collins’s visual narrative succeeded in addressing its Italian audience in a specific historical, political and cultural phase of the nation’s history, during which divorce as well as social and domestic violence (including the inhumane treatment of the insane) were still cogent issues. Key Words Wilkie Collins; The Woman in White; divorce; domestic violence; La donna in bianco; Italian television; adaptation; treatment of the insane; RAI; BBC.
    [Show full text]
  • Jorges Luis Borges and Italian Literature: a General Organic Approach
    8 Jorges Luis Borges and Italian Literature: a general organic approach Alejandro Fonseca Acosta, Ph.D. candidate Department of Languages, Literatures, and Cultures (LLCU) McGill University, Montreal January 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy. © Alejandro Fonseca 2017 Table of Contents ABSTRACT ....................................................................................................................... 1 DEDICATION................................................................................................................... 7 ACKNOWLEDGEMENTS ............................................................................................. 8 0. INTRODUCTION......................................................................................................... 9 1. CHAPTER 1 THE MOST ITALIAN BORGES: HIS CULTURAL AND LITERARY BACKGROUND ................................................................................................... 38 1.1. WHAT TO EXPECT? .................................................................................................. 38 1.2. HISTORICAL ANTECEDENTS .................................................................................... 38 1.3. BORGES’ CHILDHOOD IN PALERMO: FIRST CONTACT WITH ITALIAN POPULAR CULTURE ....................................................................................................................... 43 1.4. HIS FIRST ITALIAN READINGS .................................................................................
    [Show full text]
  • Bibliografia Sobre Jorge Luis Borges
    BIBLIOGRAFIA SOBRE JORGE LUIS BORGES ANDRÉA CESCO Universidade Federal de Santa Catarina/CAPES [email protected] OBRAS SOBRE BORGES Prieto, Adolfo. Borges y la nueva generación. Buenos Aires: Letras Universitarias, 1954 e 1957. Ríos Patrón, José Luis. Jorge Luis Borges. Buenos Aires: La Mandrágora, 1955. Tamayo, Marcial, e Ruiz-Díaz, Adolfo. Borges, enigma y clave. Buenos Aires: Nuestro Tiempo, 1955. Barrenechea, Ana María. La expresión de la irrealidad en la obra de J. L. Borges. México: El Colegio de México, 1957; Buenos Aires: Centro Editor de América Latina, 1984 e 1994; La expresión de la irrealidad en la obra de Jorge Luis Borges y otros ensayos. Buenos Aires: Del Cifrado, 2000. Fernández Moreno, César. Esquema de Borges. Buenos Aires: Perrot, 1957. Fragmentos, números 28/29, p. 433/521 Florianópolis/ jan - dez/ 2005 433 Gutiérrez Girardot, Rafael. Jorge Luis Borges: ensayo de interpretación. Madri: Ínsula, 1959. Real de Azúa, Carlos. Evasión y arraigo de Borges y Neruda; diálogo entre, Angel Rama y Emir Rodríguez Monegal. Montevideo: Imp. LIGU, 1960. Wolberg, Isaac. Jorge Luis Borges. Buenos Aires: Culturales, 1961. Nodier, Lucio; Revello, Lydia. Contribución a la bibliografía de Jorge Luis Borges. Buenos Aires: Fondo Nacional de las Artes, 1962. Blanco González, Manuel. Jorge Luis Borges. Anotaciones sobre el tiempo en su obra. México: De Andrea, 1963. Caillois, Roger. ‘Postface du traducteur’, in Borges, Jorge Luis, Histoire de l’infamie, Histoire de l’éternité. Paris: Union générale d’édition, collection 10/18, 1964. Capsus, Cleon Wade. The Poetry of Jorge Luis Borges. Novo México: The University of New Mexico, 1964. Jurado, Alicia.
