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Gli Occhiali D'oro and the Dynamics of the Encouter Between Fiction And
26. «SE QUESTO MATRIMONIO … S’HA DA FARE» Gli occhiali d’oro and the Dynamics of the Encounter Between Fiction and Film 1 Cristina Della Coletta Via, dunque, giù, giù, tristo fantoccio odioso! Annegato, là, come Mattia Pascal! Una volta per uno! Luigi Pirandello, Il fu Mattia Pascal Giorgio Bassani’s much-cited piece entitled Il giardino tradito – a firm prise de position against Vittorio De Sica’s adaptation of Il giardino dei Finzi Contini – has often obfuscated Bassani’s other reflections on the practice of cinematic adaptation. Bassani was neither dismissive of cin- ema as an art form nor fundamentally opposed to the transposition of novels into films. In fact, he displayed a keen and sustained interest in film, and collaborated in various ways with directors such as Mario Sol- dati, Michelangelo Antonioni, Alessandro Blasetti, Luigi Zampa, and Luchino Visconti 2. Author and co-author of «a dozen» of screenplays (some with Pier Paolo Pasolini), Bassani also wrote essays on film and film reviews 3. References to movie houses, actors, and films pepper 1 The ‘edited’ quotation from Manzoni is Bassani’s own (1966c, 65). 2 Bassani wrote and co-wrote numerous screenplays, including: Le avventure di Mandrin (1952, directed by Mario Soldati), Villa Borghese (1953, directed by Gianni Francolini), La provinciale (1953, directed by Mario Soldati), Il ventaglio (1954, an epi- sode directed by Mario Soldati in the filmQuesta è la vita), Casa d’altri (1954, an episode directed by Alessandro Blasetti in the film Tempi nostri), La mano dello straniero (1954, directed by Mario Soldati), La romana (1954, directed by Luigi Zampa), La donna del fiume (1954, directed by Mario Soldati), Senso (1954, directed by Luchino Visconti), Il prigioniero della montagna (1955, directed by Luis Treniker), and Teresa Étienne (1958, directed by Denys de la Patellière). -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Valerie Mcguire, Phd Candidate Italian Studies Department, New York University La Pietra, Florence; Spring, 2012
Valerie McGuire, PhD Candidate Italian Studies Department, New York University La Pietra, Florence; Spring, 2012 The Mediterranean in Theory and Practice The Mediterranean as a category has increasingly gained rhetorical currency in social and cultural discourses. It is used to indicate not only a geographic area but also a set of traditional and even sacrosanct human values, while encapsulating fantasies of both environmental utopia and dystopia. While the Mediterranean diet and “way of life” is upheld as an exemplary counterpoint to our modern condition, the region’s woes cast a shadow over Europe and its enlightened, rationalist ideals—and most recently, has even undermined the project of the European Union itself. The Mediterranean is as often positioned as the floodgate through which trickles organized crime, political corruption, illegal immigration, financial crisis, and more generally, the malaise of globalization, as it is imagined as a utopian This course explores different symbolic configurations of the Mediterranean in twentieth- and twenty-first-century Italian culture. Students will first examine different theoretical approaches (geophysical, historical, anthropological), and then turn to specific textual representations of the Mediterranean, literary and cinematic, and in some instances architectural. We will investigate how representations of the Mediterranean have been critical to the shaping of Italian identity as well as the role of the Mediterranean to separate Europe and its Others. Readings include Fernand Braudel, Iain Chambers, Ernesto de Martino, Elsa Morante, Andrea Camillieri, and Amara Lakhous. Final projects require students to isolate a topic within Italian culture and to develop in situ research that examines how the concept of the Mediterranean may be used to codify, or in some instances justify, certain textual or social practices. -
