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Relevant bibliographies by topics / Italian fiction Historical fiction, Italian

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Academic literature on the topic 'Italian fiction Historical fiction, Italian'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Italian fiction Historical fiction, Italian"

1

Past, Elena. "Politics and Society in Italian Crime Fiction: An Historical Overview." Italian Culture 34, no. 2 (July 2, 2016): 117–19. http://dx.doi.org/10.1080/01614622.2016.1158573.

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Pallotta, Augustus, and Cristina della Coletta. "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Italica 75, no. 1 (1998): 133. http://dx.doi.org/10.2307/479596.

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Coletta (book author), Cristina Della, and John Mastrogianakos (review author). "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Quaderni d'italianistica 19, no. 1 (April 1, 1998): 155–59. http://dx.doi.org/10.33137/q.i..v19i1.9624.

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Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.

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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.

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Eckert, Elgin K. "Barbara Pezzotti, Politics and Society in Italian Crime Fiction: An Historical Overview." Forum Italicum: A Journal of Italian Studies 50, no. 3 (November 2016): 1249–51. http://dx.doi.org/10.1177/0014585816678800.

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Fernández Rodríguez, Carmen María. "Maria Edgeworth for Italian Readers: An Analysis of Bianca Milesi’s Benedetto (1839)." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 41. http://dx.doi.org/10.14198/raei.2014.27.03.

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Maria Edgeworth (1768-1849) was one of the most prominent British writers at the turn of the nineteenth century. In addition to pedagogical essays and feminocentric fiction, this Anglo-Irish authoress produced some tales for children which were quickly translated into a number of European languages. This paper is part of a larger project which considers the reception of Edgeworth’s oeuvre on the Continent, and analyzes the Italian version of one of her last fictions for children, Frank (1822). Bianca Milesi’s rendering of the text into Italian will be studied within the framework of translemic studies. For this purpose, we will contextualize Edgeworth’s educational work and make reference to the impact of Milesi’s books in literary magazines and her relationship with Edgeworth. Though the readers of the source and target texts remain the same, Benedetto is conditioned by Milesi’s personality and historical circumstances. As a result, there is a balance between fidelity to Edgeworth’s Frank regarding the main plot and characterization, and the will to adapt the story to a new context through a number of suppressions which affect the macro and microstructure of the text. There are also some additions, these intended to bring Frank closer to young Italian readers. This article suggests that, rather than a translation, the changes in the target text point to an adaptation of Edgeworth’s narrative.

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Carravetta, Peter. "Book Review: Plotting the Past: Metamorphosis of the Historical Novel in Modern Italian Fiction." MFS Modern Fiction Studies 43, no. 4 (1997): 1045–47. http://dx.doi.org/10.1353/mfs.1997.0075.

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Willman, Kate. "Unidentified narrative objects: Approaching instant history through experiments with literary journalism in Beppe Sebaste’s H. P. Lady Diana’s Last Driver and Frédéric Beigbeder’s Windows on the World." Journalism 21, no. 7 (August 19, 2017): 1007–22. http://dx.doi.org/10.1177/1464884917722722.

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The subjects of the two texts analysed in this article are two highly significant recent historical events: the death of Lady Diana in a car crash after being chased by paparazzi on 31 August 1997 and the attacks on the World Trade Center in New York City on 11 September 2001, which are addressed by the Italian writer Beppe Sebaste and the French writer Frédéric Beigbeder, respectively. An analysis of each text shows that they not only examine the events in question through reportage, but they are also strongly personal and subjective. Both texts also put forward literary writers to help ‘read’ extensively mediated events, provoking reflection on how news travels and is mediated in increasingly immediate ways in today’s world, while also harking back to New Journalism. They could be called ‘unidentified narrative objects’, a label I borrow from the Italian writer Roberto Bui, alias Wu Ming 1, who has applied it to a corpus of recent Italian texts (including that of Sebaste), that combine modes of writing – such as journalism, history, detective fiction and life-writing – often blurring the boundaries between fiction and nonfiction, in order to more effectively draw their readers’ attention to the national and global issues they address. Here, I extend the term unidentified narrative objects beyond Italy’s borders to the work of Beigbeder and others, suggesting that such hybridity is connected to how we process the world around us today and a new iteration of literary journalism.

