Relevant bibliographies by topics / Cagliostro, Alessandro, in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cagliostro, Alessandro, in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Cagliostro, Alessandro, in fiction"

1

Hannemann, Tilman. "Scharlatane der Aufklärung. Christoph Kaufmann und Alessandro Cagliostro." Zeitschrift für Religions- und Geistesgeschichte 66, no. 2 (2014): 163–85. http://dx.doi.org/10.1163/15700739-90000114.

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Kiryukhina, Elena M. "CONFLICT OF REALITY AND FANTASTIC FICTION IN THE STORY OF ALEXEY N. TOLSTOY “COUNT CALIOSTRO”." Russian Studies in Culture and Society 8, no. 2 (2024): 128–44. http://dx.doi.org/10.12731/2576-9782-2024-8-2-239.

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The article examines the story “Count Cagliostro” by Alexei Nikolaevich Tolstoy, completed during the emigration period: based on a real historical fact (the visit to Russia in 1779-1780 of the Italian adventurer Giuseppe Balsamo, who called himself Count Cagliostro), it combines reality with fantastic fiction, and turning to works using a fantastic element is very relevant today. At first glance, the complex vicissitudes of life should have determined the preference of fantasy over reality, but in “Count Cagliostro” fantastic fiction enters into a conflicting relationship with the world of re
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Miralles, Joan Jordi. "Fascination and strength: The face in the work of Ciprì and Maresco." Journal of Italian Cinema & Media Studies 12, no. 4 (2024): 523–39. http://dx.doi.org/10.1386/jicms_00282_1.

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This article explores the treatment of the face in the work of Palermo filmmakers Daniele Ciprì and Franco Maresco and proposes several considerations regarding the stark nudity of the face, its rawness and strength, and the relationships that the two filmmakers establish between face and mask. Through an analysis of the cinematic fiction of Maresco and Ciprì – Lo zio di Brooklyn (The Uncle from Brooklyn) (1995), Totò che visse due volte (Totò Who Lived Twice) (1998) and Il ritorno di Cagliostro (The Return of Cagliostro) (2003) – as well as their television work on Cinico TV (1989–96), this a
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4

Lisicka, Małgorzata. "Iluzja, wizje i maskarada w rozrywkach polskich oświeconych na przykładzie komedioopery Stanisława Kostki Potockiego i pamiętnika Anny Potockiej [Małgorzata Lisicka An Illusion, Visions, and a Masquerade in the Entertainments of Polish People of the Enlightenment on the Example of Comic Opera by Stanislaw Kostka Potocki and Anna Potocki's Diary]." Napis XX (2014) (December 31, 2014): 11–28. https://doi.org/10.18318/napis.2014.1.2.

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The article presents the use of illusion and vision in the literature and culture of the Enlightenment on the example of the play <em>Umarły żyjący, czyli Diabeł Włoski</em> [&lsquo;Living Dead or the Italian Devil&rsquo;] by Stanislaw Kostka Potocki, and the first volume of the <em>Diary</em> by Anna Potocka from Tyszkiewicz family. It analyses special effects used in the theatre and described in these texts, as well as their motives present in the character of an astrologer and illuminatus inspired by the person of Alessandro Cagliostro. The phenomena of the masquerade and mystification show
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Gladfelder, Hal. "Seeing Black: Alessandro Manzoni between Fiction and History." MLN 108, no. 1 (1993): 59. http://dx.doi.org/10.2307/2904689.

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6

Vorontsova, Galina N. "“Between Heaven and Earth”: A.N. Tolstoy’s Fiction of 1918–1919." Studia Litterarum 6, no. 2 (2021): 128–43. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-128-143.

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The article is based on the thesis that in the writer’s works it is always possible to trace the existence of periods marked by the emergence of new themes and motives. As a rule, this is due both to external circumstances and the artist’s reaction to them, his internal feeling of the need to change the paradigm of his further development. In the work of A.N. Tolstoy one of such periods was the era of the Russian Revolution of 1917 and, in particular, the first revolutionary years, which are characterized by artistic experiments of the writer, allowing to talk about a definitely new vector of
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Vorontsova, Galina N. "“Between Heaven and Earth”: A.N. Tolstoy’s Fiction of 1918–1919." Studia Litterarum 6, no. 2 (2021): 128–43. http://dx.doi.org/10.22455/2500-4247-2021-6-2-128-143.

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The article is based on the thesis that in the writer’s works it is always possible to trace the existence of periods marked by the emergence of new themes and motives. As a rule, this is due both to external circumstances and the artist’s reaction to them, his internal feeling of the need to change the paradigm of his further development. In the work of A.N. Tolstoy one of such periods was the era of the Russian Revolution of 1917 and, in particular, the first revolutionary years, which are characterized by artistic experiments of the writer, allowing to talk about a definitely new vector of
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8

Codebo, Marco. "Records, Fiction, and Power in Alessandro Manzoni's I promessi sposi and Storia della colonna infame." MLN 121, no. 1 (2006): 187–206. http://dx.doi.org/10.1353/mln.2006.0031.

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9

Ajres, Alessandro. "Reportage polacchi nel Sud Italia oggi: Dariusz Czaja, Jarosław Mikołajewski e Paweł Smoleński." Fabrica Litterarum Polono-Italica, no. 2(6) (April 24, 2023): 1–16. http://dx.doi.org/10.31261/flpi.2023.06.07.

