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In this sense Dante becomes a combination of Aeneas and Paul, a hero and a poet-prophet. Italian Bookshelf Silent Ship: In conclusion, the volume Nature and Art in Dante is an important addition to the bibliography on these themes. Prefazione di Mario Praz. Biblioteca di Lettere Italiane, Studi e Testi.
How have these matters been complicated by developments in politics, philosophy, history, culture and society? Can we say today that these complexities have been resolved? These are but a few of the penetrating questions with which one must grapple in dealing with these essays. Each essay is densely laden with social and historical implications, and rife with value judgments and sharp critiques. Because the Renaissance failed to produce political autonomy for Italy, and was followed instead by a period marked by foreign domination and historical decline, it could not represent for the Italian consciousness a moment of unqualified progress despite the advances it heralded.
As Dionisotti points out: Characterized by a sense of urgency and moral certitude, the writings of Spaventa, De Sanctis and Fiorentino represent the period of the late Risorgimento. Spaventa calls for a new system of learning, and De Sanctis rejects the Renaissance intellectual. The next generation of scholars who carry the torch of their predecessors is represented by Gentile and Croce. Grassi, Garin and Cantimori provide the post- war perspective, characterized by a reappraisal of the role and influence of Renaissance humanism.
Le Avventure Di Babbo Natale Libro Da Colorare: 21 Disegni: Volume 9
For them, humanist thought and method are essential to the development of modern sensibilities and civilization. It is his thesis that all academic and scientific endeavors are outgrowths of humanism. The epilogue to the volume comes from Dionisotti and returns to the issues initially raised in the introduction. He points out the role that history has played in the shifting relationship between Italian scholarship and the Renaissance. According to Rubini, however, there is knowledge to be gleaned from the contributions of scholars such as De Sanctis, and value to be gained from continuing to include their considerations in discussions of the Renaissance.
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Italian Bookshelf This volume is a testament to the ongoing dialogue that exists between the past and present, as modern Renaissance scholars continue to puzzle their way through matters of national identity and philosophy, ever plagued by questions of historical subjectivity.
How can any scholar look upon history with an unbiased eye, without seeing his or her own world view reflected at any given moment in time? Rather than offer an exposition on Italian Renaissance scholarship, it, instead, poses a challenge to future generations to find their own place within the dialogue begun over a century ago. Scholars must strive to answer the questions which inevitably arise from the consideration of texts such as these, and in so doing approach a better understanding of themselves and their own influences, as well as those of the thinkers who came before.
Representation, Self-Representation, and Agency in the Renaissance. Centre for Reformation and Renaissance Studies, This volume of eleven papers by as many scholars spans four centuries and several countries, including England, Spain, France, and Italy.
The first four essays, as well as the eighth, focus on sixteenth- and seventeenth-century France: Essays five and six are set in England: Archival documents, Brizio claims, reflect real-life practices more accurately than statutes and other normative literature commonly examined by historians; through a careful reading of these newly analyzed documents primarily, notarial records , Brizio shows the extent of the autonomy and economic freedom enjoyed by Sienese women in the fourteenth and fifteenth centuries — much greater than, for example, the autonomy of their Florentine counterparts.
My two main critiques, however, are addressed to the press the Centre for Reformation and Renaissance Studies in Toronto , and not to the generally thoughtful, original, and well researched essays themselves. First of all, readers will wish that the manuscript revision had been more thorough: The binding, as well, should have been done better: That said, there is much to recommend this eclectic book to scholars — both historians and literary critics — working on, or interested in learning more about, the representation of women in early modern Europe.
Michele Marrapodi has been writing about English and Italian cultural relations since the s. This most recent volume, which he has edited with his usual care, consists of eighteen essays by scholars whose concerns go beyond the identification of borrowed sources. The Merchant seems to have been conceived with precisely such an idea in mind. At the core of her thesis is the Italian term riconoscenza gratitude , which shares a root with riconoscere to recognize: This notion sheds light on the strange and chilling moment when Coriolanus forgets the name of a poor Volscian who has given him aid.
