Pub Date : 2021-09-03DOI: 10.1080/01614622.2021.1976982
Joseph Francese
Citt a d’autore. A luoghi di frontiera, di passaggio e spostamento, sia esso fisico o simbolico, confine geografico o soglia sul terreno della nostalgia, e dedicata la Parte V del volume, “Confini e culture.” La sezione e avviata da Anastasija Gjur cinova con una ricognizione dello sguardo di Claudio Magris su Trieste, all’intersezione tra identit a di frontiera e urgenza di situare la creazione del personaggio nel limine territoriale che lo distingue. Spalato e la Dalmazia, altri spazi identitari di crocevia e di multiformi radici culturali concresciute e sovrapposte, sono oggetto dello studio di Katarina Dalmatin su Esilio di Enzo Bettiza (1996). Elis Deghenghi Oluji c riflette sullo spaesamento, o meglio lo spossessamento dell’identit a comunitaria e urbana, vissuto a Pola dopo l’esodo che coinvolse quasi tutta la comunit a italiana alla conclusione del secondo conflitto mondiale. Il saggio analizza gli elementi distintivi di questa peculiare esperienza di dispersione identitaria nella narrativa delle scrittrici istro-quarnerine Gianna Dallemulle Ausenak, Ester Sardoz Barlessi e Nelida Milani. Il saggio che conclude il volume, per la penna di Caterina Romeo, interroga come potere e spazio si costruiscano a vicenda nella contro-mappatura proposta da una narrazione ibrida di film e racconto che avvicina banlieue parigina e citt a di Bologna. Come vediamo, non resta che l’imbarazzo della scelta: seguire l’invito ad approfondire uno degli spunti offerti da questa raccolta, o cogliere suggerimenti di tagli critici per camminare—fisicamente e immaginativamente—in una citt a corporea e letteraria di nostra scelta, perch e se e vero come ci diceva Calvino che di una citt a non apprezziamo (esclusivamente, aggiungerei) le sette o settantasette meraviglie, ma la risposta che d a ad una nostra domanda, questo volume ci invita a muoverci tra realt a e rappresentazione, tra strada e pagina, ispirandoci domande ad ogni crocevia. Potremmo cercare di capire di cosa sia davvero fatto lo spazio poroso che attraversiamo nella vita e sulla pagina, e da quale voce sia voluto, e di chi non parli, e perch e, e cosa ci stia dicendo, e come determini il soggetto, e come permei la costruzione narrativa... o cosa dica ad un noi diverso da noi, come nella migliore delle ipotesi sa fare la letteratura.
{"title":"Italian Diaspora Studies","authors":"Joseph Francese","doi":"10.1080/01614622.2021.1976982","DOIUrl":"https://doi.org/10.1080/01614622.2021.1976982","url":null,"abstract":"Citt a d’autore. A luoghi di frontiera, di passaggio e spostamento, sia esso fisico o simbolico, confine geografico o soglia sul terreno della nostalgia, e dedicata la Parte V del volume, “Confini e culture.” La sezione e avviata da Anastasija Gjur cinova con una ricognizione dello sguardo di Claudio Magris su Trieste, all’intersezione tra identit a di frontiera e urgenza di situare la creazione del personaggio nel limine territoriale che lo distingue. Spalato e la Dalmazia, altri spazi identitari di crocevia e di multiformi radici culturali concresciute e sovrapposte, sono oggetto dello studio di Katarina Dalmatin su Esilio di Enzo Bettiza (1996). Elis Deghenghi Oluji c riflette sullo spaesamento, o meglio lo spossessamento dell’identit a comunitaria e urbana, vissuto a Pola dopo l’esodo che coinvolse quasi tutta la comunit a italiana alla conclusione del secondo conflitto mondiale. Il saggio analizza gli elementi distintivi di questa peculiare esperienza di dispersione identitaria nella narrativa delle scrittrici istro-quarnerine Gianna Dallemulle Ausenak, Ester Sardoz Barlessi e Nelida Milani. Il saggio che conclude il volume, per la penna di Caterina Romeo, interroga come potere e spazio si costruiscano a vicenda nella contro-mappatura proposta da una narrazione ibrida di film e racconto che avvicina banlieue parigina e citt a di Bologna. Come vediamo, non resta che l’imbarazzo della scelta: seguire l’invito ad approfondire uno degli spunti offerti da questa raccolta, o cogliere suggerimenti di tagli critici per camminare—fisicamente e immaginativamente—in una citt a corporea e letteraria di nostra scelta, perch e se e vero come ci diceva Calvino che di una citt a non apprezziamo (esclusivamente, aggiungerei) le sette o settantasette meraviglie, ma la risposta che d a ad una nostra domanda, questo volume ci invita a muoverci tra realt a e rappresentazione, tra strada e pagina, ispirandoci domande ad ogni crocevia. Potremmo cercare di capire di cosa sia davvero fatto lo spazio poroso che attraversiamo nella vita e sulla pagina, e da quale voce sia voluto, e di chi non parli, e perch e, e cosa ci stia dicendo, e come determini il soggetto, e come permei la costruzione narrativa... o cosa dica ad un noi diverso da noi, come nella migliore delle ipotesi sa fare la letteratura.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"247 - 249"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48014683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.2017125
Lorenzo Fabbri, Ramsey Mcglazer