Undergraduate Prospectus 2021 Entry
Undergraduate 2021 Entry Prospectus Image captions p15 p30–31 p44 p56–57 – The Marmor Homericum, located in the – Bornean orangutan. Courtesy of USO – UCL alumnus, Christopher Nolan. Courtesy – Students collecting beetles to quantify – Students create a bespoke programme South Cloisters of the Wilkins Building, depicts Homer reciting the Iliad to the – Saltburn Mine water treatment scheme. of Kirsten Holst their dispersion on a beach at Atlanterra, incorporating both arts and science and credits accompaniment of a lyre. Courtesy Courtesy of Onya McCausland – Recent graduates celebrating at their Spain with a European mantis, Mantis subjects. Courtesy of Mat Wright religiosa, in the foreground. Courtesy of Mat Wright – Community mappers holding the drone that graduation ceremony. Courtesy of John – There are a number of study spaces of UCL Life Sciences Front cover captured the point clouds and aerial images Moloney Photography on campus, including the JBS Haldane p71 – Students in a UCL laboratory. Study Hub. Courtesy of Mat Wright – UCL Portico. Courtesy of Matt Clayton of their settlements on the peripheral slopes – Students in a Hungarian language class p32–33 Courtesy of Mat Wright of José Carlos Mariátegui in Lima, Peru. – The Arts and Sciences Common Room – one of ten languages taught by the UCL Inside front cover Courtesy of Rita Lambert – Our Student Ambassador team help out in Malet Place. The mural on the wall is p45 School of Slavonic and East European at events like Open Days and Graduation. a commissioned illustration for the UCL St Paul’s River – Aerial photograph showing UCL’s location – Prosthetic hand. Courtesy of UCL Studies. -
The Force of History Programme
Annual Conference 2016 THE FORCE OF HISTORY CRITICAL PERSPECTIVES ON THE HISTORIOGRAPHY OF MODERN ITALY PROGRAMME 25 November IHR University of London, Senate House 26 November ICI Italian Cultural Institute Belgrave Square ASMI Annual Conference 2016 The Force of History: Critical Perspectives on the Historiography of Modern Italy 25 November Institute of Historical Research (IHR) 26 November Italian Cultural Institute (ICI) www.asmi.org.uk/news/httpasmicambridgeorgconferences2016/ Friday 25 November Institute of Historical Research (IHR) 10.00 - 10.30 Registration 10.30 – 10.45 Welcome and Opening Remarks Lawrence Goldman, Director IHR Stephen Gundle, Chair ASMI 10.45 – 12.30 Panel I/Wolfson Room 1 British historians and the history of Italy Chair: Ilaria Favretto (Kingston University) John Foot (University of Bristol) Giulia Albanese (Università di Padova) David Laven (University of Nottingham) Marco Meriggi (Università di Napoli Federico II) 12.30 – 13.30 Lunch break (please make your own arrangements) 13.30– 15.00 Panel II/Wolfson Room 1 Duggan’s Crispi in transnational perspective Chair: Axel Körner (University College London) Anne Bruch (Universität Hamburg) Giles Pécout (École Normale Supérieure, Paris) Marcella Sutcliffe (University of Cambridge) 15.00 – 15.30 Tea break 15.30 – 17.00 Panel III/Wolfson Room 1 Twenty years of the IHR Modern Italian History Seminar Chair: Carl Levy (Goldsmiths, University of London) Adrian Lyttelton (Johns Hopkins University Bologna Center) Daniela Luigia Caglioti (Università di Napoli Federico -
“Cartevive”: Indice Dei Nomi 2018
