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Journal articles on the topic 'Alberto Moravia'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 March 2023

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1

Peterson (book author), Thomas Erling, and Corrado Federici (review author). "Alberto Moravia." Quaderni d'italianistica 19, no. 1 (April 1, 1998): 152–55. http://dx.doi.org/10.33137/q.i..v19i1.9623.

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2

Kozma, Jan, and Thomas Erling Peterson. "Alberto Moravia." Italica 75, no. 2 (1998): 270. http://dx.doi.org/10.2307/480143.

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3

Costa Mendes, Rafael, and Mattia Delmondo. "Natividade, de Alberto Moravia." caleidoscópio: literatura e tradução 4, no. 1 (December 14, 2020): 135–45. http://dx.doi.org/10.26512/caleidoscopio.v4i1.27000.

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A existência mundana e entediante de Matteo é revolvida pela novidade que sua esposa, Maria, anuncia: eles logo teriam um bebê. Por meio de um olhar altivo de um homem que encarna todos os vícios da burguesia italiana durante o regime fascista, Moravia coloca em cena uma espetacular aparição noturna de Maria, em uma ambígua coabitação entre o real e o mágico. Escritura realista ou paródia do acontecimento religioso, “La NatavitÃ ” é um dos primeiros contos de Alberto Moravia, que carrega consigo a veia surrealista e satírica em voga na produção narrativa italiana dos anos 40.

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4

Martino, Andrew. "Agostino by Alberto Moravia." World Literature Today 88, no. 6 (2014): 60–61. http://dx.doi.org/10.1353/wlt.2014.0006.

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5

Marcolini, Adriana. "A Brasília de Alberto Moravia." Cadernos de Literatura em Tradução, no. 13 (October 8, 2020): 217–28. http://dx.doi.org/10.11606/issn.2359-5388.i13p217-228.

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Provavelmente, o principal motivo que trouxe Alberto Moravia ao Brasil e que deu origem ao texto que ora traduzo, tenha sido a inauguração de Brasília, em abril de 1960. Concluída apenas 15 anos após o fim da Segunda Guerra Mundial, a nova capital carregava um forte simbolismo com sua aura de modernidade e futuro, atraindo a atenção dos europeus sedentos de esperança. O artigo sobre Brasília faz parte de uma série de seis relatos sobre o Brasil publicados pelo jornal milanês Corriere della Sera, em 1960. A leitura dos relatos revela que o autor não cultivava a retórica e o enaltecimento gratuito das pessoas e lugares que visitava. Seu texto é límpido, direto, questionador.

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6

André, Michel. "Au cinéma avec Alberto Moravia." Books 105, no. 3 (March 23, 2020): 58–61. http://dx.doi.org/10.3917/books.105.0058.

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7

Muknicka, Sérgio Gabriel. "Vendida e comprada de Alberto Moravia." outra travessia 2, no. 28 (February 25, 2021): 162–68. http://dx.doi.org/10.5007/2176-8552.2019.e73769.

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8

Muknicka, Sérgio Gabriel. "A orgia." outra travessia 1, no. 27 (December 14, 2020): 114–17. http://dx.doi.org/10.5007/2176-8552.2019.e73764.

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9

Mezan, Renato. "O mal absoluto." Revista de Italianística 4, no. 4 (December 30, 1996): 121. http://dx.doi.org/10.11606/issn.2238-8281.v4i4p121-138.

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10

Mazza, Antonino. "IDEOLOGIE E PASSIONI: Alberto Moravia su Pier Paolo Pasolini." Quaderni d'italianistica 9, no. 1 (April 1, 1988): 139–44. http://dx.doi.org/10.33137/q.i..v9i1.10764.

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11

Casini, Simone. "Brasile 1960: Gli anni della svolta per Alberto Moravia." Revista de Italianística, no. 31 (June 10, 2016): 110. http://dx.doi.org/10.11606/issn.2238-8281.v0i31p110-129.

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Alberto Moravia chega ao Brasil no verão de 1960 para presidir o congresso do PEN Club. Havia recém-concluído La noia, seu décimo primeiro romance, aquele que mais diretamente se liga à inspiração originária da obra de estreia, Gli indifferenti (1929), e que assinala uma decisiva virada em seu percurso artístico, intelectual e humano. O ensaio reconstrói aquele momento da vida e da obra do escritor de cinquenta anos, no qual se resume e se conclui uma pesquisa decenal e se abre uma nova fase. Repercorrendo os artigos escritos para Il Corriere della Sera e a resenha a Quarto de despejo de Carolina de Jesus, são focalizadas a origem e a aguda reflexão de Moravia sobre o Brasil daqueles anos (Brasília, Bahia, Rio), entre passado e futuro. A experiência do Brasil, para o escritor, que naqueles anos seguintes tentará novas estradas no campo intelectual e literário, e novas metas nas suas viagens, sempre mais orientados, na companhia de Dacia Maraini e de Pier Paolo Pasolini, em direção ao Terceiro Mundo e à África.

