Academic literature on the topic 'Italian Personal narrative'
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Journal articles on the topic "Italian Personal narrative"
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Paynter, Eleanor. "The Spaces of Citizenship: Mapping Personal and Colonial Histories in Contemporary Italy in Igiaba Scego’s La Mia Casa È Dove Sono (My Home is Where I Am)." European Journal of Life Writing 6 (July 17, 2017): 135–53. http://dx.doi.org/10.5463/ejlw.6.193.
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As Italy has changed from emigration country to immigration destination, the growing body of literature by migrant and second generation writers plays an important role in connecting discourses on race and national identity with the country’s increasing diversity and its colonial past. This essay investigates the 2010 memoir La Mia Casa È Dove Sono (My Home is Where I Am) by Igiaba Scego, the daughter of Somali immigrants, as life writing that responds to these changing demographics and, more broadly, to the migration trends affecting contemporary Europe. The self Scego constructs through her narration integrates her Roman identity and Somali background as the narrative returns colonial history to Italian public discourse and public space. I argue that by narrating the personal and historical in the context of Roman monuments and neighborhoods, Scego’s memoir challenges and redefines who can be “Italian,” modeling a more inclusive Italianità. I discuss the memoir in terms of its use of collective memory and its development of a narrative “I” that claims a position within a collective identity while challenging the exclusionary tendencies of that very group. This article was submitted to the European Journal of Life Writing on June 8th, 2016, and published on July 17th, 2017.
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Maslen, Joseph. "Autobiographies of a generation? Carolyn Steedman, Luisa Passerini and the memory of 1968." Memory Studies 6, no. 1 (January 2013): 23–36. http://dx.doi.org/10.1177/1750698012463891.
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The meeting-point between memory studies and auto/biographical studies provides new perspectives on the study of the radical generation of 1968 through life-writing techniques, including oral history. A comparison between Carolyn Steedman’s Landscape for a Good Woman: A Story of Two Lives, published in 1986, and Luisa Passerini’s Autobiography of a Generation: Italy, 1968, published in 1988, suggests that belonging to this generation involves tensions between the social master narrative of 1968 and auto/biographical memories. Steedman and Passerini’s personal narratives relate in complex ways to this master narrative, and exploring these ambiguities helps us to generate further innovation in ‘generational thinking’ as well as a comparative understanding of the ‘memory studies’ of two of the most important thinkers in British and Italian contemporary history.
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Civilotti, Cristina, Chiara Sciascia, Maria Zaccagnino, Antonella Varetto, and Daniela Acquadro Maran. "States of Mind With Respect to Adult Attachment and Reflective Functioning in a Sample of Men Detained for Stalking: Evaluation and Clinical Implications." SAGE Open 10, no. 4 (October 2020): 215824402096282. http://dx.doi.org/10.1177/2158244020962820.
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The efficacy of treatment for stalkers might depend on identifying peculiarities in the life stories of members of this population and their specific needs. We interviewed 14 Italian male stalkers between 27 and 78 years old ( M = 44.5 years) detained in two northwest Italian correctional facilities. We aimed to investigate two main aspects: First, we evaluated the subjects’ states of mind (SoMs) with respect to early attachment using the Adult Attachment Interview. Second, we assessed the possible recurrence of narrative clusters between the narratives of these offenders, whom we also interviewed about their persecutory acts, using the Index Offense Interview. The results indicated that the vast majority of the stalkers in our sample had a dismissing SoM with respect to their early attachment, as well as many unresolved traumas. Furthermore, by comparing their narratives, we outlined six narrative themes: (a) the perception of rejection as a main motivational factor, (b) the representation of the self as right and as a victim of others’ behaviors, (c) a lack of impulse control, (d) the idealization of attachment figures, (e) intense separation anxiety, and (f) a personal theory about stalking. Given this population’s high recurrence rates following detention, the study of which adult attachment representations are linked with the stalking phenomenon and which critical themes are present in stalkers’ narratives may improve clinical interventions for this specific population.
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Söding, Christoph. "Beppe Fenoglio’s I ventitre giorni della città di Alba – Personal Memory and Reflections on Civil War." Memoria y Narración. Revista de estudios sobre el pasado conflictivo de sociedades y culturas contemporáneas, no. 2 (March 5, 2021): 95–105. http://dx.doi.org/10.5617/myn.8665.
