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Books on the topic 'Comedy verite'
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1
Writing down Rome: Satire, comedy, and other offences in Latin poetry. Oxford: Clarendon Press, 1999.
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2
Buckley, Lord. Hiparama of the classics / Lord Richard Buckley ; foreword by Al Young ; introduction by Joseph Jablonski. San Francisco: City Lights Publishers, 2015.
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3
Aristophanes, Doe Miriam, and Cameron Keith, eds. La Néphélococugie, ou, La Nuée des cocus: Première adaptation des Oiseaux d'Aristophane en français. Geneve: Droz, 2004.
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4
Zuccala, Brian. A Self-Reflexive Verista Metareference and Autofiction in Luigi Capuana’s Narrative. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-398-4.
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With a Preface by Edwige Comoy Fusaro, this volume is one of few monographs on Italian post-Risorgimento author Luigi Capuana, and the first one written in English in more than forty years. Narratology and critical theory are combined with more ‘traditional’, historical-philological criticism to offer a radical rereading of the author’s narrative. Central to this study is the seemingly counter-intuitive notion of artistic self-reflexivity, which represents an innovative take on an author like Capuana, who has long been ‘canonised’ as a verista.
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Dolfi, Anna, ed. Gli intellettuali/scrittori ebrei e il dovere della testimonianza. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-562-3.
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«Un’umanità che dimenticasse Buchenwald, Auschwitz, Mauthausen, io non posso accettarla. Scrivo perché ci se ne ricordi»: così Giorgio Bassani a chi gli chiedeva notizie sull’origine della sua scrittura. Guidata da queste parole Anna Dolfi ha costruito un tessuto di suggestioni che hanno spinto studiosi italiani e stranieri e persino alcuni protagonisti a riflettere su narratori, poeti, saggisti, storici, filosofi, editori, artisti, che dalla storia di una difficile appartenenza sono stati indotti a una sorta di fatale, testimoniale dovere morale. Ne è nato un libro di grande novità per taglio e proposte di lettura che, partendo dalla tradizione ebraica antica, da leggende rivissute in chiave politica e libertaria, dopo il Romanticismo e l’Ottocento tedesco porta in primo piano le moderne voci della letteratura/cultura europea e nord americana, della tradizione yiddish e orientale. A ricorrere sono i nomi della grande intellettualità ebraica della Mitteleuropa, di Canetti, Schulz, Döblin, Antelme, Wiesel, Sebald, Oz, Grossman, Nelly Sachs, Irène Némirovsky…, tra gli italiani quelli di Loria, Natalia Ginzburg, Giacomo Debenedetti, Cesare Segre…, soprattutto di Giorgio Bassani e di Primo Levi che, per serbare memoria della tragedia della persecuzione e della Shoah, hanno scelto di collocare la loro intera opera entre la vie et la mort. Inducendo a ricordare come il dovere di testimoniare si leghi all’affetto e al lavoro del lutto, all’effetto duraturo di una ferita immedicabile che ha nutrito la connessione tra la verità dell’accaduto e quello che si potrebbe chiamare il vero della creazione, le vrai du roman.
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Surico, Giuseppe, ed. 1913-2013. Florence: Firenze University Press, 2014. http://dx.doi.org/10.36253/978-88-6655-492-9.
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Cento anni e il cammino continua. Questa opera realizzata da un gruppo di professori della (ex)Facoltà di Agraria di Firenze ha l’unico intento di raccontare, attraverso pochi e significativi argomenti, i primi cento anni (1913-2013) di una istituzione che con i suoi ricercatori, tecnici e amministrativi, ha contribuito, come un solo corpo, all’avanzamento delle conoscenze nelle Scienze Agrarie e, in ambito territoriale, al successo del comparto agroalimentare toscano. Ma i veri protagonisti di questa opera non sono solo i Maestri della Scuola Agraria e Forestale fiorentina bensì le migliaia di studenti che in cento anni hanno frequentato, prima l’Istituto Nazionale Forestale e poi la Facoltà e che hanno portato in Italia e nel mondo i frutti degli insegnamenti ricevuti a Firenze.
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Davidson, Jenny. Restoration Theatre and the Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0026.
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This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.
9
Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.
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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.
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Les Satires D'Horace Et La Comedie Greco-Latine: Une Poetique De L'ambiguite (Bibliotheque D'etudes Classiques). Peeters, 2006.
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11
Gunkel, David J. Can machines have rights? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199674923.003.0063.