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12

Iozzi, Adriana. "A testemunha ocular: algumas considerações sobre 1934 de Alberto Moravia." Revista de Italianística 2, no. 2 (December 30, 1994): 121. http://dx.doi.org/10.11606/issn.2238-8281.v2i2p121-130.

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Este artigo procura contextualizar a obra de 1934, do escritor italiano Alberto Moravia, no âmbito do panorama da literatura italiana contemporânea, ressaltando os aspectos referentes à crise do intelectual na sociedade contemporânea.

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13

Mendes, Nancy Maria. "Literatura e artes plásticas." Cadernos de Linguística e Teoria da Literatura 9, no. 18-20 (December 31, 2016): 161. http://dx.doi.org/10.17851/0101-3548.9.18-20.161-167.

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Resumo: Considerações sobre a possível função das referências a artes plásticas no romance, a partir de Ciranda de Pedra, de Lygia Fagundes Telles, 1934 de Alberto Moravia e Memorial do Convento de José Saramago.Résumé: A partir de Ciranda de Pedra, de Lygia Fagundes Telles, 1934, d'Alberto Moravia et de Memorial do Convento, de José Samago, nous analysons le rôle joué les réferences aux arts plastiques présentes dans ces oeuvres.

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14

Asadov, Isa. "Symbolics of the novel “The Woman of Rome” by Alberto Moravia." Litera, no. 6 (June 2020): 11–17. http://dx.doi.org/10.25136/2409-8698.2020.6.32999.

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This article analyzes the novel “The Woman of Rome” (1947) by the Italian author of the XX century Alberto Moravia. As in his other novels, Moravia features a one reflexing character, creating an authorial intention in the oeuvre. The article examines special symbolics in the novel. The events take place in the 1940’s, during the Fascism era in Italy: the heroine is a victim of indifference and cruelty of the society and her own weakness, inability to refuse material gains, defend her values and dreams. Emphasis is also made on interaction between the social classes. Unlike the heroes of other novels of Alberto Moravia, Adriana loses her place in the society, changing her behavioral patterns and undergoing reassessment of values. Each character interacting with her can be interpreted as a symbol, representative of a certain class they belong to. And each of them exploit and impact her in their own way. The text in question can be considered as neo-realistic or existential. The author also underlines common traits of the protagonists of Moravia’s novels. For example, Cesira the heroine of the novel “Two Women” (“La Ciociara”, 1957) belongs to petite bourgeoisie, she also experience the transformation of life attitudes, having become a witness of dehumanization of people and overall indifference towards the fate of the country; but unlike Adriana, who is a victim, she manifests in role of a witness. The scientific novelty consists in analysis of symbolics of the novel and correlation between fate of the heroine and fate of the country. The heroines in the works of Alberto Moravia symbolize Fascist era in Italy differently; only in case with Adriana she personifies the changes, reaching the moral decline and perverting her inner self under the influence of fascism. Analysis is conducted on peculiarities of narration in the novel: her story can be perceived as a confession, or as a conversation with an understanding friend. This softens the perception of tragic events in the novel, since in increases the level of trust of the audience to the heroine. Symbolics of the novel includes the images of Madonna and Danaë (Titian’s painting).

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15

Parisi, Luciano, and Valentina Mascaretti. "La speranza violenta: Alberto Moravia e il romanzo di formazione." Modern Language Review 103, no. 2 (April 1, 2008): 562. http://dx.doi.org/10.2307/20467853.

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16

Terrizzi, Anthony, and Ferdinando Alfonsi. "Alberto Moravia in Italia: un quarantennio di critica (1929-1969)." Italica 66, no. 2 (1989): 206. http://dx.doi.org/10.2307/478930.

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17

Kibler, Louis, and Ferdinando Alfonsi. "Alberto Moravia in America: un quarantennio di critica (1929-1969)." Italica 62, no. 3 (1985): 264. http://dx.doi.org/10.2307/479034.

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18

Enedino, Wagner Corsino, and Haydê Costa Vieira. "Da guerra à ditadura." Literatura e Autoritarismo, no. 26 (October 11, 2022): 71–84. http://dx.doi.org/10.5902/1679849x69145.

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Este artigo tem por objetivo analisar a aproximação (que estrutura o projeto estético-social) entre o brasileiro Plínio Marcos e o italiano Alberto Moravia, sobretudo nas obras Dois perdidos numa noite suja e O terror de Roma. Por meio da análise e interpretação de contornos sociais e histórico-culturais das produções é possível estabelecer pontos de contato entre as marcas discursivas emitidas pelos autores. O artigo ancora-se nas contribuições de Eric Hobsbawm (1995) e Antonio Pedro Tota (2011) acerca dos conflitos que marcaram o século XX, nos de Sábato Magaldi (2003) e Patrice Pavis (2007) sobre determinadas noções que constituem o discurso teatral; nos pressupostos teóricos de Mikhail Bakhtin (2002; 2011) quanto ao diálogo que se estabelece entre discursos literários, nas pesquisas de Luiz Zanin Oricchio (2010) no que tange à historiografia do autor Alberto Moravia e nas reflexões de Osvaldo Mendes (2009) sobre aspectos que circunscrevem a bios do dramaturgo Plínio Marcos.