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Over the past few years, the Polish publishing house Czarne, which specializes in reportage and non-fiction literature, has published several books about Italy. The most obvious element that unites them is undoubtedly the area of the country on which these books focus, and which we could (broadly) define as the South of the Peninsula. After years of glances shot only fleetingly by Polish tourists and artists towards “our” South, suddenly it thus becomes a source of profound socio-cultural reflections, as well as a reference point for reading current events. In this article, Alessandro Ajres di
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10

Avrekh, Mikhail. "On the Uses of Russian Statistics: A Response to Alessandro Stanziani’s “European Statistics, Russian Numbers and Social Dynamics, 1861–1914”." Slavic Review 76, no. 1 (2017): 45–51. http://dx.doi.org/10.1017/slr.2017.7.

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The central argument of Alessandro Stanziani’s article “European Statistics, Russian Numbers and Social Dynamics, 1861–1914”—that statistical data is socially constructed, and that the ways in which it is socially constructed should be an object of historical inquiry—helps to answer the question of why an archival researcher with literary inclinations should take note of the mass of statistical material produced throughout the nineteenth century and especially in its final decades. Statistical reports were regularly published in overtly literary publications such as Faddei Bulgarin’s Northern
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Dissertations / Theses on the topic "Cagliostro, Alessandro, in fiction"

1

Pujol, Vincent. "Le comte de Cagliostro, guérisseur et philanthrope du XVIIIème siècle : sa vie, son oeuvre, son séjour à Strasbourg." Université Louis Pasteur (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1987STR1M095.

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Arsac, Marie. "Les prismes de l'illusion dans l'oeuvre d'Alessandro Baricco." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3065.

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Cette thèse se propose d'étudier les aspects de la relation entre littérature, illusion et sens dans le corpus d'Alessandro Baricco, comprenant aussi bien son travail d’essayiste que ses œuvres de fiction. Nous convoquons de la sorte ses recueils de Barnum (1995) à Una certa idea di mondo (2013), des essais comme Next ou I barbari (2002 et 2008) et ses romans de Castelli di rabbia (1991) à La Sposa giovane (2015) – qui peuvent être analysés de différentes manières, stylistiquement, thématiquement, de manière détaillée ou partielle selon les besoins de l’argumentation. Compte tenu de l'ampleur
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Robitaille, Marie-Ève. "Les princesses n'existent pas ; : suivi de Le conflit narratif dans les textes de fiction." Master's thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/18982.

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Books on the topic "Cagliostro, Alessandro, in fiction"

1

Huidobro, Vicente. Cagliostro. Anaya & M. Muchnik, 1993.

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2

Natoli, Luigi. Cagliostro. S. F. Flaccovio, 1993.

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3

McCalman, Iain. The last alchemist: The seven extraordinary lives of Count Cagliostro, eighteenth-century enchanter. HarperCollinsPublishers, 2003.

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McCalman, Iain. The Last Alchemist. HarperCollins, 2007.

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5

Absire, Alain. Alessandro, ou, La guerre des chiens. Flammarion, 1997.

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6

Pseudo-Callisthenes. Il romanzo di Alessandro. G. Einaudi, 1991.

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7

Richard, Stoneman, and Valerius Julius, eds. Il romanzo di Alessandro. Fondazione Lorenzo Valla, 2007.

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8

Séguy, Philippe. Le vent du sud: Mémoires du comte de Cagliostro : roman. Presses de la Renaissance, 1999.

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9

Pseudo-Callisthenes. Vita di Alessandro il Macedone. Sellerio, 2001.

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10

Geda, Fabio. A.A.A.: Il diario fantastico di Alessandro Antonelli, architetto. Espress, 2012.

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Book chapters on the topic "Cagliostro, Alessandro, in fiction"

1

McHugh, Shannon. "The People’s Petrarch : Early Modern Italian Readers and the Gender of Celebrity." In Petrarch and the Making of Gender in Renaissance Italy. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463720274_ch01.

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This chapter explores Petrarch’s gendered portrayal in early modern printings of his lyric, with particular attention to Alessandro Vellutello’s edition of 1525. Vellutello rejected Petrarch’s own ordering, rearranging the poems into a linear, amorous plotline, and adding such paratexts as a “biography” of Laura and a map of the lovers’ environs. Often dismissed by sixteenth-century humanists and modern-day scholars alike, Vellutello’s Petrarch was the most popular of the period, embraced by readers who were enamored of its hybridity between critical edition and fan fiction. Theorizing a gende
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2

Landron, Fabien. "Chapter 15 - Distopie all’italiana: Dystopian Depiction of the Souths of Italy through the Screens (Anna by N. Ammaniti and Mondocane by A. Celli, 2021)." In Reframing Souths. Milano University Press, 2025. https://doi.org/10.54103/milanoup.213.c418.

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This chapter looks at how contemporary Italian audiovisual productions, such as Niccolò Ammaniti’s mini-series Anna and Alessandro Celli’s film Mondocane, reinvent a dystopia “all’italiana”, based on different models and current con- cerns. These works depict bleak futures through post-apocalyptic tales set in southern Italy: Anna takes place in Sicily, where a deadly virus has wiped out the adults, leaving the children to survive on their own; Mondocane is set in Taranto, a polluted and abandoned city where orphaned children struggle to survive. Both works use the dystopian setting to critici
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