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Maher, Brigid, and Barbara Pezzotti. "Introduction: Hybridity in Giallo: The Fruitful Marriage between Italian Crime Fiction and Theatre, Literary Geographies, and Historical and Literary Fiction." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 9–16. http://dx.doi.org/10.33137/q.i..v37i1.28275.

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Francese, Joseph. "Leonardo Sciascia's L'affaire Moro: Re-writing fact, which can be stranger than fiction." Modern Italy 17, no. 3 (August 2012): 383–98. http://dx.doi.org/10.1080/13532944.2012.659449.

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The author contends that Leonardo Sciascia's L'affaire Moro is not a work of non-fiction, as Sciascia proposed, but of historical fiction, and that Sciascia's Moro is a literary character, more a spokesperson for Sciascia's political views than a reflection of the historical figure. Sciascia's Moro embodies the same qualities as many of Sciascia's other protagonists, such as a radical individualism and willingness to sacrifice all in order to protect their dignity and liberty. What emanates from the text is a ‘postmodern’ blend that interprets and imposes a narrative hierarchy on events, and conveys a mental reality that need not necessarily coincide with what can be proven with evidence. In fact, Sciascia combines factual information and his own ‘conjectural knowledge’ to convince his reader of the ‘moral truth’ of his argument. Sciascia's is indeed a strong narrative in that it succeeded in shaping how the Italian public views to this day a critical juncture in its recent history.

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Dissertations / Theses on the topic "Italian fiction Historical fiction, Italian"

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Green, Dawn. "Imagining the past [electronic resource] : contemporary Italian women's historical fiction /." Full text available, 2001. http://images.lib.monash.edu.au/ts/theses/greend.pdf.

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Canton, Licia. "The question of identity in Italian-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ43473.pdf.

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Morris, Penelope. "Giovanna Zangrandi : a life in fiction." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94e6a200-531e-431b-9726-487c981383d0.

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This thesis constitutes the first detailed study of the life and works (published and unpublished) of the writer Giovanna Zangrandi (1910-1988). It is a study of the relationship between autobiography, fiction and history in her writing, in the light of recent developments in the criticism of autobiography and of feminist historiography and literary criticism. It aims to place Zangrandi's work in its historical and literary context and pays particular attention to the periods of fascism, the Resistance and neorealism. The thesis considers the nature of autobiography, and the implications of women writing about themselves, and analyses Zangrandi's use of autobiography, highlighting the inevitable intrusion of fiction into such writing. It uses that analysis, along with material including Zangrandi's unpublished diaries and testimonies of people who knew her, to write a biography of Zangrandi and to examine the way that she writes about the fascist period and the Resistance. The question of representing real life in fiction, rather than autobiography, is also discussed, with reference to Zangrandi's first novel and to neorealism. It is shown that, as well as her constant interest in the lives of women, her attitude to history and traditions of the Cadore, the mountainous region in the north of the Veneto, where she lived all her adult life and where nearly all her novels, short stories and autobiography are set, is of considerable importance. Her writing about the Cadore can be seen both as an attempt to write herself into those traditions, and as a means of expressing her commitment to improving society. Moreover, it is argued, her commitment takes the form of both autobiography and fiction as her concern to write about lived experience is balanced by a constant interest in the story-telling tradition of the Cadore and an interpretation of fiction that judges it to be an integral part of everyday life.

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Rinaldi, Lucia. "Postmodernity, identity and representation in contemporary Italian crime fiction." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442052.

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Litherland, Kate. "Pulp : youth language, popular culture and literature in 1990s Italian fiction." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/31136.