The new cover of Italian Culture was designed by Arianna Lodeserto and Lilia Angela Cavallo and features a photograph by Marley Nichelle, a Charlottesville-based photojournalist whose statement on the image appears above. The photograph shows the statue of Columbus that stood in Richmond’s Byrd Park until its toppling on June 9, 2020. The uprisings prompted by the murder of George Floyd on May 25 were ongoing when, on June 9, “about a thousand protestors gathered,” according to the Richmond Times-Dispatch, “to stand in solidarity with indigenous peoples.” In this context, “Protestors used ropes to pull down the approximately 8-foot statue, then moved it some 200 yards across the road ... and submerged it in Fountain Lake. According to a social media post, the statue was briefly set on fire.” But there was more than one post, as Nichelle notes when he refers to “Columbus Discovers Lake.” This headline or joking caption conveys some of the collective energy and exuberance of that moment of protest, which the journal’s new cover image records. “Columbus Discovers Lake” reminds us, in other words, that, for all their seriousness, the uprisings were also scenes of courageous reinvention. They were occasions for mourning but also for the demonstration and the celebration of “powers and solidarity.” We thank Marley for the photograph and Arianna and Lilia for their work designing the new cover. We hope that this cover, replacing the monumental and still-standing columns shown in journal’s former cover image, will serve as a reminder of the difference that collective “powers and solidarity” can make. But we also see the image as a welcome challenge to the field, as a question addressed to the study of Italian history, literature, and art. An ocean away from his native Genoa, Columbus finds himself in a different port, subject to a different fate, not enshrined but overthrown. And given the his abiding association with “Italian culture” in the United States, a certain familiar version, a received understanding, of this culture is overthrown with him. Before its fall, statue of Columbus in Richmond stood on
{"title":"A Note on the New Cover","authors":"Lorenzo Fabbri, Ramsey Mcglazer","doi":"10.1080/01614622.2021.2017125","DOIUrl":"https://doi.org/10.1080/01614622.2021.2017125","url":null,"abstract":"The new cover of Italian Culture was designed by Arianna Lodeserto and Lilia Angela Cavallo and features a photograph by Marley Nichelle, a Charlottesville-based photojournalist whose statement on the image appears above. The photograph shows the statue of Columbus that stood in Richmond’s Byrd Park until its toppling on June 9, 2020. The uprisings prompted by the murder of George Floyd on May 25 were ongoing when, on June 9, “about a thousand protestors gathered,” according to the Richmond Times-Dispatch, “to stand in solidarity with indigenous peoples.” In this context, “Protestors used ropes to pull down the approximately 8-foot statue, then moved it some 200 yards across the road ... and submerged it in Fountain Lake. According to a social media post, the statue was briefly set on fire.” But there was more than one post, as Nichelle notes when he refers to “Columbus Discovers Lake.” This headline or joking caption conveys some of the collective energy and exuberance of that moment of protest, which the journal’s new cover image records. “Columbus Discovers Lake” reminds us, in other words, that, for all their seriousness, the uprisings were also scenes of courageous reinvention. They were occasions for mourning but also for the demonstration and the celebration of “powers and solidarity.” We thank Marley for the photograph and Arianna and Lilia for their work designing the new cover. We hope that this cover, replacing the monumental and still-standing columns shown in journal’s former cover image, will serve as a reminder of the difference that collective “powers and solidarity” can make. But we also see the image as a welcome challenge to the field, as a question addressed to the study of Italian history, literature, and art. An ocean away from his native Genoa, Columbus finds himself in a different port, subject to a different fate, not enshrined but overthrown. And given the his abiding association with “Italian culture” in the United States, a certain familiar version, a received understanding, of this culture is overthrown with him. Before its fall, statue of Columbus in Richmond stood on","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"113 - 114"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48128578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.1976972
Robert A. Rushing
Catacoustics (an ancient term for the science of reflected sound, briefly championed by Lacoue-Labarthe) in fact tells us that the echo is never a partial and degraded repetition: while it is true that an echo repeats only a portion of the original signal, it does so in a way that also conveys a huge quantity of additional information that was not in the original signal—information that effectively describes the larger space in which the sound reverberates. In short, a catacoustic approach suggests that it is only in and with the echo that the sound is fully realized, and this realization or repletion of the origin happens in a way that demarcates and defines a space—something the mirror image does not gesture at. In this essay, I “listen by echo” in order to elaborate an “echo-logical” reading of Calvino’s Invisible Cities, and Christopher Cerrone’s opera of the novel, an opera that not only reflects on the question of reverberation and echo, but that also prolongs, amplifies and enriches Calvino’s original work, helping us to better discern both artists’ commitment to improving our political spaces and ecologies.