The moment seems trivial but it foreshadows what will happen to Coriolanus at the end, when he cannot bring himself to utter his own name, the name he has earned in battle at Corioles, upon entering the home of the arch enemy Aufidius. In that home, of course, there will be no riconoscenza for Coriolanus. The danger, of course, in setting out to discover evidence of political engagement is to see such evidence where perhaps it does not exist.
Horatio Palavicino was not only a merchant and a politician but apparently also a whoremonger. Italian Bookshelf contribution to our understanding of the way in which Shakespeare read and responded to his Italian predecessors. Poetry and Identity in Quattrocento Naples. La posizione del poeta si manifesta nelle caratteristiche formali e contenutistiche delle opere, denotanti vari gradi di capitale culturale.
Nei primi tre capitoli Soranzo esamina il Parthenopeus e De amore coniugali tramite i vari fili che legano le opere al loro contesto discorsivo, delineando come Pontano negozia le proprie origini umbre e la sua assimilazione della cultura aristocratica napoletana. Spostatosi lo sguardo al campo della filosofia e della religione, il quinto capitolo esamina la rinegoziazione del proprio carisma da parte di Pontano dopo la caduta della dinastia aragonese.
Italian Bookshelf Chris Wickham. Sleepwalking into a New World: Princeton University Press, Students of Italian literature typically encounter the history of Italy at the time of the rise of vernacular literary records, around the mid-thirteenth century. The relationship between urban life and literary production is already something of a given by that time; indeed, in De vulgari eloquentia Dante maps the various vernaculars of northern Italy on an urban grid.
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The governmental model associated with these cities, that of the commune, is likewise in place, so the question of how the commune was born does not seep into literary studies. It turns out, however, that the commune has a fascinating history and an impressive documentary record, now mediated by Chris Wickham in this excellent book. The author devotes a chapter each to Milan, Pisa, and Rome, as well as one to a review of several other cities that furnish further comparisons to the three principals. The makers of the commune did not partake of the sort of self-aware constitutionalism we see elsewhere; rather, they more or less stumbled upon their new government.
All of the communes he studies share most if not all of these elements, allowing Wickham to demonstrate that despite their sleepwalking the inventors of the commune were all pretty much up to the same thing. Moreover, just as Wickham describes an ideal-type commune, so too does his history record a more or less consistent set of conditions that allow the commune to emerge.
First and foremost there is the above-mentioned weakening of the old order: Important too is an older tradition of urban assemblies, such as the Milanese collectio, that morphed into the consulatus or concio, an organized urban deliberative body.
Italian Bookshelf in the law. With economic interests to protect, these men sought compromise with fellow citizens to ensure urban stability, applying their collective knowledge and energies to the protection of the city from external and internal threats. At the same time, however, one can see how the presence of multiple landholders in and around urban areas would encourage the sort of dialogue that would aim to preserve property rights and limit encroachment.
Wickham is a cautiously speculative historian; he hews to his documents, allowing them to tell only as much of the story as they can tell. One effect of the political somnambulism that Wickham describes is that the lack of self-awareness about the changes being effected left a hole in the historical record: Students of medieval Italian literature will find a fascinating secondary narrative here as well. Wickham mentions a number of historical poems from Milan and Pisa, written in Latin. On the cusp of the emergence of a vernacular literature, therefore, there existed a late-Latin literary tradition, one that would overlap with vernacular production later on.
This study begs one question and answers another.egytroncs.com/js/9/864.html
Read e-book Parole dell’anima (Gli emersi poesia) (Italian Edition)
The former has to do with why the commune emerged at roughly the same time in so many places. Wickham furnishes some answers, but there is no reason to assume that common conditions would give rise so consistently to the commune. Some of the answers may have to do with imitation, as word spread throughout the region about the emergent governmental structures. As well, the shifting economic landscape associated with urban life appears to have played a role, with wealthy stakeholders aiming to protect their property rights and enforce the responsibilities of members of the community as a means to guarantee a stability seen as good for all.