    [Show full text]
  • LA DONNA DELLA DOMENICA DI FRUTTERO E LUCENTINI Nel
    0001_ARCAMONE11 23-05-2007 17:21 Pagina 11 MARIA GIOVANNA ARCAMONE LA DONNA DELLA DOMENICA DI FRUTTERO E LUCENTINI Nel gennaio di questo 2006 due docenti di letteratura italiana dell’uni- versità di Regensburg, che da tempo desideravano mettersi in contatto con la nostra associazione pisana Onomastica e Letteratura (O&L), avendo sa- puto che per il mese di luglio dello stesso 2006 era in programma una mia visita Erasmus in quella sede, mi domandarono di illustrare ai loro studen- ti di Italianistica l’attività dell’associazione e l’attuale stato degli studi di onomastica letteraria in Italia. Mi chiesero anche di partecipare ad un Se- minario sul Romanzo Giallo in Italia da loro tenuto in quel semestre e mi segnalarono alcune opere sull’onomastica delle quali avrebbero gradito che fornissi una mia illustrazione: fra queste c’era appunto La donna della domenica di Carlo Fruttero e Franco Lucentini (1972), noto romanzo gial- lo, portato anche sul grande schermo1 e tradotto in molte lingue. Anche se generalmente non mi occupo di testi letterari italiani, accet- tai l’invito: anzitutto come cofondatrice dell’Associazione mi sentivo in dovere di portare a Regensburg notizie vive sulle nostre attività, forte an- che del fatto che avevo con me le prime bozze di L’Onomastica letteraria in Italia dal 1980 al 2005. Repertorio bibliografico con abstracts (apparso nel luglio 2006), bozze messemi gentilmente a disposizione dagli autori Bruno Porcelli e Leonardo Terrusi. Ritenevo inoltre che, per chi è solito lavorare su testi del Medioevo, nel mio caso per di più germanici, fosse una doverosa oltre che simpatica alternativa dedicare attenzione anche a testi italiani contemporanei.
    [Show full text]
  • The Crime Fiction Genre Was Relatively Slow to Catch Hold in It
    The Italian Detective Novel: The Literary and Cinematic Giallo Joseph Eynaud (University of Malta) Introduction The crime fiction genre was relatively slow to catch hold in Italy although it gradually became very popular and eventually influenced some of the country’s most talented writers. As in most other countries the mystery entered Italy in the form of translations of American and especially British stories. There were, however, some very early local mystery writers including Francesco Mastriani who published The Blind Woman from Sorrento (Bietti, Milan, 1973) in serial form in 1852. Emilio De Marchi published an inverted mystery (one in which the guilty person is known at the outset) entitled The Priest’s Hat in 1858 (republished in 1927 by Fratelli Treves, Milan, 1927). The genre was really begat, however, in 1929 when the publishing house Mondadori began to turn out mysteries and especially translations of U.S. and British mysteries in the “pulp” style with yellow covers. These were christened “I libri gialli” or the “yellow books”. Thus “giallo” caught on as shorthand for the crime fiction genre, a term that eventually expanded to mean also thrillers and suspense and was also extended to films. Giallo (gialli, plural) became, as in most countries and especially Italy, a mass-market, popular type of literature. Gradually, indigenous writers were attracted in larger numbers to the genre. For example, Alessandro Varallo adopted an ironic tone in a number of his works (e.g. Dramma e Romanzo Poliziesco, Comoedia, 1932). Arturo Lanocita published Forty Million (Mondadori, Milan) in 1931 with comedy as the main theme.