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19

Parisi (book author), Luciano, and Giuliana Sanguinetti Katz(review author). "Uno specchio infranto. Adolescenti e abuso sessuale nell’opera di Alberto Moravia." Quaderni d'italianistica 34, no. 2 (March 30, 2014): 194–96. http://dx.doi.org/10.33137/q.i..v34i2.21064.

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20

Mattia, Delmondo. "La natività din Alberto Moravia tra «realismo magico» e «irrealtà quotidiana»." ACTA IASSYENSIA COMPARATIONIS 24, no. 2 (2019): 73–82. http://dx.doi.org/10.47743/aic-2019-2-0007.

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21

Moravia, Alberto, and Gideon Bachmann. "Why Has Incest Always Been Repressed? A Conversation with Alberto Moravia." Film Quarterly 39, no. 3 (April 1986): 29–32. http://dx.doi.org/10.1525/fq.1986.39.3.04a00060.

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22

Moravia, Alberto, and Gideon Bachmann. "Why Has Incest Always Been Repressed? A Conversation with Alberto Moravia." Film Quarterly 39, no. 3 (1986): 29–32. http://dx.doi.org/10.2307/1212374.

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23

Talbot, George. "Alberto Moravia and Italian Fascism: Censorship, Racism and Le ambizioni sbagliate." Modern Italy 11, no. 2 (June 2006): 127–45. http://dx.doi.org/10.1080/13532940600709239.

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Alberto Moravia was an ambiguous figure for the Fascists. His first novel, Gli Indifferenti, was an international success, and was praised by Bottai. His second novel, Le ambizioni sbagliate, ran into difficulties with Fascist censorship. His maternal uncle was a member of Mussolini's government. His paternal first cousins were Carlo and Nello Rosselli. This essay explores Moravia's relations with the regime in the light of archival evidence, contemporary ‘revisions’ of his reputation and recent controversy over his letters to Ciano and Mussolini.

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24

Abram, Bianca Concolino Mancini. "Uno specchio infranto. Adolescenti e abuso sessuale nell’opera di Alberto Moravia." Italian Studies 71, no. 4 (September 21, 2016): 568–69. http://dx.doi.org/10.1080/00751634.2016.1223849.

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25

Balthazar, Luciana Lanhi, and Brígida Adele Menegatti. "Leitura e interculturalidade no ensino de italiano como língua estrangeira no Centro de Línguas (Celin) da UFPR." Revista de Italianística, no. 42 (December 23, 2021): 113–31. http://dx.doi.org/10.11606/issn.2238-8281.i42p113-131.

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O presente artigo analisa três livros de leitura, utilizados pelos alunos do nível III (A2) no Centro de Línguas e Interculturalidade (Celin) da Universidade Federal do Paraná (UFPR). A partir da análise, propõe-se uma prova oral e uma atividade complementar online para um dos livros. Os três livros analisados são: Un Giorno Diverso, Il Manoscritto di Giotto (ambos de leitura graduada) e Alberto Moravia (livro de literatura adaptada), todos da editora Edilingua, classificados como A2-B1 segundo o Quadro Comum Europeu de Referência para Línguas. Para realizar a análise, foi considerado o contexto de uso desses livros de leitura e também o material didático utilizado pelos alunos do curso de italiano no Celin. Foram investigados os campos semânticos, os aspectos interculturais e o conteúdo linguístico dos três livros de leitura e do livro didático. A partir das conclusões, foi escolhido o livro de literatura adaptada, Alberto Moravia, e foi elaborada uma prova oral e uma atividade complementar online para esse livro, ambas apoiadas na abordagem intercultural (KRAMSCH, 1993, 2017).

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26

Siega, Paula Regina. "Reflexos do Brasil no espelho europeu: o olhar de Alberto Moravia sobre Barravento." O Eixo e a Roda: Revista de Literatura Brasileira 18, no. 2 (December 31, 2009): 55–71. http://dx.doi.org/10.17851/2358-9787.18.2.55-71.

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Ultrapassando barreiras geográficas e culturais, Glauber Rocha projeta o cinema brasileiro além de nossas fronteiras, em uma audaciosa proposta estética que converte particularidades regionais em linguagem universal. Do outro lado do oceano, sua poética reverbera na escrita de Alberto Moravia, fascinado pelas imagens de Barravento, síntese de uma problemática nacional que seu discurso passa a refletir.

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27

Nicewicz-Staszowska, Ewa. "Moravia l’africano delle Storie della preistoria." Bergen Language and Linguistics Studies 10, no. 1 (November 7, 2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1415.