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The article examines I ventitre giorni della città di Alba, one of Beppe Fenoglio’s early texts about the Italian resistance during the Second World War. Largely ignored at the time of its first publication, it rose to fame only in the 1960s. This is strongly linked to the fact that Fenoglio depicts the resistance as a civil war, a rather controversial issue in post-war Italy. He deheroises the partisans and shows the inadequacy of social categories by adopting a specific narrative strategy that focuses on the mundane and the ridiculous.
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Fioretti, Chiara, and Andrea Smorti. "How emotional content of memories changes in narrating." Narrative Inquiry 25, no. 1 (December 31, 2015): 37–56. http://dx.doi.org/10.1075/ni.25.1.03fio.
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The purpose of this study is to explore the link between autobiographical memories and personal narratives and to assess whether the emotions present in memories are maintained or transformed when memories are narrated. In a Memory Fluency Task a total of 72 Italian undergraduates (35 males and 37 females) were asked to recall memories from their last period of life (from adolescence to present), to select one of them and to choose the emotions connected to this memory from an eleven-item list. Then, they were requested to write this memory in detail and again to select the emotions connected to the narrative from the same list of emotions. The emotions were distinguished as simple positive, simple negative, simple neutral, and complex (positive and negative). The results showed, on the whole, that participants expressed more emotions and a greater number of complex emotions in narratives than in memories. The authors interpret these results using a Vygotskyan frame of reference and considering the narratives as a form of external speech that makes memories more explicit.
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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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Smorti, Andrea, Carole Peterson, and Franca Tani. "The Language of Memory: Narrating Memories of Parents and Friends." Open Psychology Journal 9, no. 1 (September 30, 2016): 95–110. http://dx.doi.org/10.2174/1874350101609010095.
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The purpose of this study was to compare narrated memories of parents and friends, recounted by both males and females. A total of 177 Italian undergraduates were asked to recall and to write in detail one relevant memory regarding their relationship with either parents or friends during adolescence. Half of the participants wrote a narrative about parents and half about friends. Narratives were examined using both a content and a lexical linguistic method of analysis.The results showed that the language of memories was substantially influenced by the identity of the social partners that were part of the remembered events. In particular the ratio of negative emotion words to all words and the use of 'I' personal pronouns were higher when participants recounted memory narratives about parents rather than friends, and 'We' was used more in narratives about friends. Gender differences were found as well. The authors interpret the results as suggesting that the language of memory is affected by the type of interpersonal relationship that exists between the narrator and the other participants in the remembered events as well as by the gender of the narrator. In other words, memory narratives both reflect and are influenced by the relationships within which an individual is embedded.
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Bristow, Joseph. "Inverse Intimacy: Reconfiguring ‘Personal Relations’ in Elizabeth Bowen's The Hotel." Irish University Review 51, no. 1 (May 2021): 40–56. http://dx.doi.org/10.3366/iur.2021.0494.
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Ever since its publication in 1927, Elizabeth Bowen's first novel, The Hotel, has prompted critical responses that have tried to gauge the ways in which the narrative represents intimacy between women. Although one of its earliest reviewers sensed that the ‘dark, forlorn spirit of inversion is all through it’, modern critics have acknowledged that The Hotel is not engaged with the sexological models of inversion that inform Radclyffe Hall's contemporaneous novel, The Well of Loneliness (1928). At the same time, commentators have recognized that The Hotel forms part of a group of 1920s fictions that address female homosexuality with increasing openness. For the most part, readers have focused close attention on the intimate friendship that develops between the young Sydney Warren and the middle-aged widow Mrs. Kerr. This bond, even if it is fraught with tension, remains a source of prurient fascination among the other English residents enjoying a wintertime dolce far niente on the Italian Riviera. Still, the sustained critical focus on the attachment that develops between these two characters has tended to ignore the significance of the partnership between the two single women, Miss Pym and Miss Fitzgerald, that places the whole span of the novel in parentheses. Although recent studies by Elizabeth Cullingford and Maud Ellmann have drawn attention to Bowen's interest in what it means to be a ‘singleton’ or part of stadial series of personal relationships (single, couple, and triad), little has been said about the two spinsters, each of whom is ‘half of a duality’. The present essay concentrates attention on the ways in which the enumerative turn in Bowen studies broadens in scope when we look at how Miss Pym and Miss Fitzgerald appear as both two in one and one in two: a narrative formula that reminds us not of sexual inversion but the inverse number in mathematics. It is this type of inverse intimacy between woman and woman that triumphs at the end of The Hotel.