“Cartevive”: indice dei nomi 2018 Le cifre indicano, nell’ordine, numero (in corsivo) e pagina (in tondo), le parentesi quadre che il nome non è esplicitamente citato nel testo. A Prato Giovanni 57 . 102 Alberti Francesco 57 . 150, 151 Abano Terme (Padova) 57 . 86 Albertine ( personaggio di Marcel Abbagnano Nicola 57 . 83 Proust) 57 . 48 Aberdam Renée 57 . 130 Albertini Carlo 57 . 130 Abraham Karl 57 . 82 Albio ( personaggio di Orazio) 57 . Accademia di Santa Cecilia, Roma 142 57 . 30 Albione 57 . 107 Accademia Italo-Russa ‘Sapientia Albisani Sauro 57 . 122 et Scientia’, Roma 57 . 121 Albonico Simone 57 . 123 Accademia Roveretana degli Albrighi Piero 57 . 130 Agiati 57 . 102 Alce Nero 57 . 107 Acquaviva Giovanni 57 . 130 Alcione (editore), Trieste 57 . 75 Actes Sud (editore), Arles 57 . 11 Aleksievič Svetlana 57 . 122 Ad Flexum (associazione cultura- Aleramo Sibilla 57 . 82, 111 le) 57 . 151 Algeria 57 . 38, 41, 66 Adelphi (editore), Milano 57 . 3, Alice ( personaggio di Lewis Car- 108, 142 roll) 57 . 10 Afribo Andrea 57 . 123 Alighieri Dante 57 . 71 Afrodite 57 . 55 “Allegoria” 57 . 90 Agamben Giorgio 57 . 99 Allegri Mario 57 . 103 Agliati Mario 57 . 85 Allenbach Beat 57 . 124 Agliati Ruggia Mariangela 57 . Alonge Giaime 57 . 98 136, 147, 148 Alpi 57 . 82 Agnelli Umberto 57. 138 Ambrosi Alfredo Gauro 57 . 130 Agnini Stefano 57 . 109 Ambrosioni Dalmazio 57 . 84, 85 Agorà Factory (editore), Dueville Amendola Giovanni 57 . 18, 20, (VI) 57 . 87 31, 93 Albano Mario 57 . 130 America 57 . 88, 104 Albenga (Savona) 57 . 108 Amerio Romano 57 . 85 Albert-Birot Pierre 57 . -
Manuela Marchesini Associate Professor of Italian Faculty Affiliate
Manuela Marchesini Associate Professor of Italian Faculty Affiliate in Film Studies ph: (979)845-2884 Department of International Studies fax: (979) 845-0823 Texas A&M University e-mail: [email protected] 230 B Academic Building E http://internationalstudies.tamu.edu/html/h 4215 TAMU ome.html College Station, TX 77843-4215 EDUCATION 2000 Stanford University, Stanford, California. Ph.D. in Italian Literature. Dissertation: Literary Style as a Mode of Knowledge —a Poetic Collaboration between Literature and Criticism in Italy: Gianfranco Contini, Roberto Longhi, and Carlo Emilio Gadda. Committee members: Prof. Robert P. Harrison (French and Italian, principal advisor), Prof. Jeffrey T. Schnapp (Comparative Literature), Prof. Hans-Ulrich Gumbrecht (French and Italian), and Prof. Paolo Berdini (Art). 1984 Università di Bologna, Bologna, Italy. Master’s in Italian Letters, summa cum laude. Thesis: From Fielding to Sterne: Narrative Paths from Manzoni’s Fermo and Lucia to The Betrothed. Under the direction of Prof. Ezio Raimondi. (5-year “Laureate” program combines equivalent of American baccalaureate and Master’s degree.) PROFESSIONAL EXPERIENCE Fall 2010-present Associate Professor of Italian, Department of European and Classical Languages and Cultures—since Fall 2012 Department of International Studies, Texas A&M University. Fall 2008 Affiliated Faculty with the Film Study Program, Texas A&M University. Spring 2005 Assistant Professor, Department of European and Classical Languages and Cultures, Texas A&M University. Fall 2004 Fellow in the Humanities, Stanford University. Introduction to the Humanities Freshmen Course “Sex, Its Cultures and Pleasures” (3 Sections). Coordinator of 2 Faculty Members and 6 Fellows, Stanford University. Introduction to the Humanities Freshmen Course “Sex, Its Cultures and Pleasures,” Stanford University. -
PDF-Dokument
1 COPYRIGHT Dieses Manuskript ist urheberrechtlich geschützt. Es darf ohne Genehmigung nicht verwertet werden. Insbesondere darf es nicht ganz oder teilweise oder in Auszügen abgeschrieben oder in sonstiger Weise vervielfältigt werden. Für Rundfunkzwecke darf das Manuskript nur mit Genehmigung von Deutschlandradio Kultur benutzt werden. KULTUR UND GESELLSCHAFT Organisationseinheit : 46 Reihe : LITERATUR Kostenträger : P 62 300 Titel der Sendung : Das bittere Leben. Zum 100. Geburtstag der italienischen Schriftstellerin Elsa Morante AutorIn : Maike Albath Redakteurin : Barbara Wahlster Sendetermin : 12.8.2012 Regie : NN Besetzung : Autorin (spricht selbst), Sprecherin (für Patrizia Cavalli und an einer Stelle