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In 1976 Alberto Moravia, then sixty-nine years old, won the Andersen Prize for the Mustafà, la volpe del Sahara, his first children’s tale. Then followed the stories about others humanized animals, first published in the “Corriere della Sera” and in the various editions of selected stories, and later collected in the volume Stories of Prehistory (1982), which brought Moravia the Viareggio Prize in 1983. Apart from the deep affection that Moravia felt for animals and nature in general, that form of narrative has its roots in the numerous African journeys he undertook since 1962. For Moravia, the Black Continent, “the most beautiful thing that exists in the world”, was an artistic discovery and an “antidote to the highly refined, sophisticated and mechanical civilization”. Africa, a place “still amid prehistory and history”, was for him – as in some respects it was for Pasolini – the depository of primordial values in the process of disappearing, due to the imminent industrialization. In the Stories of Prehistory Moravia speaks of those universal values, always opposed to the vices, and views them through curiosity that is usually inaccessible to adults. His children’s tales – always funny, sometimes hilariously merciless – occupies a separate position within the oeuvre of the Roman writer and gained him many fans. The aim of this paper is to provide an overview of those aspects of Moravia’s work which have not been reflected yet and are still very relevant today.

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28

Morris, Penny, Alberto Moravia, and Sharon Wood. "Woman as Object: Language and Gender in the Work of Alberto Moravia." Modern Language Review 87, no. 1 (January 1992): 223. http://dx.doi.org/10.2307/3732384.

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29

Κατωγιάννης, Θέμης. "Ευκολόπιστη Ιερουσαλήμ; Ωδή στον Alberto Moravia; Αερόπολης Πολιτεία; Βρύα με χρώμα βιολετί;." Πρεβεζάνικα Χρονικά 49 (November 9, 2021): 492. http://dx.doi.org/10.12681/prch.28635.

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30

Cardoso, Marinês Lima. "Implicações narratológicas em La Ciociara, de Alberto Moravia e Vittorio de Sica." Letras, no. 53 (December 22, 2016): 237. http://dx.doi.org/10.5902/2176148525093.

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A literatura e o cinema possuem semelhanças e divergências, pois, apesar deste último ser uma expressão artística essencialmente visual, ele se aproxima da literatura no que diz respeito ao uso das palavras e à finalidade de contar histórias. Trata-se de uma arte que tem as suas próprias especificidades, como a imagem e o som, mas que apresenta, assim como a literatura, uma natureza narrativa. Neste trabalho, serão discutidas algumas estratégias narrativas, como o narrador, o espaço e o tempo, no romance La Ciociara (1957), de Alberto Moravia, e na sua adaptação cinematográfica, Two women (1960), de Vittorio De Sica.

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31

Peterson, Thomas E., Sharon Wood, and Alberto Moravia. "Woman as Object. Language and Gender in the Work of Alberto Moravia." Italica 69, no. 3 (1992): 436. http://dx.doi.org/10.2307/479401.

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32

Parisi, Luciano. "La speranza violenta: Alberto Moravia e il romanzo di formazione by Valentina Mascaretti." Modern Language Review 103, no. 2 (2008): 562–64. http://dx.doi.org/10.1353/mlr.2008.0147.

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33

Pettigrew, Ian Dwayne. "The politics of spectatorship in the Tree of Wooden Clogs." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 25–50. http://dx.doi.org/10.5195/cinej.2017.145.

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This article reassesses the politics of Ermanno Olmi’s 1978 Palme d’Or winner, The Tree of Wooden Clogs. It specifically addresses charges made against the film by the novelist and critic, Alberto Moravia. The Marxist writer asserted that the film promotes the life and ideology of the farmers featured in the work. By looking closely at the film, I demonstrate how the formal strategies utilized by Olmi negate Moravia’s assessment and controvertibly position spectators to re-evaluate their political relationships to those in their range of influence.

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34

Каторгина, Дарья Юрьевна. "THE CREATIVE WORKS OF ALBERTO MORAVIA IN THE CONTEXT OF THE LITERATURE OF THE XX CENTURY." Вестник Тверского государственного университета. Серия: Филология, no. 3(74) (September 29, 2022): 223–28. http://dx.doi.org/10.26456/vtfilol/2022.3.223.

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В статье рассматривается творчество итальянского писателя А. Моравиа в контексте мирового литературного процесса начала ХХ века. Автор выделяет доминирующие темы литературы начала прошлого века в целом и особенности творчества А. Моравиа в частности. The article examines the works of the Italian writer A. Moravia in the context of the world literary process of the early twentieth century. The author highlights the dominant themes of literature of the beginning of the last century in general and the features of A. Moravia’s work in particular.

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35

Niedda. "Beckford's Vathek in Italy: The Reception by Mario Praz, Alberto Moravia, and Giaime Pintor." Comparative Literature Studies 53, no. 3 (2016): 478. http://dx.doi.org/10.5325/complitstudies.53.3.0478.

