Journal articles: 'Italian fiction Historical fiction, Italian'

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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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Lajta-Novak, Julia. "Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies." European Journal of Life Writing 1 (December 5, 2012): 41–58. http://dx.doi.org/10.5463/ejlw.1.25.

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German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations raised by so-called ‘factual’ biographies (e.g. that authors should strive for ‘objectivity’ or ‘truthfulness’). The relationship between fact and fiction can thus be re-negotiated, following the author’s ideological inclinations and their imaginative closure of historiographical gaps. Beginning with some general remarks on fictionalised biographies of ‘exemplary women’, this paper then examines Janice Galloway’s Clara (2002) and Susan Vreeland’s The Passion of Artemisia (2002), focusing on the complex father-daughter relationships that Clara Wieck Schumann and Artemisia Gentileschi undoubtedly experienced, and which offered the authors ample ground for a critique of historical gender relations and hierarchies. The analyses will concentrate on the heroines’ journeys in Europe. The paper examines the ways in which the two fictional rewritings of historical women artists’ lives foreground gender aspects and make use of the narrative privileges of fictionalised biography to project contemporary feminist ideas onto historical characters and events, and explores the function of the featured European locales with regard to the protagonists’ personal development in the novels.The heroines’ ventures into foreign lands are revealed to function as an impulse towards a changing perception of their fathers as well as themselves.

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Fernández García, Blanca. "“Carlo Ginzburg, microhistoria y escala. El caso del vinatero calvinista / Carlo Ginzburg, Microhistory and Scale: the Case of the Calvinist Vintner." Historiografías, no. 8 (December 28, 2017): 108. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201482419.

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Over the past forty years historiography has been affected by typically postmodern epistemological crises, which have questioned two of its basic principles: the universality and the possibility to reach the truth in its narratives. In this article, we shall reflect on the Italian historian Carlo Ginzburg’s answer to this crossroads. His works, from the first steps of microhistory to the most recent debates on literary fiction, combine a methodology, which may be considered in principle as postmodern, with rigorous historical investigations. We analyze how this methodology contributes however to the revaluation of the modern historiographical principles prior to postmodernityKey WordsCarlo Ginzburg, Eric J. Hobsbawm, postmodernity, historiography, story, fiction, proof.ResumenEn los últimos cuarenta años, la historiografía se ha visto afectada por crisis epistemológicas típicamente posmodernas que han cuestionado dos de sus principios básicos: la universalidad y la posibilidad de alcanzar la verdad en sus relatos. En este artículo se reflexiona sobre la respuesta del historiador italiano Carlo Ginzburg ante esta encrucijada. Sus trabajos, desde los primeros pasos de la microhistoria hasta los debates más recientes en torno a la ficción literaria, combinan una metodología que, en principio, se puede juzgar posmoderna con rigurosas investigaciones históricas. Se analiza en qué modo esta metodología contribuye, sin embargo, a revalorizar los principios de la historiografía moderna previos a la posmodernidad.Palabras claveCarlo Ginzburg, Eric J. Hobsbawm, posmodernidad, historiografía, relato, ficción, prueba

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Thomas, Keith. "Historians and Storytellers." Common Knowledge 25, no. 1-3 (April 1, 2019): 163–64. http://dx.doi.org/10.1215/0961754x-7299222.

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This guest column comprises both a review of the English translation of Carlo Ginzburg’s book Threads and Traces: True False Fictive (2012) and some general comments on the merits and demerits of microhistory as a genre poised between historical writing and fiction. The column is published in the context of two others regarding this latter topic — one by Natalie Zemon Davis, the author of the microhistorical classic The Return of Martin Guerre, and one by Colin Rich-mond. Davis’s column is a response to Keith Thomas’s having drawn approving attention to the following remark of J. H. Elliott’s: “Something is amiss when the name of Martin Guerre threatens to become better known than that of Martin Luther.” In the present piece, Thomas writes of Ginzburg, a founder of Italian microhistory, that he is more a “European intellectual” than a “mere historian,” the difference being that the former is less interested in history per se than in fields such as anthropology, philosophy, and literary theory. Thomas’s column expresses doubt about the intellectual restlessness of historians like Ginzburg and about the preparation of microhistorians to write constantly on topics new to them, but it claims as well that Ginzburg’s “combination of erudition and piercing intelligence is irresistible.”