{"title":"Calvino, Cerrone, and the Catacoustic: An “Echo-logical” Reading1","authors":"Robert A. Rushing","doi":"10.1080/01614622.2021.1976972","DOIUrl":"https://doi.org/10.1080/01614622.2021.1976972","url":null,"abstract":"Catacoustics (an ancient term for the science of reflected sound, briefly championed by Lacoue-Labarthe) in fact tells us that the echo is never a partial and degraded repetition: while it is true that an echo repeats only a portion of the original signal, it does so in a way that also conveys a huge quantity of additional information that was not in the original signal—information that effectively describes the larger space in which the sound reverberates. In short, a catacoustic approach suggests that it is only in and with the echo that the sound is fully realized, and this realization or repletion of the origin happens in a way that demarcates and defines a space—something the mirror image does not gesture at. In this essay, I “listen by echo” in order to elaborate an “echo-logical” reading of Calvino’s Invisible Cities, and Christopher Cerrone’s opera of the novel, an opera that not only reflects on the question of reverberation and echo, but that also prolongs, amplifies and enriches Calvino’s original work, helping us to better discern both artists’ commitment to improving our political spaces and ecologies.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"115 - 135"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43656277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.2014663
Michela Ardizzoni
This article examines the transmedia work of writer and media maker Antonio Dikele Distefano through an analysis of the politics and aesthetics of Blackness and its (in)visibilities in Italy. Specifically this paper considers how this artist inhabits and disrupts existing narratives of belonging and negotiates the racialized terms of the Italian imaginary.
{"title":"Imag(in)Ing Blackness in Italy: Redactions, Presence, and Media in Antonio Dikele Distefano’s Work","authors":"Michela Ardizzoni","doi":"10.1080/01614622.2021.2014663","DOIUrl":"https://doi.org/10.1080/01614622.2021.2014663","url":null,"abstract":"This article examines the transmedia work of writer and media maker Antonio Dikele Distefano through an analysis of the politics and aesthetics of Blackness and its (in)visibilities in Italy. Specifically this paper considers how this artist inhabits and disrupts existing narratives of belonging and negotiates the racialized terms of the Italian imaginary.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"223 - 239"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42165314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.1992097
Nicholas Albanese
This paper focuses on three contemporary Italian novels that operate within the apocalyptic paradigm and voice a sense of collapsing reality that characterized Italy in the wake of the global financial crisis. Ruggero Cappuccio's Fuoco su Napoli (2010), Gianni Miraglia's Muori Milano muori! (2011), and Francesca Genti's La febbre (2011) represent worlds in which the disruption of daily life exposes the invisible conventions that make it possible. In shaping narratives in which their characters attempt to cope with the fact that their worlds are coming to a definitive end because of their relationship to profit, power, and spectacle, the authors articulate an underlying critique of the present socio-economic system and its ancillary effects. From this perspective, these novels highlight the ways in which the neoliberal economic system of the long downturn undermines the conditions that guarantee the future of social and biophysical life as we know it. I argue that the manipulation enacted by the authors in relation to established genre paradigms invites a rearrangement of values and of human relations with respect to homo oeconomicus, thus envisioning a new ethics as the pulsing core for activating a political shift and bringing about a new future.