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In this thesis I analyse a selection of Italian pulp fiction from the 1990s. My approach combines sociolinguistics and literary criticism, and uses textual analysis to show how this writing fuses influences from contemporary youth cultures and languages, and Italian literary tradition. The key themes of my analysis are pulp's multifaceted relationships with Anglophone culture, in particular punk music, its links to previous generations of Italian authors and intellectuals, and its engagement with contemporary Italian social issues. In Chapter 1, I review the existing literature on 1990s Italian pulp. Following on from this, I outline how a primarily linguistic approach allows me to consider a selection of authors, such as Rossana Campo, Silvia Ballestra, Aldo Nove, Enrico Brizzi and Isabella Santacroce, from a unifying perspective, and how this approach offers a means of considering the varied but contemporary perspectives on Italian culture, society, politics and literature offered by this group of writers. In Chapter 2, I show how pulp authors construct their linguistic style on the basis of spoken youth language varieties, and consider their motivations for doing so. Chapter 3 traces the literary precedents for this use of language, using comparative textual analysis to examine the nature of the relationships between pulp and American literature, and late twentieth century Italian fiction by Arbasino, Tondelli and Pasolini, in order to question some of the myths surrounding the literary sources of pulp. Chapter 4 deals with the relationship between pulp and popular culture, contrasting the notion of popular culture presented in this fiction to that proposed by earlier generations of Italian intellectuals, and discussing the theoretical perspectives that this reveals. Finally, I debate the extent to which pulps often disturbing and controversial subject matter reflects an attempt to deal with ethical issues, and consider pulp's success in achieving these aims.

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Ventrucci, Virginia. "Translating and Analyzing Contemporary Italian Dystopian Fiction: Leonardo Patrignani's "Tu Non Esisti"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.

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As the English-speaking book market is difficult to penetrate for authors who are not native speakers of English, it is important to analyze how writers of different languages can produce notable works. This dissertation sets to translate, analyze, and assess the literary value of "Tu Non Esisti", a short story written by Italian author Leonardo Patrignani, as an example of contemporary Italian dystopian fiction that could be successful abroad.

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Hipkins, Danielle E. "Unmanned territories : contemporary Italian women writers and the intertextual space of fantastic fiction." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/50761/.

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Thethesis examines how somewomen writers of fiction relate to the question of literary tradition in the 1980sand 1990s. Contemporary literary practice appears to be dominated by postmodern anxiety about a state of 'late arrival' as writers. I wish to explore how womenwriters' experience of the weight of literary predecessors is affected by their different subject position. I chooseto site this study within the area of fantastic fiction for several reasons. The fantastic tradition in Italy was largely overlooked by the critics until the 1980s- a factor which has exacerbated the neglect ofwomen's contribution to it. More importantly the fantastic is now vaunted by contemporary criticism as an area conducive to transgressive challenges to traditional literary practice, particularly for women writers. At the same time, however, the traditional tropes ofthe predominantly male-authored canon of fantastic literature offer a problematic and challenging range of gender stereotypes for female authors to 'rewrite'. I choose to focus on the notion of space both literally and metaphorically in the development ofthis thesis. In the opening chapter I tease out the threads which connect space, Italianwomenwriters and the fantastic. I beginby showing that the fantastic itselfis often construed spatially as a genre and offers potential for spatial innovation. This suggests a subtler way of looking at womenwriters' use of literary models, which avoids falling into simplistic analyses of gender portrayal. I then outline the position of womenwriters in Italy in relation to the genre ofthe fantastic. I suggest that the missing sense of a womenwriters' tradition in this genre maybe one reason whythe fantastic is used to explore self-consciously the relation betweenthe female writer and the male authored text. Finally I showhow the fantastic offerswomen a space in which to re-write, namely through their manipulation ofthe literal and metaphorical spaces ofthe text. The following two chapters execute this study with close reference to texts by four authors. The second chapter is dedicated to the early fiction ofPaola Capriolo whoseexperience ofliterary tradition as a particularly claustrophobic space inspired this thesis. I agree with the widely held viewthat her use of a Gothic-oriented fantastic, which privileges a world of enclosure in labyrinthine interiors, reflects a typically postmodern anxiety about the end ofliterature. I argue howeverthat the anxiety ofthe writer's relation to literature is more closely linked to her identification with a predominantly male literary tradition. This gives her writingsome interesting links with muchearlier examples ofwomen's writing. It also provides an interesting springboard from whichto look at the treatmentof similar themes of enclosure in work by other women writers. The final chapter follows the emergence of new models ofthe fantastic in the work ofthe writers FrancescaDuranti, RossanaOmbres and Laura Mancinelli. I suggestthat in their work we see a contemporary use ofthe fantastic 'al femminile' which juxtaposes the external space with the internal space, giving rise to the recurrent motifoftravel. I argue that this use of the fantastic genre pushes the genre in a new direction, towards a space in which the internal fantasy and dialogue co-exist.