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Simpson, Tim. "Scintillant Cities: Glass Architecture, Finance Capital, and the Fictions of Macau’s Enclave Urbanism." Theory, Culture & Society 30, no. 7-8 (October 10, 2013): 343–71. http://dx.doi.org/10.1177/0263276413504970.

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This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction.

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Nord, Christiane. "Proper Names in Translations for Children." Meta 48, no. 1-2 (September 24, 2003): 182–96. http://dx.doi.org/10.7202/006966ar.

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Abstract Drawing on a corpus of eight translations of Lewis Carroll’s Alice in Wonderland into five languages (German, French, Spanish, Brazilian Portuguese, Italian), the paper discusses the forms and functions of proper names in children’s books and some aspects of their translation. In Alice in Wonderland, we find three basic types of proper names: names explicitly referring to the real world of author and original addressees (e.g., Alice, her cat Dinah, historical figures like William the Conqueror), names implicitly referring to the real world of author and original addressees (e.g., Elsie, Lacie and Tillie, referring to the three Liddell sisters Lorina Charlotte, Alice and Edith Mathilda), and names referring to fictitious characters. An important function of proper names in fiction is to indicate in which culture the plot is set. It will be shown that the eight translators use various strategies to deal with proper names and that these strategies entail different communicative effects for the respective audiences.

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Burdett, Charles, Alessandra Ferrini, Gaia Giuliani, Marianna Griffini, Linde Luijnenburg, and Gianmarco Mancosu. "Roundtable on Visuality, Race and Nationhood in Italy." Journal of Visual Culture 18, no. 1 (April 2019): 53–80. http://dx.doi.org/10.1177/1470412918822669.

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This Roundtable on Visuality, Race and Nationhood in Italy brings together scholars from the arts, humanities and social sciences to discuss historical constructions of Italian whiteness and national identity in relation to the current xenophobic discourse on race and migration, stressing their rootedness in as yet unchallenged modern notions of scientific racism. Building on postcolonial historian and anthropologist Ann Laura Stoler’s definition of the colonial archive as a ‘site of knowledge production’ and a ‘repository of codified beliefs’ in Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (2009: 97), the discussants conceive the archive as a multi-layered, collective repository of aspiration, dominance, desire, self-aggrandizement and fear through which the development of society’s self-image can be revealed but also – through a systematic and critical approach to the (visual) archive of coloniality – contested. Based on the analysis of visual cultures (photographs, news footage, advertisements, propaganda, fiction film, etc.) the Roundtable addresses and connects wide-ranging issues such as: the gaze from above and below in colonial-era ethnographic film; the depiction of migration in the Far Right’s rhetoric; representations of fears and fetishisms towards Others in Federico Fellini’s work; and the exploitation of the colonial past in the Italy–Libya Bilateral Agreements on migration. The Roundtable was organized in response to the surge in xenophobic violence sparked by the Italian Parliamentary elections of March 2018 and to mark the publication of Gaia Giuliani’s monograph Race, Nation, and Gender in Modern Italy: Intersectional Representations in Visual Culture (2018).

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Syrimis, Michael. "On the Seriousness of Things: Pirandello’s Ma non è una cosa seria from Page to Screen." Quaderni d'italianistica 39, no. 2 (November 6, 2019): 35–60. http://dx.doi.org/10.33137/q.i..v39i2.33260.

