Academic literature on the topic 'Italian-Language Poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Italian-Language Poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Italian-Language Poetry"
1
Dokuchaev, I. I. "Canzoniere Francesco Petrarch in a new translation by Vladimir Maransman." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 1, 2020): 28–34. http://dx.doi.org/10.33920/nik-01-2008-03.
Full textAbstract:
The review presents a new book by Corresponding Member of the Russian Academy of Education Vladimir Georgievich Maransman — a translation from Italian of the Book of Songs (Canzoniere) by Francesco Petrarch. This translation is a real event in the history of modern Russian culture, since it turned out to be one of the first full translations into Russian of the main book of the great Italian poet of the Renaissance, the first lyric poet in the history of European poetry — Petrarch, made by one translator. The translation was carried out taking into account the long tradition of Russian translations of Petrarch poetry and has a significant amount of author's text (poet's property). The translation uses the original method of V. G. Marantsman, already used in his previous work — the full translation of Dante’s “Divine Comedy”, and which has been recognized by many readers and critics; a method of conveying the stylistic features of Italian poetry of the era of its occurrence by similar means of the Russian language.
2
Russo, Tommaso, Rosaria Giuranna, and Elena Pizzuto. "Italian Sign Language (LIS) Poetry: Iconic Properties and Structural Regularities." Sign Language Studies 2, no. 1 (2001): 84–112. http://dx.doi.org/10.1353/sls.2001.0026.
Full text
3
Sokolova, O. V. "War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)." Critique and Semiotics 37, no. 2 (2019): 229–48. http://dx.doi.org/10.25205/2307-1737-2019-2-229-248.
Full textAbstract:
The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.
4
Benardelli, de Leitenburg Mainardo. "Geopolitica della lingua italiana." FUTURIBILI, no. 2 (September 2009): 139–61. http://dx.doi.org/10.3280/fu2008-002015.
Full textAbstract:
- Language is one of the most widely discussed questions in Italian social and literary history, and Italian has recently been dropped from the list of official languages in the European Community. The author presents a historical overview starting from the 13th century, which saw the beginning of popular literature in poetry, and comprising the development of written and spoken Italian from traditional regional literature to the evolution of the dolce stilnovo, the appearance in the 19th century of the language of Manzoni and his antagonists, the composition of the first Dictionary of the Italian language and the practice of transferring teachers and national service conscripts from one part of the country to another so as to spread a standard language over the whole territory. The article concludes with the observation that language changes over time and that its current written and spoken form is the result of standardisation produced by the population's exposure to the mass media.
5
Cornish, Alison. "A Lady Asks: The Gender of Vulgarization in Late Medieval Italy." PMLA/Publications of the Modern Language Association of America 115, no. 2 (March 2000): 166–80. http://dx.doi.org/10.2307/463254.
Full textAbstract:
Classical texts were extensively translated into the vernacular in Italy during the period when Italian poetry began, and the “mentality” of translation is traceable in this early verse. Vernacularization is gendered female, especially in the conventions of lyric poetry. As exemplified in some thirteenth- and fourteenth-century poems and their prose commentaries, “vulgarization” is often presented as a discourse to women, who are conceived as a superior rather than an inferior audience. Instead of demeaning the Latin original, this kind of vulgarization paradoxically ennobles both the learned or scientific content and the young language in which it is written. This peculiar moment of Italian literary history contrasts with concurrent translation in France, with the subsequent abandonment of vulgarization under the influence of Petrarch, and with modern notions of the politics of translation.
6
Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 61–74. http://dx.doi.org/10.36253/rse-9654.
Full textAbstract:
In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.
7
Friggieri, Oliver. "L'IDENTITÀ CULTURALE DI DUN KARM, IL POETA NAZIONALE DI MALTA." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 129–54. http://dx.doi.org/10.1177/001458580804200108.
Full textAbstract:
Carmelo Psaila (1871–1961), officially known as Dun Karm, has been acknowledged as Malta's national poet long before his death. He embodies the close relationship prevailing for long centuries between Italian culture and Maltese Literature. This essay seeks to unearth the basic characteristics of Dun Karm's poetry, in both Italian and Maltese, in the light of the Italian tradition, ranging from Dante to Monti and Manzoni. His initial identity is neoclassical, and as he moves ahead and gets more aware of his own environment, he assumes an ever growing romantic character. Various aspects of his style (vocabulary, rhythmic patterns, grammatical nuances) and metaphorical language show that there is a profound continuity between his writings in Italian and the subsequent ones in his own native tongue. Through a comparative analysis of his more typical poems, and with specific reference to Vincenzo Monti and Alessando Manzoni, the cultural personality of Dun Karm is identified and illustrated with numerous examples.