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36

Ajres, Alessandro. "Gustaw Herling-Grudziński e la letteratura italiana del XX secolo." Poznańskie Studia Polonistyczne. Seria Literacka, no. 39 (December 15, 2020): 183–93. http://dx.doi.org/10.14746/pspsl.2020.39.10.

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Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

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37

Bischin, Maria-Roxana. ""The ʻMalapartism ̓ – A Musicalized «Pleuresement»: Curzio Malaparte, Alberto Moravia, Adalberto Libera and the Architectural Structures of the ʻBeingnessʼ "." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 215–30. http://dx.doi.org/10.24193/subbmusica.2022.2.12.

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"Starting with Johann Wolfgang von Goethe’s vision, who acclaimed that ‘Music is liquid architecture; architecture is frozen music’ , this is an investigation that touches subthemes as a psychological analysis of the characters from the film « Le Mépris » (by Jean-Luc Godard, 1963), made after the eponym novel «Il disprezzo» by Alberto Moravia (1954); an analysis into the music of the film composed by Georges Delerue (1925-1992) – « Thème de Camille », an investigation in George Delerue’s music and other iconic songs from the decade’s atmosphere; a short philosophical introduction into the universe of the architect Curzio Malaparte (1898-1957) and ʻCasa Malaparteʼ from Capri Island. Said so, ʻCasa Malaparteʼ is bought into analysis through the aesthetical-architectural filter of some nowadays epic mansions/residences from Laval, Montréal, Las Vegas, Atlanta, Los Angeles, Bucharest-Kiseleff-Aviatorilor area, which are included in the architectural research-portfolio. More than this, we try to check how architectural structures sculpture the musicalized Being’s essences using examples such as Belle Abri, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa Leopolda, Villa D. Ionescu, Bel-Air, and other magnifiques villas that seem aesthetically very close to Casa Malaparte. In addition, this paper answers the following fundamental questions: Why, sometimes, the music saves/repairs the architectural existentialism? And why is it so important for architecture to create and re-create permanent music? The paper opens and enriches a collaborative research niche between architecture, music, analysis-methods from philosophy field, and the applied philosophies ʻbehindʼ the real estate portfolios; This paper is an exploration of the beautiful universe of some representative mansions, outlining the ineluctable liaison between sonorous structures and architectural structures, highlighting that the vision of Wolfgang Goethe is still alive in the buildings that surround our cities. This paper is a research realised between 2021 and 2022, and it combines observations from philosophy, architecture, literature, music, and real estate’s domain. Keywords: ʻMalapartism ̓, Georges Delerue, “Camille”, Curzio Malaparte, Alberto Moravia, Mohamed Hadid, sun’s phenomenology, light, architectural structures, musical structures, Adalberto Libera, Casa Malaparte, Belle Abri, Bel-Air, Hadid’s architectural structures, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa D. Ionescu. "

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38

Sanabria, Carolina. "El voyeur en la literatura del siglo XX." Revista de Filología y Lingüística de la Universidad de Costa Rica 33, no. 1 (November 12, 2007): 45. http://dx.doi.org/10.15517/rfl.v33i1.4276.

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El presente artículo analiza las relaciones entre la literatura y la imagen visual desde la actividad del voyeur. El punto de partida es que la literatura, contrario al enfoque que la privilegia como operación sublimada de un creador mitificado, supone una intromisión extraña (del narrador y del lector) en un entorno ajeno aún cuando se trate de personajes de ficción. El esclarecimiento habría podido ser constatado a partir del desarrollo y consolidación de los medios de comunicación de masa, en particular el cine. Bajo este tamiz, se analizan dos obras literarias significativamente contemporáneas -El mirón (Le voyeur, 1952) de Robbe-Grillet y El hombre que mira (L'uomo che guarda, 1985) de Alberto Moravia- que desde el enfoque fenomenológico y el freudiano respectivamente evidencian la figura del voyeur y sus mecanismos de construcción en la literatura universal.

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Cherobin, Nicoletta, Sara Silva Oliveira, Sâmila Maria Oliveira da Silva, and Patrícia Salviano de Oliveira. "Nicola Gardini. Lost Words. Tradução de Michael F. Moore. New York: New Directions Publishing Corporation, 2016. 232 p." Cadernos de Tradução 36, no. 3 (September 6, 2016): 379. http://dx.doi.org/10.5007/2175-7968.2016v36n3p379.

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http://dx.doi.org/10.5007/2175-7968.2016v36n3p379Publicado em janeiro deste ano, Lost Words é a tradução do livro Le parole perdute di Amelia Lynd, publicado em 2012 e vencedor do Premio di Narrativa Viareggio - Rèpaci do mesmo ano. A obra é de autoria de Nicola Gardini, escritor italiano que leciona Literatura Italiana na Universidade de Oxford, formado em Letras Clássicas pela Universidade de Milão e Ph.D. em Literatura Comparada pela Universidade de Nova Iorque. Publicou, além de ensaios críticos de literatura e coleções de poesias, alguns romances. A tradução foi feita por Michael F. Moore que, além de tradutor, é intérprete de língua italiana, PhD em italiano pela Universidade de Nova Iorque e com traduções que vão desde Alberto Moravia e Primo Levi até autores mais recentes, como Fabio Genovesi e Nicola Gardini. Atualmente, Michael é chefe do Advisory Board for the PEN-Heim Translation Fund e trabalha também como intérprete para as Nações Unidas.