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Burns, Jennifer. "The fragments of 'impegno' : interpretations of commitment in contemporary Italian narrative, 1980-1995." Thesis, University of Oxford, 1998. https://ora.ox.ac.uk/objects/uuid:ab889ceb-e210-45e2-bd2a-c17248ce2a13.

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This thesis explores the representation of political and social issues in the work of a selection of contemporary Italian authors, aiming to assess what has become of the notion of political commitment ('impegno'), as debated by intellectuals in the sharply-defined political climate following World War II, and whether the institutional seizure then crisis of the 1980s and 1990s has encouraged a comparable literary response. In part one, I examine the critical works of Vittorini and Calvino, two authors central to the early discussion about the social role of literature, revealing the tensions between their conceptions of the relationship between writers and society, which, despite their close collaboration, are identifiable in their writings of the 1950s and 1960s. I then trace these different veins of thinking - which I have termed 'fault lines' in the solid mass of 'impegno' - into the works of Celati and Palandri, who express the socio-political consciousness of youth in the 1960s and 1970s. In the six chapters of the main body of my thesis, I consider the further breakdown, in the recent climate of political diffidence, of the traditional sense of commitment to a specific cause, into a fragmentary exposure of a variety of 'minority' issues in the work of individual authors or groups of the 1980s and early 1990s, broadly classifiable under the 'giovani narratori' label. This allows me to consider well-known contemporary authors, such as Tabucchi, De Carlo and Tondelli, from a specific perspective, alongside Ballestra, a young and little studied writer. My last two chapters discuss a selection of established women writers and barely-known African immigrant writers, assessing the impact of specific interest-groups on the 'impegno' question. I conclude by considering the specificity of these 'fragments' to Italian culture, within the general context of the postmodern lapse of faith in ideologies.

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Magliocco, Amos. "Blackland Prairie." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3084/.

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Blackland Prairie contains a scholarly preface, “Cross Timbers,” that discusses the emerging role of place as a narrative agent in contemporary fiction. The preface is followed by six original short stories. “Parts” depicts the growth of a boy's power over his family. “A Movie House to Make Us All Rich” involves the sacrifice of familial values by the son of Italian immigrants in the early 20th century. “The Place on Chenango Street” is about a man who views his world in monetary terms. “The Nine Ideas For A Happier Whole” explores the self-help industry and personal guru age. “All The Stupid Things I Said” is about a long-separated couple meeting for very different reasons. “Flooded Timber” concerns a couple who discover hidden reasons for their relationship's longevity.

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Binetti, Vincenzo Antonio. "Mito e letteratura : il romanzo sociale e lo scrittore borghese nella prima metà dell'Ottocento italiano." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29186.