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A study of Mario Camerini’s Ma non è una cosa seria (But It’s Nothing Serious [1936]), a film based on Luigi Pirandello’s eponymous 1918 play and typical of the 1930s Italian romantic comedy genre, elucidates the transformations that a literary conception undergoes when adapted for the screen, especially as those reflect the historical context of the film’s making. The challenge for the filmmaker when working on a literary adaptation for popular consumption is to identify the cinematic strategies most suitable to render a psychologically and philosophically nuanced discourse, such as Pirandello’s, appealing to a mass audience in search of diversion. Camerini’s film also exemplifies that unique moment in Italian culture when the Fascist government took decisive measures to strengthen the film industry, promoting the expansion of popular genres in the style of classical Hollywood cinema. Camerini, therefore, works on three fronts: to convey literariness, to apply a sophisticated system of popular filmic representation, and to sustain, if subtly, some Fascist cultural ideals. A reading of the 1918 play with respect to Pirandello’s theory of umorismo questions the seriousness of the legal status of marriage, which in Pirandellian terms we may describe as an ideal construct or “fiction.” While this notion informs also the film’s fundamental thematic layer, Camerini modifies parts of the plot and deftly applies the techniques of classical cinema to convey Pirandellian humour specifically through cinematic means, placing emphasis on the identity of the male protagonist, which here takes the form of a visually vibrant array of diverse identity constructs. At the same time, through a graceful coordination of camera work and mise-en-scène, Camerini communicates the Fascist ideal of Italy as a modern and affluent nation but also one that preserves its traditional values.

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Olivella, Jaume. "Mirant al cel/Eyes on the Sky: The (Im)possible Expiation of the Spectral Other." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 21–41. http://dx.doi.org/10.5399/uo/peripherica.1.2.3.

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This article analyzes the contribution of the new Catalan documentary in the current process of reclaiming the collective historical memory repressed by Francoism and by the Silence Deal established during the political transition to democracy after Franco’s death. This analysis will consider some films that use the family metaphor as a national allegory to represent the plight of the Catalan nation. The main thesis of this study is to underline the need for reparation regarding the crimes committed by Francoism during and after the Spanish Civil War and the fact that such a reparation has not taken place neither in fiction nor in historical terms. This essay relies on the post-Derridian concept of “hauntology” as a theoretical framework to study the spectral textual encounters that mark the symptoms of an uninterrupted mourning process that appeals to the historical memory in search of dignity and closure. Methodologically, this study offers a close textual reading of Jesús Garay’s film Mirant al cel (Eyes on the Sky, 2008) as a perfect case study where the spectral conflict between victims and victimizers is acted out in the context of Barcelona and Catalonia and the series of urban mass bombings carried out by the Italian Royal Legion under the direct supervision of Il Duce, Mussolini. Garay’s film special relevance lies in the fact of its being one of the few documentaries that revisits those three dramatic days in March 1938 that became a tragic rehearsal of the massive urban aerial raids of the Second World War.

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Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.

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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i personaggi, non solo azioni e fatti ma anche atmosfere, percezioni e poetiche ragioni caratterizzanti i significati più profondi della sua scrittura. La produzione teatrale dell'autore, ancora oggi considerata di minor rilevanza e non abbastanza studiata dalla critica, è degna invece di maggiore attenzione e approfondimenti: per questo motivo, abbiamo deciso di presentare la figura di Giuseppe Dessì attraverso tre importanti testi drammatici poco conosciuti al grande pubblico estero.Parole chiave: Giuseppe Dessì. Letteratura italiana. Teatro. Narrativa. Sardegna. RESUMO: Este artigo trata da textos para o teatro do escritor sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Apresentamos os Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e o drama histórico Eleonora D'Arborea (Mondadori, 1964). Importante autor de romances e contos, nestes textos, Giuseppe Dessì representa a complexidade do mundo sardo em paralelo com o que expressa nas suas páginas narrativas e ensaísticas. O teatro permite ao escritor experimentar uma nova linguagem capaz de representar, através das vozes dos personagens, não apenas ações e fatos, mas também os ambientes, as percepções e as poéticas, que permeiam os significados mais profundos da sua escrita. A produção teatral do autor, ainda hoje considerada de menor relevância e não suficientemente estudada pela crítica, é digna de maior atenção e aprofundamento: por esse motivo, decidimos apresentar a figura de Giuseppe Dessì através de três importantes textos dramáticos pouco conhecidos do grande público estrangeiro.Palavras-chave: Giuseppe Dessì. Literatura italiana. Teatro. Narrativa. Sardenha. ABSTRACT: This article concerns the texts for the theater of the Sardinian writer Giuseppe Dessì (Cagliari, 1909 - Rome, 1977). In order, we present the Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) and the historical drama Eleonora D'Arborea (Mondadori, 1964). Important author of novels and short stories, in these texts, Giuseppe Dessì represents the complexity of the Sardinian world in line with what is expressed in his narrative and non-fiction pages. The theater allows the writer to experience a new language capable of representing, through the characters, not only actions and facts but also atmospheres, perceptions and poetic reasons characterizing the deepest meanings of his writing. The theatrical production of the author, still today considered of minor importance and not sufficiently studied by the critics, is instead worthy of greater attention and insights: for this reason, we have decided to present the figure of Giuseppe Dessì through three important dramatic texts little known to the large foreign public.Keywords: Giuseppe Dessì. Italian literature. Theater. Fiction. Sardinia.