8
Syshchikova, Ekaterina S. "Translation as a part of linguoculture of Spain in the XVI-XVII centuries." Cuadernos Iberoamericanos, no. 2 (June 28, 2017): 83–88. http://dx.doi.org/10.46272/2409-3416-2017-2-83-88.
Full textAbstract:
XVI- XVII centuries were the «golden age» in the history of Spanish culture, which was largely due to the translation. Through translation into Spanish literature, the motifs and forms of lyrical and epic poetry, the themes of ancient and Italian plays, the knightly and pastoral novel, the novel genre have penetrated. The translation allowed the Spaniards to get acquainted with the ideas of humanists from di erent countries of Western and Central Europe. The translation contributed to the enrichment of the Spanish language.
9
Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.
Full textAbstract:
Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
10
Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (June 1, 2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.
Full textAbstract:
The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. Discussing the form of the piece, the paper tries to confute the various commonplaces of the literature; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted — through repetitions, pauses and vocalizations etc. — are examined. The conclusion is that in Benedetto sia ‘l giorno the relationship between music and poetry does not reflect any particular model of lied nor of opera aria; the piece instead hints slightly to the old Italian madrigal. Benedetto is not the occurrence of a known musical form, but an example of the crisis of the form.
Dissertations / Theses on the topic "Italian-Language Poetry"
1
SANTOS, JANAINA DE OLIVEIRA. "POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26951@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada.
In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.
2
Grave, I. "A study of figurative language in the thirteenth century Italian love lyric based on a repertory, together with an analysis of the correspondence sonnets concerning questions of style." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384766.
Full text
3
Martino, Nicola. "Albino Pierro." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26743.
Full textAbstract:
Dialects have always had a negative reputation, and have been considered beneath the national language. Even the literature composed in the various regional languages has been considered inferior to the Italian one until only a few years ago, because it was thought that this literature had as an exclusive theme the peasant-popular world.This thesis will not only demonstrate that dialects are languages deserving of respect, but also that Lucano dialect literature is not bogged down to the peasant-popular world. In fact, it is capable of expressing any concept that any national language is capable of, even if that concept does not originate in the peasant-popular world.
4
Giugliano, Marcello. "Translating mimesis of orality: Robert Frost’s poetry in catalan and italian." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/127352.
Full textAbstract:
This doctoral thesis studies the recreation of spoken language in Robert Frost’s poetry and the translation of Frost’s poetry that has been carried out by Agustí Bartra and Miquel Declot into Catalan, and by Giovanni Giudici into Italian. The study starts by describing the meaning of the term mimesis of orality and its main features. It stresses the complexity of the phenomenon, which can be explained better only if a more eclectic theoretical and methodological approach is adopted that focuses on both the linguistic features of mimesis of orality and their potential effect on readers. Frost’s poetic language is well-known for its spoken quality. In this research I define the main traits of the poet’s language and then study how his evocation of orality has been interpreted by the poet-translators Bartra, Desclot and Giudici and how it has been interwoven with their own poetic style. The translations share common traits that can be traced back to the stylistic patterns of Frost’s original poetry. However, they also present divergent stylistic solutions that can be ascribed to each translator. By contextualizing these personal translation choices a better understanding is achieved of the causes that have motivated them, which ultimately brings the research to explore issues related to the translators’ ideology and cultural commitment.Aquesta tesi doctoral estudia la recreació de la llengua parlada en la poesia de Robert Frost i la traducció de la poesia de Frost duta a terme per Agustí Bartra i Miquel Desclot al català, i per Giovanni Giudici a l’italià. L’estudi descriu el significat del terme mimesi de l’oralitat i les seves principals característiques. Posa l’accent en la complexitat del fenomen, que es pot explicar millor si s’adopta un enfocament teòric i metodològic més eclèctic, que se centra tant en els aspectes lingüístics de la mimesi de l’oralitat com en els possibles efectes en els lectors. El llenguatge poètic de Frost és ben conegut per la seva qualitat parlada. En aquesta recerca defineixo en primer lloc els trets principals de la llengua del poeta i estudio de quina forma la seva evocació de l'oralitat ha estat interpretada pels poetes i traductors Bartra, Desclot i Giudici i de quina manera s'ha entrellaçat amb l’estil poètic propi dels traductors. Les traduccions comparteixen trets comuns que es remunten als patrons estilístics de la poesia original de Frost. No obstant això, també presenten solucions estilístiques divergents que poden ser atribuïdes a cada traductor. Mitjançant la contextualització d’aquestes opcions personals de traducció és possible aconseguir una millor comprensió de les causes que les han motivades. Això porta la investigació a examinar qüestions relacionades amb la ideologia dels traductors i el seu compromís cultural.