    [Show full text]
  • ALBA DE CÉSPEDES Originally Written in 1952, Quaderno Proibito Is Still Striking for the Modernity and Relevance of Its Themes
    Rights List 2020 INDEX Arena Michele How Fires Are Born 26 Losa Matteo Another Day Together 25 Bignardi Daria Today I’m Playing Hooky 6 Lucangeli Daniela With Mind Alight 31 Bisotti Massimo A Millimeter From the Heart 14 Mannocchi F., Costantini G. Libya 28 Calabresi Mario What They Don’t Tell You 34 Mencarelli Daniele Everything Needs to Be Saved 4 Camanni Enrico A Blanket of Snow 18 Molini Elena The Little Literary Pharmacy 12 Capua Ilaria The Aftermath 35 Ozpetek Ferzan Like a Breath 3 Cazzullo Aldo To See Again the Stars 29 Panarello Melissa Arcane Hearts 27 De Céspedes Alba The Secret Little Book 38 Passoni Diego We Are All in the Same Ark 37 Di Guardo Marina In Good Times and Bad 20 Pennacchi Antonio The Road to the Sea 5 Ferrari Dario The Fourth Version of Juda 22 Perissinotto Alessandro The Congregation 9 Fezzi Luca Ceasar 30 Petri Romana The Wolf’s Son 7 Fibonacci Nick I Was (an Addicted) 16 Rampini Federico History’s Construction Sites 36 Frascella Christian Rattlecorpses 21 Ranno Tea Terramarina 10 Fruttero&Lucentini No Fixed Abode 39 Riva Gigi Never Say Goodbye to Dreams 23 Genovesi Fabio I Will Fall, while Dreaming of Flying 8 Stella Paolo By Chance 15 Gotto Gianluca The Coordinates to Happiness 13 Tosa Lorenzo One Step After Another 24 Gratteri N., Nicaso A. Illegal Oxygen 32 Venturi Filippo Spaghetti Bolognese Don’t Exist 19 Greison Grabriella I Will Kill Schrödinger’s Cat 17 Vespa Bruno Why Italy Loved Mussolini 33 Lecca Nicola The Crystal Train 11 2 UPMARKET COMMERCIAL FICTION COMMERCIAL UPMARKET FERZAN OZPETEK On a Sunday morning, Sergio and Giovanna are waiting for their best friends for lunch when a stranger shows up at their door asking to see the house.
    [Show full text]
  • COUP DE PROJECTEUR Cinéma Italien
    Octobre 2018 n° 18 Et pour quelques DVD de plus… vous présente les coups de coeur cinéma (nouveautés et rééditions) de la médiathèque de Meudon, ainsi qu’une sélection thématique. Retrouvez également toutes les dernières nouveautés dans la boîte à idées du portail. COUP DE PROJECTEUR Cinéma italien Coup de projecteur sur quatre beaux films italiens sortis ces derniers mois au cinéma et disponibles maintenant en DVD. Quatre films qui dans la veine du néo-réalisme italien des années 50, proposent des chroniques sociales poignantes et fortes de l'Italie d'aujourd’hui. A ciambra / Jonas Carpignano (2017) Deuxième long-métrage de Jonas Carpignano, jeune cinéaste italo-américain, A Ciambra suit le parcours d’un adolescent rom qui vit de combines et d’arnaques. Il va devoir endosser de façon précoce le rôle du chef de famille. Tourné avec le concours d’une véritable famille rom calabraise, ce film qui mélange avec énergie naturalisme et polar fait fortement penser au travail de Jean-Charles Hue en France (La BM du seigneur). L’Intrusa / Leonardo Di Costanzo (2017) Dans L'Intrusa, Leonardo Di Costanzo filme le combat d'une assistante sociale aux prises avec la mafia dans un centre d’aide aux enfants d’un quartier pauvre de Naples. Par son récit et son action ramassés à une unité de lieu et sa spontanéité documentaire, le film sous un aspect modeste révèle pour autant avec brio les profonds traumas de la société napolitaine. Cœurs purs / Roberto De Paolis (2017) Le premier long métrage De Roberto de Paolis dépeint l’amour naissant entre deux jeunes romains qui vivent dans deux mondes que tout oppose.