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Caesar, Ann Hallamore, Maria Ornella Marotti, and Gabriella Brooke. "Gendering Italian Fiction. Feminist Revisions of Italian History." Modern Language Review 96, no. 2 (April 2001): 542. http://dx.doi.org/10.2307/3737436.

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Coletta, Cristina Della, Maria Ornella Marotti, and Gabriella Brooke. "Gendering Italian Fiction: Feminist Revisions of Italian History." Italica 78, no. 1 (2001): 119. http://dx.doi.org/10.2307/480238.

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Salvatore Proietti and Arielle Saiber. "Symposium on Italian Science Fiction." Science Fiction Studies 42, no. 2 (2015): 232. http://dx.doi.org/10.5621/sciefictstud.42.2.0232.

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Salvatore Proietti. "The Field of Italian Science Fiction." Science Fiction Studies 42, no. 2 (2015): 217. http://dx.doi.org/10.5621/sciefictstud.42.2.0217.

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Papantonakis, Georgios. "Colonialism and Postcolonialism in Science Fiction for Greek Children." MANUSYA 13, no. 1 (2010): 24–43. http://dx.doi.org/10.1163/26659077-01301003.

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In contemporary Greek history we do not encounter the historical and social phenomena of colonialism or postcolonialism with the exception of cases where nations conquered Greek islands; the Dodecanese Islands and the Eptanisa (Seven Islands) were conquered by the English and the Italians, and Cyprus was conquered by the British in the Middle Ages and in contemporary times. These historical situations have been transferred into certain historical Greek fictions in adult literature and in the literature of children and young adult. The focus of this essay is on investigating and depicting colonialist attitudes and post-colonialist situations in science fiction for Greek Children. Initially, we attempt a brief introduction to the literature of children and young adults and mainly science fiction for children in Greece, and following this we outline the aims of our research. Then we define the terms “colonialism,” “postcolonialism” and the new suggested terms “historical colonialism” and “literary colonialism” and refer to their relationship with science fiction. This is due to the fact that the setting of these narratives “is dictated” by a group of events that the writers themselves have either brought about or believe will take place in the future. Afterwards we point out the criteria that are used to distinguish between five types of colonization in the texts and we investigate at greater length the role that children and adolescents play in the texts, as they participate actively as liberators and saviors, as protectors for peace and the environment or as characters that take on the roles of adults. The children and young adults remain passive spectators of a peaceful colonization or do not participate in the action since the heroes in the story are insects. In this case, they are limited to the role of reader. Through the study of these texts, we detect similarities to similar situations, both in antiquity and at a later date, or during contemporary times where similar policies in certain countries have been regarded. Finally, we realize that after the inversion of colonialism and the liberation of the colonized planets, these planets are governed democratically, according to Plato’s and Aristotle’s ideas on politics.

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Gardaphe, Fred L. "Italian-American Fiction: A Third Generation Renaissance." MELUS 14, no. 3/4 (1987): 69. http://dx.doi.org/10.2307/467403.