5
Lecomte, Mia. "Voix poétiques des Italiens d'ailleurs. La poésie italophone (1960-2016)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA114.
Full textAbstract:
Les migrations planétaires, massivement produites par les renversements historiques et politiques de la fin du siècle dernier, sont en train de bouleverser les ordres nationaux actuels et de soumettre les populations à un nouveau mélange identitaire et linguistique dont résultent des cultures hybrides et la remise en question de la légitimité des canons littéraires nationaux. Les littératures transnationales plurilingues sont en train de dessiner la carte de plus en plus vaste d’un nouvel univers littéraire constitué d’écrivains omniprésents, inclassables, dont la production narrative et poétique échappe aux définitions de genre et met l’accent sur les dynamiques linguistiques inhérentes à ces écritures en transit. Comment s’intègre l’Italie dans cette nouvelle scène littéraire plurilingue ? Avec quels résultats et quelles perspectives ? Après un premier chapitre introductif – un cadre général de la littérature transnationale italophone à partir de ses débuts officiels, à l'aube des années 90 –, cette recherche s'orientera spécifiquement vers l’étude de l'italophonie poétique. En remontant de manière inédite aux débuts des années 60, la production transnationale italophone sera analysée pour la première fois à travers un panorama chronologique et raisonné des voix poétiques, où se dégagent les plus représentatives. Nous mettrons l’accent sur la littérarité des textes, qui seront toujours remis en perspective avec la poésie italienne contemporaine pour délimiter la relation entre les différentes expressions de l’écriture poétique en italien qui vient s’imposer au fil du tempsThe mass planetary migrations set into motion by the historical and political transformations of the last years of the 20th century are disrupting current national status quos, while populations are undergoing a re-mixture of identities and languages that has produced hybrid cultures and, from the strictly literary point of view, a challenge to the legitimacy of national canons. The pluri-language transnational literatures are drawing an ever-wider map of a new literary universe made up of ubiquitous, unclassifiable writers whose production in prose and poetry escapes genre definitions, emphasizing the linguistic dynamics inherent to these writings in transit. How does Italy fit into this new pluri-language literary scenario? With what results and prospects? After a first introductory chapter, in which a general framework of Italian-language transnational literature is presented from its official beginnings at the start of the Nineties until today, my research focuses specifically on poetic Italophony. Locating its birth back in the early Sixties – the decade when the first « compelled » migrations to Italy began –, transnational Italian-language production is for the first time analyzed through a chronologically ordered panorama of poetic voices, against which the most representatives ones are silhouetted. Stress is laid on the literariness of the texts, and Italian contemporary poetry is always present, in perspective, to trace the relationship that is being created over time between the different expressions of poetic writing « in Italian »
6
Reid, Joshua. "The Figure of the Poet-Translator in the Italian Romance Epic." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/2862.
Full text
7
Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
Full textAbstract:
You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
8
Ballieu, Kristen. "Decanting the Rabelaisian Casks: Democratizing Neoplatonic Poetic Fury in Baudelaire's “L’âme du vin”." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3955.