    [Show full text]
  • The Crime Fiction Genre Was Relatively Slow to Catch
    The Italian Detective Novel: The Literary and Cinematic Giallo Joseph Eynaud (University of Malta) Introduction The crime fiction genre was relatively slow to catch hold in Italy although it gradually became very popular and eventually influenced some of the country’s most talented writers. As in most other countries the mystery entered Italy in the form of translations of American and especially British stories. There were, however, some very early local mystery writers including Francesco Mastriani who published The Blind Woman from Sorrento (Bietti, Milan, 1973) in serial form in 1852. Emilio De Marchi published an inverted mystery (one in which the guilty person is known at the outset) entitled The Priest’s Hat in 1858 (republished in 1927 by Fratelli Treves, Milan, 1927). The genre was really begat, however, in 1929 when the publishing house Mondadori began to turn out mysteries and especially translations of U.S. and British mysteries in the “pulp” style with yellow covers. These were christened “I libri gialli” or the “yellow books”. Thus “giallo” caught on as shorthand for the crime fiction genre, a term that eventually expanded to mean also thrillers and suspense and was also extended to films. Giallo (gialli, plural) became, as in most countries and especially Italy, a mass-market, popular type of literature. Gradually, indigenous writers were attracted in larger numbers to the genre. For example, Alessandro Varallo adopted an ironic tone in a number of his works (e.g. Dramma e Romanzo Poliziesco, Comoedia, 1932). Arturo Lanocita published Forty Million (Mondadori, Milan) in 1931 with comedy as the main theme.
    [Show full text]
  • Spring 2000, Vol. XXVII, No.1
    VOLUME XXVIII ~rUMBER 1 SPRIN3 2000 RE Stlxlies Asscx::i~ti~ l':s.'JSletter R1hl;s}:B:1 at Ee1nState ISrlm-Ia1igh Valle:{C})ll~ In 1931 James S. Wilson (American Mercury, 24: 215-20) pointed Ca:1f e£.~ .&::es to the Folio Club tales as derived originally from Bulwer, Disraeli, R::e Festi val m ~ et al. B. R. Pollin in the 1965 (American Notes and Queries, 4: 7- 9) linked "Tell- Tale Heart" to Bulwer's "Monos and Daimonos." BULWER-LYTTON'S INFLUENCE ON POE'S WORK, G. R. Thompson in the 1968 Studies in Sholt Fiction (6: 94-97) ESPECIALLY FOR AN AUTHOR'S "PRECONCEIVED and in the 1969 American Literature (41: 251-5) noted several DESIGN" borrowings from the bestselling novel Pelham. Michael Allen's 1969 book on Poe and the British Magazine Tradition (passim) An early book on William Godwin called, Godwin Criticism, a treats rather naively the "Bulwerian" (Poe's coinage) influence, Synoptic Bibliographywith more than 4,000 published references chieflyon Poe's early tales. Robert Jacobs, in 1969, devoted a half to him for 180 years, surprisingly, reveals a dozen observations by dozen pages to Poe's obvious interest in Bulwer in Journalist and Poe on this novelist and philosopher ranging from comments to Critic. Arno Schmidt did likewise in 1970 in Zettels Tram articles.1 Several display Poe's esteem for Godwin's disciple, (Stuttgart), now first being translated into English. Alexander Edward Bulwer-Lytton (1803-73), whom he often ranked with, or Hammond in the 1972 Emerson Society Qualterly(18: 154-5) above, or below Dickens and Godwin.
    [Show full text]
  • Italian Female Epistemologies Beyond 'The Scene of the Crime' by Leslie
    Italian Female Epistemologies beyond ‘The Scene of the Crime’ By Leslie Elwell A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies in the Graduate Divison of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Albert Ascoli Professor Mia Fuller Professor Mary Ann Smart Fall 2013 Abstract Italian Female Epistemologies beyond ‘The Scene of the Crime’ by Leslie Elwell Doctor of Philosophy in Italian Studies University of California, Berkeley Professor Barbara Spackman, Chair The crime genre, more familiarly referred to in Italian as the giallo, thrives in Italy and finds it origins in the late nineteenth-century popular novel or romanzo d’appendice. This dissertation groups together four twentieth and twenty-first century Italian novels written by women that elicit the crime genre only to then short-circuit it. Rather than placing them within the revisionist subgenre ‘Feminist crime fiction,’ I suggest that these novels are radical in that they stage their own withdrawal from a gendered structure of knowledge inhabited and engendered by the crime novel: an epistemology that leaves them unthought. Indeed, these novels must leave the genre behind in order to pursue the construction of a female site of knowledge and the possibility of a female knower. In creating space for alternate, experimental discourses, these narratives rethink the relation between epistemology and gender, epistemology and narrative, epistemology and the body, and epistemology and the maternal by returning to, and rewriting, stories of origin so as to begin again and know differently. 1 Introduction This dissertation groups together four twentieth and twenty-first century Italian novels written by women, and in so doing creates a mini-genealogy, by way of a shared, and complicated, relationship to the detective or crime novel.