本文聚焦于三部在世界末日范式下运作的意大利当代小说，它们表达了全球金融危机后意大利的现实崩溃感。Ruggero Cappuccio的Fuoco su Napoli（2010），Gianni Miraglia的Muori Milano Muori！（2011）和Francesca Genti的《二月》（2011）代表了一个世界，在这个世界里，日常生活的破坏暴露了使之成为可能的无形惯例。在塑造叙事时，他们的角色试图应对这样一个事实，即由于他们与利润、权力和奇观的关系，他们的世界正在走向终结，作者阐述了对当前社会经济体系及其辅助影响的潜在批判。从这个角度来看，这些小说强调了长期低迷的新自由主义经济体系如何破坏我们所知的社会和生物物理生活未来的保障条件，从而设想了一种新的伦理作为激活政治转变和带来新未来的脉动核心。
{"title":"Homo Oeconomicus and the Limits of Storytelling: Italian Apocalyptic Fiction of the Long Downturn","authors":"Nicholas Albanese","doi":"10.1080/01614622.2021.1992097","DOIUrl":"https://doi.org/10.1080/01614622.2021.1992097","url":null,"abstract":"This paper focuses on three contemporary Italian novels that operate within the apocalyptic paradigm and voice a sense of collapsing reality that characterized Italy in the wake of the global financial crisis. Ruggero Cappuccio's Fuoco su Napoli (2010), Gianni Miraglia's Muori Milano muori! (2011), and Francesca Genti's La febbre (2011) represent worlds in which the disruption of daily life exposes the invisible conventions that make it possible. In shaping narratives in which their characters attempt to cope with the fact that their worlds are coming to a definitive end because of their relationship to profit, power, and spectacle, the authors articulate an underlying critique of the present socio-economic system and its ancillary effects. From this perspective, these novels highlight the ways in which the neoliberal economic system of the long downturn undermines the conditions that guarantee the future of social and biophysical life as we know it. I argue that the manipulation enacted by the authors in relation to established genre paradigms invites a rearrangement of values and of human relations with respect to homo oeconomicus, thus envisioning a new ethics as the pulsing core for activating a political shift and bringing about a new future.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"201 - 222"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41767086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.1980996
S. Donati
L’articolo esamina le declinazioni di cittadinanza, sudditanza e nazionalità che presero forma nel contesto dell’espansionismo coloniale italiano durante gli anni della Grande Guerra e del primo periodo postbellico. Viaggiando attraverso il territorio dell’impero formale italiano in Libia e nella concessione dell’impero informale a Tientsin in Cina, il saggio unisce – per la prima volta in un’unica indagine – l’analisi dei tre concetti in oggetto tra metropoli, sponda nordafricana e lembo asiatico dell’oltremare; e fornisce altresì importanti elementi per comprendere il ruolo svolto dalla Grande Guerra nella definizione di quei legami di appartenenza. Situato all’intersezione degli studi sulla Prima guerra mondiale nelle colonie, sulla politica della cittadinanza nel Regno d’Italia, e sulla dimensione transnazionale della storia coloniale, questo saggio offre un innovativo confronto inter-imperiale del caso italiano basandosi sull’interazione di preziosi documenti inediti degli archivi italiani, fonti parlamentari, scritture edite della memorialistica, letteratura italiana coeva, e recenti studi storici in lingua italiana, inglese e francese.