Full textAbstract:
The following document is a meta-commentary on the article "Decanting the Rabelaisian Casks: Democratizing Neoplatonic Poetic Fury in Baudelaire's 'L’âme du vin'," co-authored by Dr. Robert J. Hudson and myself, which will soon be submitted for publication. It contains an annotated bibliography of all our primary and secondary sources and an account of the genesis of the argument and the writing of the article. Our article is based upon an analysis of "‘L’âme du vin," the threshold poem of "Le Vin," the central section of Charles Baudelaire's celebrated volume Les Fleurs du Mal. As we demonstrate, previous scholarship on this section is sparse and while certain poems within in have received attention from distinguished scholars, the integral part that it plays in the larger work has been downplayed, if not entirely neglected. Our reading of the poem allows for an explanation of the structure of the entire collection, illuminates Baudelaire's intended internal architecture, and elucidates his theory of poetic creation and aesthetic ideals more generally. As we demonstrate, the transition from the Parisian commoner in "Tableaux parisiens" to the transcendent poet in "Fleurs du mal" requires the transformation provided by the intoxication in "Le Vin" which lends itself to divine fury and attainment of transcendence in and ascension to the sonnets of the "Fleurs du mal." Our development of this conclusion comes through a study of Baudelaire's employment of Neoplatonic theories and images and adoption of Rabelais' Gallic codification of these Neoplatonic tropes. "‘L’âme du vin" illustrates the essence of Baudelaire's progressive populist thought previous to the Revolution of 1848, by rendering permanent the inversion of social order found in the Rabelaisian/Bakhtinian carnavalesque. The Neoplatonic ladder to transcendence, based on Plato's four stages of divine fury, and systemized by Renaissance thinkers Marsilio Ficino and Pontus de Tyard, is tipped, or thrown, on its side in Baudelaire's work, demonstrating not only the overthrow of the hierarchy of the Old Regime, but the solidification of the humanization of the common, working man, the premier venu or homme de la rue, and the ability of the least of society, rather than the members of the nobility or leisured class of centuries past, to access divine fury and poetic transcendence by imbibing, integrating, and appreciating the soul of wine.
9
Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
Full textAbstract:
This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
10
Šimková, Petra. "Téma Sardinie v poezii Sebastiana Satty." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358279.
Full textAbstract:
(in English): The topic of this thesis is poetic work of the premier sardinian poet Sebastiano Satta, in particular thematic constants and reflection of Sardinia in his work. The first chapter is dedicated to the brief overview of historic, social and political context of Sardinia from the unification of Italy until the first world war. Following chapters ale focused on the personal life and work of writor and his integration to the basic context of italian literature at the turn of the 19th and 20th century and their influence to his poetry. After that is thoroughly analyzed poetic work of Sebastiano Satta. There are also chapters regarding the questions of the language and thematic constants in the poetry of the writor. Follows analysis of minor poetry and collections of poems in chronologic way, as Nella Terra dei Nuraghes, Versi ribelli, Canti barbaricini and Canti del Salto e della Tanca. After that follows chapter regarding reception of the writor's poetry. In the final chapter, based on these analysis are evaluated thematic constants and their progress in the course of collections of poems.
Books on the topic "Italian-Language Poetry"
1
Malidittu la lingua =: Damned language : poetry & miniatures. New York: Legas, 1990.
Find full text
2
Palomba, Salvatore. Napoli, parole e poesie: Guida alla lingua e alla poesia napoletane. Napoli: Liguori Editore, 1998.
Find full text
5
Luzzatto, Darcy Loss. Talian (vêneto brasileiro): Noções de gramática, história & cultura. Porto Alegre: Sagra-DC Luzzatto Editores, 1994.
Find full text
6
Tusiani, Joseph. Storie dal Gargano: Poesie e narrazioni in versi dialettali (1955-2005). San Marco in Lamis: Quaderni del Sud, 2006.
Find full text
7
Casero, Barnaba Cigala. Ra chiù luxente giòia e ra chiù finna =: Il più lucente e fine gioiello : discorso in lingua genovese dopo l'elezione del serenissimo duce di Genova, il signor A. Cebà. Recco (Genova): Le mani, 2000.
Find full text
9
Richter-Bergmeier, Reinhilt. Strutture asindetiche nella poesia italiana delle origini. Firenze: Accademia della Crusca, 1990.
Find full text
10
1729-1799, Parini Giuseppe, ed. La grande poesia: Giuseppe Parini : una lezione di equilibrio e di moralità. [Milano]: Società Dante Alighieri, Comitato di Milano, 2011.