The second question, the one Wickham answers more adamantly, goes to why he writes this book in the first place, and it is related to the first. Wickham insists that a teleological reading of the history of the commune is thoroughly unfounded, precisely because its inventors basically had no idea what they were producing as they made it. There is no destiny here, but a haphazard and luckily successful attempt to create an urban governmental structure that in theory would guarantee peace.
That peace turned out to be a chimera, as for example in Florence, reflects perhaps a human nature that no government can fully mediate. Michael Sherberg, Washington University in St. Italian Bookshelf Jan M. That is not to suggest, though, that this collection of essays discourages new queries in its wake. In the introduction, Ziolkowski stages a rousing lineup of academically provocative and politically relevant questions and paradoxes. On the political front he demonstrates how despite the fact that the Commedia is an exemplum of what is Western, Christian and Catholic, and although it was written some seven hundred years ago, what it says about Islam has become nonetheless intensely relevant.
Since then the Union of Italian Muslims has also appealed to the Pope to remove such artwork from churches as well as to withdraw the teaching of the Commedia from curricula in densely immigrant regions of Italy.
On the academic front, tensions run even deeper. On the one hand a picture arises of what medieval Christendom had the potential to know about the world of medieval Islam and how Dante then presumably absorbed and redirected this knowledge. On the other hand we see how modern academics have aligned themselves to this development. The twelve articles in this volume are grouped into five categories, reflecting inquiry and insight along varied sight lines.
Burman, examines different kinds of attitudes toward and knowledge about medieval Islamic texts and culture from the perspective of medieval Christian scholars, examining specific translations, translators and their particular bents and biases. Stone and Daniela Boccassini, and uses textual evidence from the Commedia to argue for connections between Dante and Islamic philosophical and literary traditions.
In the first article the connection is drawn in terms of how allegory and metaphoric language integrate philosophy and theology in Dante as was done in earlier Islamic writings Schildgen.
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The second article suggests a link in the way intellect in the Commedia could be read as philosophically divisible into the practical and theoretical, and how this idea might reflect Islamic thinking Stone. The last article discusses how the phenomenology of falconry in the Commedia can be linked to none other than an Islamic cultural heritage Boccassini.
Italian Bookshelf inquiry to create space for a world that thinks, asks thoughtful questions of the other and listens in pursuit of the truth. This volume belongs on the shelves of Dantists and Islamic scholars alike and will appeal to those new to academia as well as to those seasoned veterans who have paved the way. Marina Cocuzza and Joseph Farrell. Illustrations by Giovanna Nicotra. Luigi Capuana is best known as a theorist of verismo, the Italian version of European realism, which prescribed for the writer the dispassionate and objective representation of reality, however squalid.
So those readers who are unfamiliar with the many interests of Capuana, ranging from photography and etching to folklore, poetry, theater and journalism, will be surprised to discover that not only did he produce a substantial amount of fairy tales, but that he engaged in the genre time and again, from to , the year of his death.
This last collection includes one-act plays. Cocuzza and Farrell speculate that Capuana may have been directed towards the world of pure fantasy by his growing disenchantment with positivistic ideas and with scientific and mechanical progress. Children and adults alike will be delighted with the fables, while savvy readers will recognize the subtle satire of the new state that underlies some of the later tales.
Cocuzza and Farrell offer a penetrating analysis of the collected fairy tales, populated by kings, queens, princes, princesses, magicians and dragons, but also by desperately poor common folk — all endowed with recognizable human traits and instincts. Capuana never distanced himself too much from stark reality.
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The University of Toronto Press, The conventional view, advanced with erudition and authority by such writers as Richard Andrews and Tim Fitzpatrick, who are generously quoted here, is that the scenarios are of their essence a series of notes to actors, setting out situations or outline plots which allow performers to demonstrate their histrionic abilities and inventiveness by employing improvisational techniques.
There is a more general question in Italian theatre history concerning not just scripts themselves but relations between the actor and the author. The actor ruled at this time, but there is no discussion of individual actors or companies.