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Fiuza, Solange. "Uma carta de João Cabral a Alberto de Serpa." Revista Texto Poético 14, no. 25 (July 30, 2018): 621. http://dx.doi.org/10.25094/rtp.2018n25a537.

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Publicada em 1950, a revista O cavalo de todas as cores foi editada por João Cabral de Melo Neto e por Alberto de Serpa. Como Cabral morava na Espanha e Serpa em Portugal, a revista foi organizada por meio de cartas, que constituem um acervo crítico de interesse. Apresento e transcrevo a primeira carta que compõe a correspondência de Cabral a Serpa e na qual o poeta brasileiro expõe o seu projeto editorial ao confrade português e o convida a dele participar.

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Bertelloni, Francisco. "La tradición medieval prearistotélica y la formación de la politica como teoría a partir de 1265." Tópicos, Revista de Filosofía 18, no. 1 (November 28, 2013): 9. http://dx.doi.org/10.21555/top.v18i1.354.

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Este artículo atiende la contitución gradual de la politica como toería en la edad media dentro de la división de la philosophia moralis en la ethica, oeconomica y politica. El autor organiza el artículo en tres partes de acuerdo con tres diferentes estadios del tratamiento medieval de la politica como ciencia. Primer, da una revisión de la noción medieval de politica hasta la primera mitad del siglo trece. Segundo, analiza la concepción de Alberto sobre la politica en el tratado Super Ethica. Tercero, muestra las modificaciones de Alberto a su propia concepción después de la recepción medieval de la Política de Aristóteles.

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Roś, Joanna. "Siła moralna, naiwność serca. Recenzja Algerian chronicles - zbioru tekstów Alberta Camusa w tłumaczeniu na język angielski." Refleksje. Pismo naukowe studentów i doktorantów WNPiD UAM, no. 12 (October 31, 2018): 195–99. http://dx.doi.org/10.14746/r.2015.13.

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Jarosz, Krzysztof. "Autonomia wobec praw rządzących światem jako warunek życia prawdziwie moralnego w filozofii Alberta Schweitzera." Studia Ecologiae et Bioethicae 2, no. 1 (December 31, 2004): 357–71. http://dx.doi.org/10.21697/seb.2004.2.1.20.

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Etyka Alberta Schweitzera jest subiektywistyczna. Postuluje autonomię wobec praw rządzących światem i określa ogólną zasadę moralną, opierając ją na wewnętrznym doświadczeniu woli życia. Wynika to z jego przekonania, że nie jesteśmy w stanie odkryć sensu istnienia świata. Sugeruje akt rezygnacji poznawczej - zaprzestanie poszukiwania sensu świata i zwrócenie się ku swojemu wnętrzu. Schweitzer uważa, że prawa rządzące światem są okrutne i pozwalają zabijać inne stworzenia. Moralna istota ludzka nigdy nie zaakceptuje takich reguł. Starając się być wiernym wewnętrznej prawdzie swojej woli życia, całkowicie potwierdzi życie, sprzeciwiając się wszystkiemu, co dzieje się wokół niego. Postulat Schweitzera ignoruje prawdę o świecie. To atrakcyjna utopia bycia dobrym w świecie pełnym zniszczeń. Schweitzer nie przejmuje się jednak tym, że jego postulaty są niemożliwe do spełnienia.

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Mitjans, Frank. "Oedipus's Riddle: Elizabethan transformation of the family portrait of Thomas More, an Appendix to “Non sum Oedipus sed Morus”." Moreana 56 (Number 212), no. 2 (December 2019): 133–59. http://dx.doi.org/10.3366/more.2019.0058.

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Holbein produced a drawing of Sir Thomas More and his Family which was a preparatory sketch for a larger painting. The painting was acquired by Karl von Liechtenstein-Kastelkron (1623–95), Archbishop of Olomouc, Moravia, and was last recorded in 1691 as being kept in the episcopal residence in Olomouc; it is generally assumed that the painting was lost in the 1752 fire at the Archbishop's château in Kroměřiž. There are, however, five extant versions of the Family Group. The three main versions are the full-sized oil on canvas, The Family of Sir Thomas More (1592), now at Nostell Priory, and two paintings of Sir Thomas More, his Household, and Descendants: one kept at the National Portrait Gallery, the other at the Victoria and Albert Museum, London. There has been much discussion about the transformation from a family at prayer—as portrayed in the original drawing—to a conversation on Seneca. Based on editions of Oedipus prior to the Nostell painting, the history of More's descendants, and a cameo that belonged to More's family, this paper argues that the Elizabethan transformation is a story of conformity and non-conformity.