Find full textBook chapters on the topic "Italian-Language Poetry"
1
Blakesley, Jacob S. D. "Italian-Language Poet-Translators." In A Sociological Approach to Poetry Translation, 125–62. New York : Routledge, 2018. | Series: Routledge advances in translation and interpreting studies ; 37: Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-5.
Full text
2
Minardi, Enrico. "The Broken Language of High Poetry: Agency and Emotion in Teresino by Vivian Lamarque." In Writing and Performing Female Identity in Italian Culture, 19–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40835-4_2.
Full text
3
De Gregorio, Mario. "«Un arancio in gennaio». La Vita del beato Giovanni Colombini di Feo Belcari da racconto agiografico a testo di lingua." In Le vestigia dei gesuati, 117–31. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.10.
Full textAbstract:
Composed between 1448 and 1449, the Vita del beato Giovanni Colombini by Feo Belcari was printed for the first time in 1477 and was destined to growing publishing success over the following centuries both as an independent text and in miscellany dedicated to the blessed. It will be the third edition of the Accademia della Crusca Vocabolario, published in 1691, to increase its affirmation by admitting the entire poetic and prose work of Belcari among the privileged references for the Tuscan vernacular and the Italian language. A recognition that will lead to a Veronese edition of the work in 1817, edited by authoritative scholars of Italian humanistic literature, which will condition many reprints of the work during the first half of the nineteenth century and which will persist even later, when it will be included in series very different, between religious and linguistic / literary interests.
4
Dickinson, Colby. "On Language and Its Profanation." In Words Fail. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823272839.003.0004.
Full textAbstract:
The third chapter, in many ways, extends this trajectory of thought into a dialogue with the work of the Italian theorist Giorgio Agamben. Beginning with his characterization of a “scission” within language that posits philosophy as that which can know its object without possessing it and poetry as that which can possess it without knowing it, this chapter demonstrates how his earlier work on poetry maintains a necessary correlation with his later philosophical and theo-political writings. In this context, I explore his development of a poetic “atheology” that is a sort of materialist metaphysics, the potential last refuge of meaning in an otherwise nihilistic world—one that contains dire implications for the fields of poetry, philosophy, and theology. The establishment of poetry as a last refuge of meaning over and against the “destruction of experience” in the modern era is a bold claim to be sure, expressing Agamben’s attempt to reformulate the possibility for meaning to emerge beyond its inscription in language, as well as the conditions under which theology could be understood as a profane endeavor that tries to speak to this situation of human existence.
5
"The “True Form” of Beauty: Poetry and Portraits from Petrarch to the Sixteenth Century." In The Idea of Beauty in Italian Literature and Language, 89–113. BRILL, 2019. http://dx.doi.org/10.1163/9789004388956_007.
Full text
6
Campisi, Salvatore. "‘La ballata dell’amore cieco’: a case study on the use of songs in Italian language learning." In Literature in language learning: new approaches, 59–67. Research-publishing.net, 2020. http://dx.doi.org/10.14705/rpnet.2020.43.1096.
Full textAbstract:
The song ‘La ballata dell’amore cieco (o della vanità)’ (1966), by Italian singer-songwriter Fabrizio De André (1940-1999), offers students opportunities to practise their language skills, stimulate their cultural appreciation, and expand their knowledge of a musical and poetic form (the ballad), while reflecting on the close connection between poetry and dance. Moving from receptive to productive skills, from gist to detail, learning activities are staged over three sessions, where students examine the song’s musical features and lyrics and then produce their own ballads in writing. The paper first discusses the benefits and pitfalls of using songs as a tool to develop linguistic skills and raise cultural awareness. It then describes the learning opportunities offered by De André’s song and concludes with an evaluation of the effectiveness of these activities, examining the potential for further research.
7
Camilotti, Silvia. "Per una «poetica della totalità-mondo»." In Diaspore. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-396-0/014.
Full textAbstract:
“I speak and above all write in the presence of all the languages of the world”, is a quote from Poétique du divers by Édouard Glissant, not as a means to plurilingualism but rather a critical view of the concept of language as being closed and homogeneous, by intertwining poetry and politics in order to deconstruct the language-culture-territory triad. Glissant’s poetics of totalité-monde highlights the open and inclusive interplay between places and literary works, aimed at demonstrating the value of all the composite contributions which come together to form cultures. There are already many literary examples in Italian language written inside and outside Italy which demonstrate a failed or at least weakened correspondence between notions seen often as essential, unchanging and a-historic. The example of Luigi Di Ruscio is particularly apt here, as he was a poet and writer who had lived in Oslo for forty years, and had kept writing and publishing in Italian.