{"title":"“Cittadinanza,” “sudditanza” e “nazionalità” in contesto imperiale: Riflessioni sul caso italiano tra guerra e dopoguerra, 1914–1925","authors":"S. Donati","doi":"10.1080/01614622.2021.1980996","DOIUrl":"https://doi.org/10.1080/01614622.2021.1980996","url":null,"abstract":"L’articolo esamina le declinazioni di cittadinanza, sudditanza e nazionalità che presero forma nel contesto dell’espansionismo coloniale italiano durante gli anni della Grande Guerra e del primo periodo postbellico. Viaggiando attraverso il territorio dell’impero formale italiano in Libia e nella concessione dell’impero informale a Tientsin in Cina, il saggio unisce – per la prima volta in un’unica indagine – l’analisi dei tre concetti in oggetto tra metropoli, sponda nordafricana e lembo asiatico dell’oltremare; e fornisce altresì importanti elementi per comprendere il ruolo svolto dalla Grande Guerra nella definizione di quei legami di appartenenza. Situato all’intersezione degli studi sulla Prima guerra mondiale nelle colonie, sulla politica della cittadinanza nel Regno d’Italia, e sulla dimensione transnazionale della storia coloniale, questo saggio offre un innovativo confronto inter-imperiale del caso italiano basandosi sull’interazione di preziosi documenti inediti degli archivi italiani, fonti parlamentari, scritture edite della memorialistica, letteratura italiana coeva, e recenti studi storici in lingua italiana, inglese e francese.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"155 - 173"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45234287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.1989852
H. Kashdan
Ada Boni’s 1925 Il talismano della felicità has for almost 100 years been the Italian domestic manual par excellence. Whether actively used or simply preserved as a family keepsake, Boni’s cookbook has been a fixture in generations of Italian kitchens. This article argues that Il talismano is a major work of Italian national literature. Boni rejects the model established by Pellegrino Artusi’s La scienza in cucina e l’arte di mangiar bene, offering instead a female-focused domestic manual by a woman and for women. Over its long publication history, Il talismano transforms from an instructional guide for bourgeois housewives into an artifact of Fascist nationalism, and then into a comprehensive compendium of all the foods eaten in Italy. Ongoing revisions and adaptations – including an important 1950 American edition – reflect Il talismano’s desire to provide a model of Italian identity rooted in the hyperlocal variety of Italian culinary traditions and practices.
Ada Boni 1925年的Il talismano della felicitio在近100年来一直是意大利国内手工制作的佼佼者。无论是经常使用还是仅仅作为家庭纪念品保存，博尼的烹饪书都是几代意大利人厨房里的必备品。本文认为《护身符》是意大利民族文学的一部重要作品。博尼拒绝了佩莱格里诺·阿图西(Pellegrino Artusi)的La scienza in cucina el’arte di mangiar bene所建立的模式，而是提供了一本由女性撰写、面向女性的、以女性为中心的家庭手册。在漫长的出版历史中，《护身符》从一本资产阶级家庭主妇的教学指南变成了法西斯民族主义的产物，然后又变成了一本意大利所有食物的综合纲要。正在进行的修订和改编——包括一个重要的1950年美国版本——反映了Il talismano的愿望，即提供一个植根于意大利烹饪传统和实践的超地方多样性的意大利身份模型。
{"title":"Local Recipes in the National Kitchen: The Life and Legacies of Ada Boni’s Il talismano della felicità","authors":"H. Kashdan","doi":"10.1080/01614622.2021.1989852","DOIUrl":"https://doi.org/10.1080/01614622.2021.1989852","url":null,"abstract":"Ada Boni’s 1925 Il talismano della felicità has for almost 100 years been the Italian domestic manual par excellence. Whether actively used or simply preserved as a family keepsake, Boni’s cookbook has been a fixture in generations of Italian kitchens. This article argues that Il talismano is a major work of Italian national literature. Boni rejects the model established by Pellegrino Artusi’s La scienza in cucina e l’arte di mangiar bene, offering instead a female-focused domestic manual by a woman and for women. Over its long publication history, Il talismano transforms from an instructional guide for bourgeois housewives into an artifact of Fascist nationalism, and then into a comprehensive compendium of all the foods eaten in Italy. Ongoing revisions and adaptations – including an important 1950 American edition – reflect Il talismano’s desire to provide a model of Italian identity rooted in the hyperlocal variety of Italian culinary traditions and practices.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"174 - 200"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42162998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01614622.2021.1988212
Nicla Riverso
My article provides a better understanding of commedia dell’arte’s transformation from an indecorous form of popular entertainment, performed in public spaces (piazze) and accused of teaching lust and corruption, into a legitimate and respected art form, performed in aristocratic and royal court theatres before refined and educated audiences. I show how relevant performances by such actresses as Barbara Flaminia, Lidia da Bagnacavallo, Isabella Andreini, Vincenza Armani, Vittoria Piissini, Orsola Posmoni, and Virginia Ramponi were in changing the image of the commedia dell’arte. Blending theater and culture, actresses ennobled themselves and their profession and constructed a new model of a talented and educated heroine, while contributing to a new appreciation for commedia dell’arte as a form of literary and artistic performance. In fact, because of their efforts, the commedia dell’arte diverged significantly from the performances of buffoni, mountebanks, acrobats, contortionists, story-tellers, and street singers, and survived defamatory propaganda and opposition from churchmen, finding support in secular patronage and gaining social and cultural dignity.