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Rocha, João Marinho da. "“Tudo por aí morava gente nossa!” Os usos e os lugares da memória territorial nos processos de constituição da identidade étnica nos Quilombos do Rio Andirá, fronteira Amazonas/Pará." Ciências Sociais Unisinos 57, no. 1 (June 4, 2021): 16–25. http://dx.doi.org/10.4013/csu.2021.57.1.02.

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Este texto versa sobre as inúmeras formas de produção e usos políticos das memórias territoriais no movimento de luta quilombola do rio Andirá (2005-2018). É um aspecto de pesquisa de doutorado que analisou a relação entre os processos de construção da identidade étnica e as territorialidades quilombolas. Pautou-se na história social e seus diálogos interdisciplinares com as ciências sociais (CASTRO,1997; BARROS, 2005), na metodologia da história oral (ALBERT, 2011; MEIHY, 2005) e nos estudos do pós-abolição (RIOS e MATTOS, 2004). Iniciado em 2005, consegue certidão de autodeclaração em 2013 e atualmente luta pela demarcação do território tradicionalmente ocupado, desde as décadas finais do século XIX. Através das memórias, de práticas socioculturais cotidianas, Santa Tereza, Boa Fé, Ituquara, São Paulo e Trindade recuperam aspectos da história social do grupo, a partir de suas demandas atuais, de suas histórias e de seus processos territoriais tornados as fontes privilegiadas dessa recuperação de suas trajetórias. Com ações políticas, articuladas por uma Federação, tais grupos sociais se etnicizam e pautam o Estado brasileiro. Reconstituem espaços físicos e simbólicos, a partir de articulações em torno de uma memória étnica e territorial, criam e acionam outros mecanismos que representam possibilidades de reconhecer o território. Tais mecanismos são potencializados em torno das novas interpretações de aspectos de sua história, dos fatos e da construção da memória ancestral. Nesses movimentos de ações políticas, reordenam imagens e compreensões acerca das noções de tempo, seus usos em conexões com as lógicas da natureza, lições apreendidas nos encontros com as outras Amazônias existentes nos diversos espaços e experiências vividas na escravidão e pós-abolição.

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Wali, Mohan K. "Introduction." Canadian Journal of Botany 66, no. 12 (December 1, 1988): 2603–4. http://dx.doi.org/10.1139/b88-355.

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The year 1985 was a landmark in Canadian biology, for it witnessed both the first Canadian Congress of Biology and the 80th birthday of Professor Vladimir Joseph Krajina. Because Krajina's work has had an impact on more than one biological discipline, we believed that the congress would be an appropriate forum to pay tribute to one of Canada's premier ecologists and botanists. Krajina has done much to awaken Canada's environmental consciousness and shape its ecological thinking and, in the process, has made major contributions to the international discipline of ecology.Professor Krajina was born in 1905 in Slavice, a small Moravian village in Czechoslovakia. Historians of science have characterized 1905 as “the miraculous year.” That was the year Albeit Einstein published the theory of relativity and George Santayana began his book The Life of Reason with the following first line printed in boldface, “Man affects his environment, sometimes to good purpose.” E. M. Forster published his Where Angels Fear to Tread, Vladimir Lenin his Two Tactics of Social Democracy in the Democratic Revolution, and Sigmund Freud his Three Contributions to the Theory of Sex. That year, the English novelist and science educator C. P. Snow was born, and the Canadian provinces of Alberta and Saskatchewan were formed.It was a very significant year for ecology as well. The first American textbook, Research Methods in Ecology, was published by a then little-known ecologist named Frederick E. Clements. Carl Raunkiaer in Denmark published his Types biologiques pour la géographie botanique, later to be cited in ecological literature as Raunkiaer's system of life forms and biological spectra. In addition, Karel Domin, who would become Krajina's mentor, published Das böhmische Mittelgebirge in Czechoslovakia.Krajina received his doctorate at the age of 22 from Charles University in Prague. There, he rose to become Professor of Botany and Head of the Department of Plant Sociology and Ecology. Krajina was a major force in the Second World War. A champion of democracy and possessing immense foresight and fortitude, he provided strategic information to the Allies, not without great personal hardship. This aspect of his life is beyond the scope of this review, but many volumes are available that document his indomitable courage and his contributions (see, for example, J. Korbel, The Communist Subversion of Czechoslovakia, Princeton University Press, Princeton, NJ, 1959). After the war, he received both military and civilian medals and was elected to the Czechoslovakian parliament.He arrived in Vancouver in 1949. Not in possession of his transcripts or even a reprint of his own work, he joined the University of British Columbia as Lady Davis Foundation Fellow and Special Lecturer, and later attained the rank of full professor. It was here that he developed the ecological schema that bear his imprint and guided 33 students through their doctoral and master's programs. Highly respected as a teacher and researcher, he has left an indelible mark on Canadian ecology. His contributions have been recognized by honorary degrees from major universities, by medals of honor from many societies, and in several feature films on environment from the National Film Board of Canada. Even today, he remains active in finalizing his massive treatise on the ecology of British Columbia vegetation.In presenting this series of papers as a tribute to Professor Krajina, it was the intention of the organizers to reflect on two contemporary topics of ecology, rather than present a comprehensive overview or a complete documentation of Krajina's contributions. What is presented here, therefore, is a series of ecological vignettes on community organization and ecosystem conservation, areas of science in which Professor Krajina has played a major role.The organizers extend their warm thanks to Professor Jennifer Shay of the University of Manitoba for her help and assistance, to Professor Jack Major for writing the epilogue, to Professor Taylor A. Steeves, who encouraged the publication of this symposium, and to Professor Paul F. Maycock, Associate Editor of the Canadian Journal of Botany, who edited this series of articles.