8
Hall, Edith. "Paving and Pencilling." In Seamus Heaney and the Classics, 223–43. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0014.
Full textAbstract:
A distant relative of an in-law of my husband possesses Heaney’s own copy of the 1953 reprint of J. W. Mackail’s The Aeneid of Virgil Translated into English; Heaney signed it with his name (twice) and his school form number. This chapter considers the actual inscriptions to be found in this copy, which show for example that Heaney made a special study of the similes dealing with nature, especially with animals, and was interested in complex epithets and metal objects, especially weapons. The characters who attract the richest annotations by far are Turnus, Pallas, and Latinus. It then asks how these marginalia can illuminate aspects of his later poetry—technical, tonal, lexical, imagistic, and thematic. His possible later creative responses to two features of the Aeneid will receive extended attention. First, the father–son relationship; secondly, the ‘compensation’ for the death of Turnus in the form of the Italian people’s retention of their indigenous language despite the imposition of Trojan colonial rule.
9
Black, Robert. "Between Grammar and Rhetoric." In Filologie medievali e moderne. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-137-9/003.
Full textAbstract:
This paper examines the context of Geoffrey of Vinsauf’s Poetria nova and of its manuscripts and commentaries in medieval and Renaissance Italy. It is well known that, in Italy, grammar (Latin language and literature) was the concern of elementary and mainly secondary schools, whereas rhetoric was primarily a university subject (although basic introductory rhetoric also figured at the end of the secondary-school curriculum). There is little direct (and scant indirect) indication that Poetria nova was taught in Italian universities, but abundant evidence that it was used in schools. Such a school (as opposed to university) context suggests that Poetria nova was primarily used in teaching grammar, not rhetoric, in medieval and Renaissance Italy. The most important use of the text was teaching prose composition: how to vary sentences beyond the simplest wording and structure of subject-verb-predicate (suppositum-appositum) initially learned by grammar pupils, i.e. moving from ordo naturalis to ordo artificialis. Marjorie Curry Woods has written, «although there is growing evidence that the Poetria nova was used to teach the composition of prose, and especially, letters, throughout Europe, it is almost always copied with verse texts, often classical works, in Italian manuscripts, which suggests that it was also used there to teach the interpretation of literary texts». But there is little sign that Geoffrey of Vinsauf was cited in Italian literary manuscripts during the fourteenth and fifteenth centuries: in my study of manuscript schoolbooks preserved in Florentine libraries, there are 98 in which authorities are explicitly cited. Vergil tops the list, cited in 35 manuscripts, followed by Cicero (and ps. Cicero) in 32, Ovid in 29, Seneca (and ps. Seneca) in 27, Lucan in 16, Valerius Maximus in 15, Aristotle (and ps. Aristotle) in 14, Horace in 13, and so on. In contrast Geoffrey of Vinsauf was cited by name in only one manuscript.
10
Mac Carthy, Ita. "Grace and Beauty." In The Grace of the Italian Renaissance, 76–113. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0005.
Full textAbstract:
This chapter considers whether court ladies required the same qualities as male courtiers. Grace, it turns out, is as vital for women of the court as it is for men, but womanly grace is more closely linked to beauty and to what Italians today refer to as bella presenza than its manly counterpart. The chapter explores how two women authors, Vittoria Colonna and Tullia d'Aragona, sever the links that unite grace and beauty in male discourse. In Colonna's love poetry (ca. 1525–1535), grace resists semantic absorption into refined womanly appearances and rhetoric and turns, instead, towards spirituality that admits of no physical or corporeal manifestation. Tullia d'Aragona, by contrast, rejects the language of grace outright, identifying it as an impossible feminine standard, on the one hand, and perilously close to the language of sexual graces and favours, on the other. In her Rime (Poems) and Dialogo dell'infinità d'amore (Dialogue on the Infinity of Love) (both published in 1547), she identifies it as a word requiring sensitive handling, an instrument of control to flee from and a semantic trap set by men inclined in their treatment of women to the extremes of praise and blame.