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Somigli, Luca. "Form and Ideology in Italian Detective Fiction." Symposium: A Quarterly Journal in Modern Literatures 59, no. 2 (July 2005): 67–69. http://dx.doi.org/10.3200/symp.59.2.67-69.

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Samir, Aseel, and Rabie Salama. "Struttura e narratore ne I Promessi Sposi di Alessandro Manzoni." Romanica Silesiana 17 (June 29, 2020): 138–50. http://dx.doi.org/10.31261/rs.2020.17.11.

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In the early 19th century, the Italian literature did not have a mature novel, as is known today. The Italian novelist, Manzoni, and his masterpiece The Betrothed, set a solid basis for the contemporary Italian novel; thanks to its’ narrative characteristics that helped the novelist in achieving different reformative goals, woven stupendously with fictional, historical and realistic threads. The main purpose of this study is to apply an analytical and thematic approach on the structure and narrator of the novel. Furthermore, the research aims to distinguish the main artistic characteristics adopted from the European historical novel. The study then focuses on analyzing the function of the anonymous author’s fictional frame and how it created a diversity in the narrative levels. The research also highlights the importance of the omniscient narrator, the strong relations between the narrator and the narratee, the different narrative perspectives, and finally the polyphony: techniques that enhanced the realistic dimension of the novel.

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Amici, Marco. "History, geography and mutations of Italian crime fiction." Journal of Romance Studies 14, no. 1 (March 2014): 106–11. http://dx.doi.org/10.3828/jrs.14.1.106.

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Katainen, V. Louise, and Martha King. "New Italian Women: A Collection of Short Fiction." Italica 69, no. 2 (1992): 252. http://dx.doi.org/10.2307/479543.

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Santovetti, Olivia. "Book Review: Giuliana Pieri (ed.): Italian Crime Fiction." Journal of European Studies 42, no. 3 (August 7, 2012): 297–99. http://dx.doi.org/10.1177/0047244112449968b.

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Barone, Dennis. "Machines are Us: Joseph Papaleo and the Literature of Sprawl." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 99–113. http://dx.doi.org/10.1177/001458580804200106.

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This essay examines the work of Italian American fiction writer Joseph Papaleo in the context of suburbanization, globalization, and ethnic heritage and identity. In doing so I demonstrate that Papaleo's fiction provides understanding of how Italian Americans have looked at Italy as they experienced the alienation of a consumer culture. Papaleo's fiction presents a mixed nostalgia for what Italy represents and recognition that it, too, like the United States, confronts continuous auto-dependent sprawl. Papaleo adds a suburban focus to the more frequently urban-centered literature of Italian Americans and he adds an ethic perspective to the predominantly Anglo American literature of the suburbs. His 1970 novel Out of Place depicts a materially successful Italian American, Gene Santoro, who cannot fill a deeper spiritual need in either the United States or Italy.

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32

Holub, Renate, and Robert S. Dombroski. "Properties of Writing: Ideological Discourse in Modern Italian Fiction." Rocky Mountain Review of Language and Literature 49, no. 2 (1995): 188. http://dx.doi.org/10.2307/1347993.

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33

Paoli, Marco. "Italian crime fiction between postmodern impegno and moral rebellion." Incontri. Rivista europea di studi italiani 29, no. 2 (December 22, 2014): 100. http://dx.doi.org/10.18352/incontri.9887.

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Eliot Chayt. "Revisiting Italian Post-Neorealist Science-Fiction Cinema (1963–74)." Science Fiction Studies 42, no. 2 (2015): 322. http://dx.doi.org/10.5621/sciefictstud.42.2.0322.

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35

Stellardi, Giuseppe, and Robert S. Dombroski. "Properties of Writing: Ideological Discourse in Modern Italian Fiction." Modern Language Review 92, no. 2 (April 1997): 480. http://dx.doi.org/10.2307/3734881.

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36

Jeannet, Angela M., and Robert S. Dombroski. "Properties of Writing. Ideological Discourse in Modern Italian Fiction." South Atlantic Review 61, no. 1 (1996): 142. http://dx.doi.org/10.2307/3200778.