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Rabac, Glorija. "Alberto Moravia između Freuda i Marksa." Radovi. Razdio lingvističko-filološki 3, no. 2 (April 16, 2018). http://dx.doi.org/10.15291/radoviling.2313.

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Svijet Sto ga je otkrio Freud za Moraviju je neobično zanimljiv, a spoznaja njegove suštine od prvorazredna je značenja u procesu emancipacije čovjeka. »Prikazivanje seksusa u modernoj literaturi odgovara potrebi da se stane na čvrst teren, nepobitan bilo kakvom analizom; ono potječe iz opće krize vrijednosti 'koja se pojavila otpri- like uoči prvoga svjetskog rata. Nisu bez osnova Freud i Marks dva velika oslobodioca i otkrivača modernog svijeta. Determinizam prvo- ga razgolitio je ono što se krilo iza »nevinosti« porodičnih i ljubavnih odnosa, a drugoga — ono što se krilo iza »nevinosti« slobodne privre- de. Obojica su odgurnuti tajne, nazvali bezimene stvari pravim imenom ... «

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"LE INETTE. ANALISI DI ALCUNE PROTAGONISTE DELL'IMMAGINAZIONE LETTERARIA DI ALBERTO MORAVIA." Studia Polensia 05, no. 01 (October 31, 2016): 38–55. http://dx.doi.org/10.32728/studpol/2016.05.01.03.

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Alberto Moravia è uno degli scrittori italiani moderni che ha maggiormente dato spazio alla figura femminile all'interno delle proprie opere. Le protagoniste dei suoi romanzi sono donne con dei destini segnati dalla tristezza e dal dolore. Moravia si concentra su temi e motivi collegati alla sua visione della vita e della società del suo tempo. Di conseguenza basa l'attenzione sull'indifferenza, sull'incapacità, sulla rassegnazione e sull'insoddisfazione delle proprie protagoniste. Nonostante i suoi romanzi siano collocati in un'altra epoca, i temi trattati risultano ancora molto attuali. Ogni suo personaggio femminile è particolare e unico, ma allo stesso tempo sono molti gli aspetti in comune, come le riflessioni, l'angoscia, l'intimità sessuale, le paure, i sogni attraverso i quali Moravia presenta la vera natura del collettivo femminile. La particolarità maggiore che si è voluta sottolineare con il presente lavoro è la maestria dell'autore con la quale è riuscito a calarsi nella psicologia del complesso mondo femminile. Il tutto è stato influenzato dal suo interesse verso la psicoanalisi, verso l'esistenzialismo e soprattutto dalla sua attrazione verso la figura enigmatica della donna.

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Petrocchi, Francesca. "Una sosta "portoghese" in Estremo Oriente: Alberto Moravia a Macao." Estudos Italianos em Portugal, 2005, 135–50. http://dx.doi.org/10.14195/0870-8584_0_9.

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Massi Albanese, Carolina. "REALTÀ, MITO E FAVOLA NELLA RECENTE PUBBLICAZIONE DI ALBERTO MORAVIA: LA COSA E ALTRI RACCONTI." Revista Letras 33 (October 12, 2010). http://dx.doi.org/10.5380/rel.v33i0.19312.

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Si analizza l'opera di Alberto Moravia, pubblicata nell'ottobre1983: La cosa e altri racconti. In tutte il lavoro narrativomoraviano il mondo è bloccato, immobile, mentre nell'opera in studio l'ingrata realtà è traslata, ha il respirodella favola.Eros, in questi racconti, coprotagonista, diventa un mito e, pertanto, un'entità parlante. L'erotismo, nelle opere precedenti, "eticamente insignificante" e "scientificamente noto", si fa qui "poeticamente valido".L'elemento emozionale, sia emotività dei sensi, che emozione dei sentimenti, occupa sempre lo spazio maggiore ed un certo conflitto interiore trapela dall'inquietudine dei personaggi i quali, se si nutrono di stanchezza e abulia, non accettano del t u t to passivamente il fastidio di esistere.

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