我的文章更好地理解了艺术喜剧从一种在公共场所（广场）表演并被指控教授欲望和腐败的不雅的大众娱乐形式，转变为一种合法和受人尊敬的艺术形式，在贵族和皇家宫廷剧院在高雅和受过教育的观众面前表演。我展示了Barbara Flaminia、Lidia da Bagnacavallo、Isabella Andreini、Vincenza Armani、Vittoria Piissini、Orsola Posmoni和Virginia Ramponi等女演员的相关表演如何改变了大众艺术的形象。女演员们融合了戏剧和文化，使自己和自己的职业崇高起来，构建了一个才华横溢、受过良好教育的女英雄的新模式，同时也为大众艺术作为一种文学和艺术表演形式的新欣赏做出了贡献。事实上，由于他们的努力，艺术喜剧与布冯尼、漫画家、杂技演员、柔术演员、讲故事的人和街头歌手的表演大相径庭，并在诽谤性宣传和牧师的反对下幸存下来，在世俗庇护中找到了支持，获得了社会和文化尊严。
{"title":"From Piazze to Courts: Actresses’ Role in the Refashioning of Commedia dell’Arte","authors":"Nicla Riverso","doi":"10.1080/01614622.2021.1988212","DOIUrl":"https://doi.org/10.1080/01614622.2021.1988212","url":null,"abstract":"My article provides a better understanding of commedia dell’arte’s transformation from an indecorous form of popular entertainment, performed in public spaces (piazze) and accused of teaching lust and corruption, into a legitimate and respected art form, performed in aristocratic and royal court theatres before refined and educated audiences. I show how relevant performances by such actresses as Barbara Flaminia, Lidia da Bagnacavallo, Isabella Andreini, Vincenza Armani, Vittoria Piissini, Orsola Posmoni, and Virginia Ramponi were in changing the image of the commedia dell’arte. Blending theater and culture, actresses ennobled themselves and their profession and constructed a new model of a talented and educated heroine, while contributing to a new appreciation for commedia dell’arte as a form of literary and artistic performance. In fact, because of their efforts, the commedia dell’arte diverged significantly from the performances of buffoni, mountebanks, acrobats, contortionists, story-tellers, and street singers, and survived defamatory propaganda and opposition from churchmen, finding support in secular patronage and gaining social and cultural dignity.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"136 - 154"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48777592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-26DOI: 10.1080/01614622.2020.1844497
E. Coggeshall
Despite the divisive factionalism that riled Italian comuni in the late Duecento, the language of friendship dominated the vernacular poetry circulating in late medieval urban centers, particularly in tenzoni. In these disputatious exchange poems, vernacular authors frequently referred to one another as “amico,” no matter what relationship they may have had with their interlocutors. The usage of the language of “amicizia” in these exchanges defies conventional praises of friendship, which would conceive of friendship as an unambiguous moral good. Instead, the ambivalent language of friendship in tenzoni reflects both the anxiety of duplicitous speech that plagued urban life and a hope for the salvation of the comune from partisan conflict. These tenzoni collectively propose a model of friendly antagonism, which, in its engagement even across ideological lines, strives to convert dispute from violent partisanship into a competitive joust in the game of honor.
{"title":"Jousting with Verse: The Poetics of Friendship in Duecento Comuni","authors":"E. Coggeshall","doi":"10.1080/01614622.2020.1844497","DOIUrl":"https://doi.org/10.1080/01614622.2020.1844497","url":null,"abstract":"Despite the divisive factionalism that riled Italian comuni in the late Duecento, the language of friendship dominated the vernacular poetry circulating in late medieval urban centers, particularly in tenzoni. In these disputatious exchange poems, vernacular authors frequently referred to one another as “amico,” no matter what relationship they may have had with their interlocutors. The usage of the language of “amicizia” in these exchanges defies conventional praises of friendship, which would conceive of friendship as an unambiguous moral good. Instead, the ambivalent language of friendship in tenzoni reflects both the anxiety of duplicitous speech that plagued urban life and a hope for the salvation of the comune from partisan conflict. These tenzoni collectively propose a model of friendly antagonism, which, in its engagement even across ideological lines, strives to convert dispute from violent partisanship into a competitive joust in the game of honor.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"99 - 118"},"PeriodicalIF":0.1,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1844497","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49300743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：