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One of the enduring concerns of ethics is determining who is deserving of moral consideration. Although initially limited to “other men,” ethics has developed in such a way that it challenges its own restrictions and comes to encompass what had been previously excluded entities. Currently, we stand on the verge of another fundamental challenge to moral thinking. This challenge comes from the autonomous and increasingly intelligent machines of our own making, and it puts in question many deep-seated assumptions about who or what can be a moral subject. This chapter examines whether machines can have rights. Because a response to this query primarily depends on how one characterizes “moral status,” it is organized around two established moral principles, considers how these principles apply to artificial intelligence and robots, and concludes by providing suggestions for further study.
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Scafoglio, Giampiero. ‘Only a Poet Can Translate True Poetry’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0021.
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This chapter’s exploration of Giacomo Leopardi’s translation of the Aeneid tackles one of the most debated dilemmas in translation practice: whether or not one has to be a poet in order to translate poetry. Having undertaken the daunting task of translating the Aeneid, Leopardi shows himself to be a good philologist and, at the same time, also comes into his own poetic vocation as his translation progresses. The result of his translation is an impressive achievement, Scafoglio argues, a work that combines literary faithfulness to the original with the rendering of the expressive musicality and elusive fascination of Virgilian verse in Italian.
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Pardes, Ilana. Toni Morrison’s Shulamites. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722618.003.0008.
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This chapter focuses on Toni Morrison’s renditions of new Shulamites in Song of Solomon (1977) and Beloved (1987). The female characters of both novels highlight the power and bold eroticism of the Shulamite’s voice, calling for a different perception of gender relations and feminine sexuality. While offering new representations of femininity, Morrison is no less eager to fashion a new grand Song as a base for a redefinition of the African-American community. In Song of Solomon, the ancient biblical love poem merges with African folk songs and legends and in Beloved, the ghostly Beloved is both a tormented and tormenting Shulamite as well as the spirit of the many slaves whose sufferings she embodies. Special attention is given to Morrison’s response to African-American commentaries on the verse ‘I am black, but comely’ and to points of affinity between her exegesis and feminist biblical criticism in the 1970s and 1980s.
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Newcomb, Lori Humphrey. Cross-Sections (2). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0004.
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This chapter looks at Elizabethan prose fiction. Once combed mainly for formal features that might presage the novel, Elizabethan prose fiction is today appreciated for its own distinctive energy and heterogeneity. However, prose fiction in the sixteenth century still was largely an experimental genre. For writers willing to move beyond set forms, prose narrative offered new freedoms to enhance the status of English letters while drawing freely on Continental sources, to develop prose style while incorporating verse elements, to claim usefulness while indulging writerly and readerly pleasure, and to vaunt exclusivity while driving the expansion of the leisure-reading audience. Above all, fiction was the genre in which writers could best experiment with ways to reconcile literary ambition and unapologetic commercialism.
15
Brinkmann, Svend. British Philosophies of Qualitative Research. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190247249.003.0003.
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In this chapter, the British traditions of positivism and realism, which have been important for different strands of qualitative research, are discussed. Positivism is often misunderstood by qualitative researchers and presented as a form of realism, but it is actually an anti-realism that reduces knowledge claims to what we may positively verify in experience. Causality consequently becomes constant conjunction in experience. In contrast to this, realist positions argue that science should go beyond immediate experience to study working mechanisms that generate the phenomena that we in fact experience. Philosophers today disagree about the existence of such mechanisms when it comes to human psychological and social life. Some constructionists argue that there are no causally effective mechanisms in our social life, whereas others, especially critical realists, argue that social science should be all about identifying such mechanisms.
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Bardi, Luciano, Enrico Calossi, and Eugenio Pizzimenti. Which Face Comes First? The Ascendancy of the Party in Public Office. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198758631.003.0003.
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Recently, students of European parties have come to agree that organizational power has been concentrating in the party in public office (PPO), whose particular interests and objectives shape those of the party at large. This process of growing autonomy of the PPO—hypothesized by Katz and Mair—goes hand in hand with that of party penetration of the state and with a corresponding decline of party presence within civil society. This chapter aims to verify, empirically, if the PPO is indeed moving in the direction of becoming the strongest party organizational ‘face’. It also investigates whether the degree of ascendancy of the PPO varies 1) across parties and 2) across countries. To this end, it analyses persistence and change in party organizations across ten European countries, from the 1970s to 2010, using data from the Political Party Database Project (PPDB) and comparable data from the Party Organizations Data Handbook.