für Natalia Ginzburg), eine Zitatorin (Zitate und Ginevra Bompiani) und einen Sprecher. Autorin bringt O-Töne und Musiken mit Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig © Deutschlandradio Deutschlandradio Kultur Funkhaus Berlin Hans-Rosenthal-Platz 10825 Berlin Telefon (030) 8503-0 2 Das bittere Leben. Zum hundertsten Geburtstag der italienischen Schriftstellerin Elsa Morante Von Maike Albath Deutschlandradio Kultur/Literatur: 12.8.2012 Redaktion: Barbara Wahlster Regie: Musik, Nino Rota, Fellini Rota, „I Vitelloni“, Track 2, ab 1‘24 Regie: O-Ton Collage (auf Musik) O-1, O-Ton Patrizia Cavalli (voice over)/ Sprecherin Sie war schön, wunderschön und sehr elegant. Unglaublich elegant und eitel. Sie besaß eine großartige Garderobe. O-2, O-Ton Ginevra Bompiani (voice over)/ Zitatorin Sie war eine ungewöhnliche Person. Anders als alle anderen. O- 3, Raffaele La Capria (voice over)/ Sprecher An Elsa Morante habe ich herrliche Erinnerungen. -
Faith Fox Jane Gardam
cat fall 17 OK M_Layout 1 14/02/17 15:46 Pagina 1 Europa editions September 2017-January 2018 Europa editions www.europaeditions.com cat fall 17 OK M_Layout 1 14/02/17 15:29 Pagina 2 #FERRANTEFEVER – THE NEAPOLITAN QUARTET “Nothing quite like it has ever been published . Brilliant novels, exquisitely translated.” —Meghan O’Rourke, The Guardian “One of modern fiction’s richest portraits of a friendship.” —John Powers, NPR’s Fresh Air Available Now • Fiction • Paperback • 9781609450786 • ebook: 9781609458638 “The Neapolitan novels tell a single story with the possessive force of an origin myth.” —Megan O’Grady, Vogue Available Now • Fiction • Paperback • 9781609451349 • ebook: 9781609451479 “Elena Ferrante is one of the great novelists of our time . This is a new version of the way we live now—one we need, one told brilliantly, by a woman.” —Roxana Robinson, The New York Times Book Review Available Now • Fiction • Paperback • 9781609452339 • ebook: 9781609452230 “The first work worthy of the Nobel prize to have come out of Italy for many decades.” —The Guardian Available Now • Fiction • Paperback • 9781609452865 • ebook: 9781609452964 2 cat fall 17 OK M_Layout 1 14/02/17 15:29 Pagina 3 #FERRANTEFEVER “An unconditional masterpiece.” —Jhumpa Lahiri, author of The Lowland Available Now • Fiction • Paperback • 9781933372006 ebook: 9781609450298 “The raging, torrential voice of the author is something rare.” —Janet Maslin,The New York Times Available Now • Fiction • Paperback • 9781933372167 ebook: 9781609451011 “Stunningly candid, direct and unforgettable.” —Publishers Weekly Available Now • Fiction • Paperback • 9781933372426 ebook: 9781609451035 “Wondrous . another lovely and brutal glimpse w of female subtext, of the complicated bonds between mothers and daughters.”—The New York Times Available now • Picture Book • Hardcover • 9781609453701 ebook: 9781609453718 me “The depth of perception Ms. -
Milkova, Stiliana. Side by Side
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: Side by Side: Female Collaboration in Ferrante’s Fiction and Ferrante Studies Journal Issue: gender/sexuality/italy, 7 (2020) Author: Stiliana Milkova, Oberlin College Publication date: February 2021 Publication info: gender/sexuality/italy, “Invited Perspectives” Permalink: https://www.gendersexualityitaly.com/7-female-collaboration-ferrante Author Bio: Stiliana Milkova is Associate Professor of Comparative Literature at Oberlin College (USA). Her scholarly publications include several articles on Russian and Bulgarian literature, numerous articles on Elena Ferrante, and the monograph Elena Ferrante as World Literature. She has translated from Italian works by Anita Raja, Antonio Tabucchi, and Alessandro Baricco, among others. She edits the online journal Reading in Translation and her public writing has appeared in Nazione Indiana, Michigan Quarterly Review, Asymptote, and