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L'obiettivo che qui ci si propone, è quello di cercare di delineare le caratteristiche essenziali di un genere letterario nuovo, il romanzo sociale, attraverso l'analisi particolareggiata di alcuni scrittori 'impegnati' della prima metà dell'Ottocento. II presente lavoro esaminerà, quindi, l'evolversi complesso e, a volte, contraddittorio, di questo prodotto letterario che, nonostante i suoi limiti artistici, si inserì - sulle orme del romanzo storico - nella vicenda culturale del momento, ne assorbì comuni caratteristiche sociali, didascaliche e ideologiche, fino a diventarne un fatto a sè, identificabile e isolabile di notevole interesse. In un clima storico-politico così particolare, quale quello dell'Italia romantica pre-unitaria, la vicenda culturale e letteraria del romanzo sociale rappresentò, infatti, per gli scrittori borghesi del periodo, il mezzo espressivo ideale, attraverso cui poter manifestare le proprie opinioni politiche ed artistiche nei confronti di un pubblico nuovo, di volta in volta da 'educare' o da controllare, da 'guidare' o da reprimere. All1internò della polemica romantica si cercherà di definire, appunto, questo rapporto complesso e difficile tra scrittore e destinatario del prodotto artistico, attraverso l'analisi di espressioni diverse dello stesso filone di questa letteratura 'impegnata': il romanzo sociale di G. Carcano e A. Ranieri, il romanzo rusticale di C. Percoto e C. Ravizza, il romanzo filantropico di G. Longoni e F. Dall'Ongaro. Nella parte conclusiva di questo saggio si tenterà di collocare il romanzo 'impegnato' all'interno di un preciso contesto socio-politico-culturale e letterario, per cercare di determinare, infine, le prospettive di sviluppo di questo genere e le sue eventuali responsabilità nella formazione delle basi essenziali di quelle che sarebbero state, poi, le successive istanze veriste.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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Books on the topic "Italian fiction Historical fiction, Italian"

1

Stendhal. Three Italian chronicles. New York: New Directions Pub. Corp., 1991.

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Coletta, Cristina Della. Plotting the past: Metamorphoses of historical narrative in modern Italian fiction. West Lafayette, Ind: Purdue University Press, 1996.

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Contesting the monument: The anti-illusionist Italian historical novel. Leeds, England: Northern Universities Press, 2005.

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Socially symbolic acts: The historicizing fictions of Umberto Eco, Vincenzo Consolo, and Antonio Tabucchi. Madison, N.J: Fairleigh Dickinson University Press, 2006.

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The scarlet contessa: A novel of the Italian Renaissance. New York: St. Martin's Press, 2010.

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Federicis, Lidia De. Letteratura e storia. Roma: Laterza, 1998.

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Lingua e racconto nel romanzo storico italiano: 1827-1838. Padova: Esedra, 2002.

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L' ordine delle parole nei romanzi storici italiani dell'Ottocento. Milano: LED, 2006.

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Roero, Diodata Saluzzo. Novelle. Firenze: L.S. Olschki, 1989.

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Belli e l'Ottocento europeo: Romanzo storico e racconto fantastico nello Zibaldone. Roma: Bulzoni, 2001.

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Book chapters on the topic "Italian fiction Historical fiction, Italian"

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Brioni, Simone, and Daniele Comberiati. "Introduction." In Italian Science Fiction, 1–29. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_1.

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Brioni, Simone, and Daniele Comberiati. "Afterword: A Genre Across Cultures." In Italian Science Fiction, 233–44. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_10.

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Brioni, Simone, and Daniele Comberiati. "Explorations and the Creation of a National Identity." In Italian Science Fiction, 31–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_2.

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Brioni, Simone, and Daniele Comberiati. "Futurism and Science Fiction." In Italian Science Fiction, 65–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_3.

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Brioni, Simone, and Daniele Comberiati. "After the Apocalypse: Repression and Resistance." In Italian Science Fiction, 83–108. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_4.

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Brioni, Simone, and Daniele Comberiati. "The Internal Other: Representing Roma." In Italian Science Fiction, 109–36. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_5.

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Brioni, Simone, and Daniele Comberiati. "Aliens in a Country of Immigration: Intersectional Perspectives." In Italian Science Fiction, 137–62. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_6.

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Brioni, Simone, and Daniele Comberiati. "Dystopic Worlds and the Fear of Multiculturalism." In Italian Science Fiction, 163–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_7.

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Brioni, Simone, and Daniele Comberiati. "The Questione Settentrionale: Reconfiguring Separatism." In Italian Science Fiction, 183–204. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_8.

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Brioni, Simone, and Daniele Comberiati. "Future Pasts: Revisiting the Colonial Legacy in Alternate History Novels." In Italian Science Fiction, 205–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_9.

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