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Rhodes, Neil. Of Reformed Versifying. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198704102.003.0005.
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This chapter examines how the development of English poetry in the second half of the sixteenth century is characterized by the search for an appropriate style. In this context, ‘reformed versifying’ may be understood as a reconciliation of high and low in which the common is reconfigured as a stylistic ideal of the mean. That development can be traced in debates about prosody where an alternative sense of ‘reformed versifying’ as adapting classical metres to English verse is rejected in favour of native form. At the same time Sidney recuperates poetry by reforming it as an agent of virtue. Reformation and Renaissance finally come together in Spenser, who realizes Erasmus’ aim of harmonizing the values of classical literature with Christian doctrine, and reconciles the foreign and the ‘homewrought’. The Faerie Queene of 1590 represents the triumph of the mean in both style and, through its celebration of marriage, in substance.
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Kibbe, Jennifer D. Covert Action. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190846626.013.135.
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Covert action presents a potential policy for decision makers who want something quicker or more muscular than diplomacy but less expensive and obtrusive than military force. In contrast with intelligence, which entails collecting and analyzing information, covert action is an active instrument of foreign policy. The three main categories of covert action include propaganda, political action, and paramilitary action. Another separate category is economic action, which involves destabilizing the target state’s economy in some way. Because of the inherent secrecy of covert action, outside scholars have no way of knowing how much they do or do not know about the topic at hand and it also makes it hard to verify the information, since the information comes from a variety of sources. Covert action literature is particularly strong in case studies of particular operations. There is also a well-developed subsection within the field that focuses on covert action since the end of the Cold War, the role that the Office of Strategic Services (OSS) played during World War II, and covert actions undertaken by other states. However, there are several issues in the covert action literature. These issues include the assessment of the success or failure of particular operations and of the policy instrument as a whole, the tangible and intangible costs incurred by covert action, the ethical questions raised by conducting covert actions as well as the particular methods used and its impact on democracy, the oversight of covert action, and the evolution of US law covering covert action.
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Igarashi, Yohei. The Connected Condition. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503610040.001.0001.
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How can Romantic poetry, motivated by the poet’s intense yearning to impart his thoughts and feelings, be so often difficult and the cause of readerly misunderstanding? How did it come to be that a poet can compose a verbal artwork, carefully and lovingly put together, and send it out into the world at the same time that he is adopting a stance against communication? This book addresses these questions by showing that the period’s writers were responding to the beginnings of our networked world of rampant mediated communication. The Connected Condition reveals that major Romantic poets shared a great attraction and skepticism toward the dream of perfectible, efficient connectivity that has driven the modern culture of communication. Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and John Keats all experimented with their artistic medium of poetry to pursue such ideals of speedy, transparent communication at the same time that they tried out contrarian literary strategies: writing excessively ornate verse, prolonging literary reading with tedious writing, being obscure, and questioning the allure of quickly delivered information. This book shows that the Romantic poets have much to teach us about living in—and living with—the connected condition, as well as the fortunes of literature in it.
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Archer, Harriet. Unperfect Histories. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806172.001.0001.
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The Mirror for Magistrates, the collection of de casibus complaint poems in the voices of medieval rulers and rebels compiled by William Baldwin in the 1550s, was central to the development of imaginative literature in the sixteenth and early seventeenth centuries. Additions by John Higgins, Thomas Blenerhasset, and Richard Niccols between 1574 and 1610 extended the Mirror’s scope, shifted its focus, and prolonged its popularity; in particular, the texts’ later manifestations profoundly influenced the work of Spenser and Shakespeare. Unperfect Histories is the first monograph to consider the text’s early modern transmission history as a whole. In chapters on Baldwin, Higgins, Blenerhasset, and Niccols’s complaint collections, it demonstrates that the Mirror is an invaluable witness to how verse history was conceptualized, written, and read across the period, and explores the ways in which it was repeatedly reinterpreted and redeployed in response to changing contemporary concerns. The Mirror corpus encompasses topical allegory, nationalist polemic, and historiographical scepticism, as well as the macabre humour and metatextual play which have come to be known as hallmarks of Baldwin’s mid-Tudor writings. What has not been recognized is the complex interaction of these themes and techniques right across the Mirror’s history. Higgins, Blenerhasset, and Niccols’s contributions are analysed for the first time here, both within their own literary and historiographical contexts, and in dialogue with Baldwin’s early editions. This new reading offers a lively account of the texts’ depth and variety, and provides insight into the extent of the Mirror’s influence and ubiquity in early modern literary culture.