    [Show full text]
  • Indice Della Biblioteca Di Pier Vittorio Tondelli
    Indice della biblioteca di Pier Vittorio Tondelli Indicazioni sul testo fatte a mano Collocazione Autore Titolo Sottotitolo e/o altri complementi Editore Traduttore Data di n° pag. Soggetto Soggetto - Qualificatore geografico Qualificatore Qualificatore linguistico Qualificatore linguistico id_img path file edizione sigla geografico - - sigla note allegati sigla appunti Sottlineature dedica autografa collocazione inventario 2553 2552 2553 736 2515 145 2507 2473 2553 2462 2485 2465 2510 2469 107 31 21 63 124 37 CDT BP 1.8.1 400.000 A1 Alice Vollenweider Italienische Reise Literarischer Reisefuhrer durch das heutige Italien Quarthefte gen-85 205 Antologie DQ Germania 1DFG Tedesco 2ACG x CDT BP 1.8.2 400001 A1 Alice Vollenweider Italienische Reise Literarischer Reisefuhrer durch das heutige Italien Quarthefte gen-85 205 Antologie DQ Germania 1DFG Tedesco 2ACG CDT BP 1.8.3 400002 A1 Alice Vollenweider Italienische Reise Literarischer Reisefuhrer durch das heutige Italien Quarthefte gen-85 205 Antologie DQ Germania 1DFG Tedesco 2ACG CDT BP 1.8.4 400003 A1 Angelo Guglielmi Il piacere della letteratura Prosa italiana dagli anni 70 a oggi Feltrinelli nov-81 429 Antologie DQ Italia 1DST Italiano 2ADT CDT BP 1.8.5 400004 A1 Angelo Maria Pizzagalli Elementi di grammatica sanscrita Ulrico Hoepli mag-87 236 Grammatica e uso della lingua CBG Italia 1DST Sanscrito 2BBA CDT BP 1.8.6 400005 A1 Anna Laura Lepschy e Giulio Lepschy La lingua italiana Storia - varietà dell'uso - grammatica Bompiani gen-90 232 Grammatica e uso della lingua CBG Italia 1DST
    [Show full text]
  • Guido Davico Bonino the Einaudi Primer
    guido davico bonino The Einaudi Primer Translated by Yvonne Freccero o my newly graduated students , who are preparing for Ttheir plunge into the next century (as we used to say), I always wish the boldest of fortunes. In fact I believe that a young person’s professional future depends as much on the favors of the blind goddess as on natural gifts and advanced studies. I’ve noticed this in many of the people around me — and above all in myself. In 1960 I had written a twenty-page essay on Our Ancestors, the three fairy-tale romances by Italo Calvino, published in the Supercoralli collec- tion. An academic colleague had done me the favor of forwarding it to Giambattista Vicari, the founder and director of the review Il Caffe in Rome. Vicari in turn was kind enough to publish it, but not without a few changes, especially to the conclusion. Calvino, who was working at Il Caffe at the time, read it and called Vicari to ask for the author’s tele- phone number: “But surely you know him? He’s Torinese. I believe he’s one of Getto’s clan of students, like Sanguineti and Bàrberi Squarotti.” Calvino called me and made an appointment to meet at the publishing house. He was very generous (too generous) in his opinion of my essay. Then he made sure that I was indeed Torinese, by birth as well as up- bringing, and without further ado asked me: “Would you like to work here? At the end of the year I will be giving up my role as director; I still have two or three novels I want to write before retiring from literature.
    [Show full text]