Public Books. Abstract: This essay proposes that Elena Ferrante’s novels depict female friendship and collaboration as a literal and metaphorical positioning side by side that dislodges the androcentric, vertical hierarchies of intellectual labor, authorship, and (re)production. Further, it argues that the collaborative female practices in Ferrante’s fiction have engendered––or brought to light––collaborative female and feminist projects in Ferrante Studies and outside academia establishing a legacy of creative and authorial women. Thus a double creation of female genealogies is at work within Ferrante’s novels and in the critical field that studies them. -
ALZ Newsletter24 JAN.Indd
Janu ary 2 018 An unsettlingpresence: sub-Saharan Africa in RenaissanceItaly Awards in focus in Page 5 Architectureand the face of Page 6 Illuminating the workings of a thisissue include: coal: mining and modern Britain molecular machine Page8Howdochildren at the Page 10 What damage do today’s Page 11 Women in type ‘bottom’ofthe class fare? ballistic impactscause to stone structures? Director’s note Scheme news Funding ambition Imminent deadlines Allapplicationsclose at 4pm, unless otherwisestated. ThefinalBoard Meetingof2017saw theTrustees distribute abumpercropofawardsfor Leverhulme 1February 2018 DoctoralScholarships, Visiting Professorships,Major Emeritus Fellowships Research Fellowships, Research ProjectGrantsand Philip Forseniorresearchers whohave retiredfromanacademic Leverhulme Prizes –some£37 millionintotal –tosupport post whowishtocomplete aresearchproject andprepare ambitious discovery research in UK universities.Alistofthe theresultsfor publication: research expenses of up to successful proposalsisincludedinthisNewsletter. £22,000 over up to twoyears. This year,for thefirsttimesince theschemewas launched in theyear2000, thethirty Philip Leverhulme Prize 1March 2018 Winners–togetherwithguests, university representatives, EarlyCareerFellowships andmanyofthe Trust’sfriends andsupporters–will gather Forearly career researcherswithatrack record of research foracelebratory Gala Dinner andPrize-givinginthe splendid whowishtoundertakeasignificant pieceofpublishable surroundings of theDrapers’Company Livery Hall in the work,but whohave -
Luigi Ballerini the Gastronome and His "Tablecloth of Plenty"
La tovaglia che sazia: Luigi Ballerini the gastronome and his "tablecloth of plenty" by Jeremy Parzen "I'm the king, but you can wear my crown." —Antoine "Fats" Domino, John Marascalco, Tommy Boyce (quoted by Luigi Ballerini)1 Three of the most powerful and enduring memories of my years working closely with Luigi Ballerini involve food (and/or the lack thereof). The one is an image in his mind's eye, a scene he often spoke of: Milan, 1945, the then five-year-old Ballerini watches a defiant Nazi soldier atop an armored car, part of a phalanx in retreat from the Lombard capital, leaving it an "open city"; the muscle-bound German bares his chest in the winter cold, as if impervious to pain even in the moment of ultimate defeat. The Nazis left behind a broken city and people, who had already known hunger for quite some time and would not know prosperity and plenty for many years to come. At five years old, Luigi knew hunger all too well. The next is an anecdote I heard him retell repeatedly: Milan, early 1960s (the outset of the Italian miracolo economico, the economic miracle, Italy's "miraculous" post- war revival), a young American guest in the home of his mother asks for some 1 Ballerini, Luigi, "piccolo e grande testamento," Il terzo gode, Venezia, Marsilio, 1994, p. 103. mayonnaise; when no mayonnaise is to be found, the matron of the house handily whisks some olive oil and egg yolks, transforming the materia prima into mayonnaise. The third image was set against the ultimate land of plenty: Brentwood, Los Angeles, during the mid-1990s,