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37

West, Rebecca, and Robert S. Dombroski. "Properties of Writing: Ideological Discourse in Modern Italian Fiction." Italica 73, no. 3 (1996): 448. http://dx.doi.org/10.2307/479842.

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38

Giulia Iannuzzi. "Exploring the Curious Life and Times of Italian Science Fiction." Science Fiction Studies 41, no. 3 (2014): 693. http://dx.doi.org/10.5621/sciefictstud.41.3.0693.

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39

Moe, Nelson. "Review: Properties of Writing: Ideological Discourse in Modern Italian Fiction." Forum Italicum: A Journal of Italian Studies 30, no. 1 (March 1996): 222–24. http://dx.doi.org/10.1177/001458589603000126.

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40

Bellesia, Giovanna. "Voicing the World: Writing Orality in Contemporary Italian Fiction (review)." Italian Culture 24, no. 1 (2007): 244–47. http://dx.doi.org/10.1353/itc.2007.0002.

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41

Wilson, Peter. "Reasons to Travel to Italy (part one), under the Telefonino." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 1 (May 2013): 23–39. http://dx.doi.org/10.31921/constelaciones.n1a1.

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Hacker’s Telefonino is a speculative dialogue between the three figures in the 1782 painting of an erupting Etna by the Italian based, German Neoclassical landscape painter Jacob Philip Hackert. The other two are English, Charles Gore and Richard Payne Knight, grand-tourists who subsequently play significant roles in trans-European networks and the English landscape movement, the emergence of subjective perception: the Picturesque. The text oscillates between the art historical exactitude of its biographi-cal notes, and the fictionality of the pictures subject, and a further fictio-nality manifested by the trans-historical mobile telephone, enigmatically hovering like a techno-Holbein in the pictures foreground.

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42

Buonanno, Milly. "News- Values and Fiction- Values: News as Serial Device and Criteria of `Fictionworthiness' in Italian Television Fiction." European Journal of Communication 8, no. 2 (June 1993): 177–202. http://dx.doi.org/10.1177/0267323193008002003.

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43

Fulginiti, Valentina. "Resisting Leviathan: Depictions of Silvio Berlusconi in Italian fiction 2003–2011." Italianist 36, no. 1 (January 2, 2016): 106–27. http://dx.doi.org/10.1080/02614340.2015.1120064.

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Salerno, Daniele. "Memory, Visuality, Fiction: Italian History and Conspiracies inRomanzo criminale: la serie." Italianist 36, no. 2 (May 3, 2016): 158–76. http://dx.doi.org/10.1080/02614340.2016.1176709.

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Hope, William. "The Roma In New Millennium Italian Fiction Films: Dissensus, Liminality, Emancipation." Italianist 36, no. 2 (May 3, 2016): 266–86. http://dx.doi.org/10.1080/02614340.2016.1178889.

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46

Napoli, Valentina. "Translating Maori fiction and the writing of Witi Ihimaera into Italian." Journal of New Zealand & Pacific Studies 4, no. 1 (May 1, 2016): 33–41. http://dx.doi.org/10.1386/nzps.4.1.33_1.

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Past, Elena. "Differences, Deceits and Desires: Murder and Mayhem in Italian Crime Fiction." Journal of Modern Italian Studies 14, no. 4 (December 2009): 516–17. http://dx.doi.org/10.1080/13545710903282316.

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48

Antonucci, Clara. "Book Review: Voicing the Word. Writing Orality in Contemporary Italian Fiction." Forum Italicum: A Journal of Italian Studies 39, no. 2 (September 2005): 708–9. http://dx.doi.org/10.1177/001458580503900241.

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Bernardi, Claudia, and Stefania Lucamante. "Italian Pulp Fiction: The New Narrative of the 'Giovani Cannibali' Writers." Modern Language Review 98, no. 1 (January 2003): 219. http://dx.doi.org/10.2307/3738240.

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Blom, Ivo. "Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 49–65. http://dx.doi.org/10.2478/ausfm-2021-0004.

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Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.

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

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