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Castro, Aurelio. "Stories Told Together: Male Narratives of Non-Monogamous Bi+ and Heterosexual Men." Archives of Sexual Behavior 50, no. 4 (May 2021): 1461–77. http://dx.doi.org/10.1007/s10508-021-02008-6.
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AbstractThe stories we tell about our identities and sexual orientations shape how we perform gendered scripts and negotiate relationships with significant others. Previous literature inquired the styles and outcomes of consensual non-monogamous (CNM) relationships, but more research is need on how CNM men resist or abide to hegemonic models of masculinity. To understand how constructions of masculinity and conceptualizations of sexual orientation are embedded in CNMs, the study analysed the stories of non-monogamous Bi+ and heterosexual men. Following a critical narrative approach, the study inquired the diverse conceptualizations of masculinity, sexual orientation and relationship practices in the narratives of 20 non-monogamous Bi+ and heterosexual identified men. The semi-structured in-depth narrative interviews (105 min on average) were analyzed via Nvivo 12 and explored their stories of desire and the sense-making process of being sexually oriented to one or more genders and to one or more partner/s. Engaging in non-monogamy was signified as a relevant insight from their personal stories and/or from adopting new concepts of desire beyond the “love as a zero-sum game.” The latter theme was also shared by many heterosexual participants that, when negotiating a non-monogamous agreement, signified their attractions to more than one person as part of their personal identity. Finally, the paper discusses how non-monogamous spaces can offer a positive and safe space for bisexuals/Bi+ people to explore and reaffirm their identities, constantly challenged by biphobia, invisibility, and erasure. Experiences and stories of Italian cisgender Bi+ and heterosexual men cannot be generalized to the whole spectrum of masculinities within CNM spaces, and the study lacks how other gendered and sexual subjectivities construct masculinity. Diverse stories and construction of sexuality and gender can lead to similar relationship preferences and understanding how we signify them can greatly improve our understanding of intimacies.
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Agostinelli, Gianluca. "Nato Fuori Posto: Exploring Placelessness in Dean Serravalle’s “The Buried Tree”." Open Cultural Studies 1, no. 1 (January 26, 2017): 4–16. http://dx.doi.org/10.1515/culture-2017-0002.
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Abstract Building on the seminal scholarship of humanistic geographer, Edward Relph, this paper explores the postmodern notion of placelessness in Canadian-Italian literature. The author argues that placelessness can afford bi-cultural writers, and their literary protagonists, a degree of productive peripherality that works to deconstruct and undercut the authoritative dynamic of a culturally dominant place. Working with the concept of placelessness, the author analyzes, critically, “The Buried Tree,” a short story composed by Canadian-Italian author, Dean Serravalle, to suggest that the metaphysical state is not one of precarity and dearth but, rather, one of purposeful resistance to the traditional, often oppressive notions of cultural hybridity. While Serravalle’s text focalizes the strong senses of home and cultural rooting as fundamental markers of ethnic identity, placelessness, a space associated primarily with exclusion, can offer refuge and escape for the protagonost, Michele, who seeks both ethnic dissociation from the familial traditions into which he is born, and detachment from his innate, immigrant history. By exploring Michele’s identity crisis, Serravalle seems to challenge the traditional narrative of lifelong, oppositional pluridimensionality, and posits placelessness as a productive, and perhaps necessary, personal state to establish, rather than to reclaim, one’s cultural roots.
Dissertations / Theses on the topic "Italian Personal narrative"
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Aubry-Morici, Marine. "Pensée, narration, fiction. L’art combinatoire de l’essayisme italien hypercontemporain (2000-2019)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030064.
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La thèse propose d’étudier les phénomènes actuels de contamination générique entre le récit et l’essai dans la littérature italienne du XXIe siècle, à travers la catégorie de l’essayisme. Elle s’appuie sur les théories de l’essai formulées au XXe siècle, en particulier celles de Lukács, Bense et Adorno, à partir d’un corpus hypercontemporain (Franco Arminio (1960 - ), Vitaliano Trevisan (1960 - ), Tommaso Pincio (1960 - ) et Giorgio Vasta (1970 - ). Si l’essai italien a été surtout circonscrit à la critique littéraire ou politique, ses nouvelles formes, sur fond général d’hybridation entre fiction et non fiction, mettent en crise les catégories existantes. La thèse montre leur continuité avec la tradition depuis Montaigne, celle d’une écriture réflexive organisée par le « je ». L’essayisme italien actuel médite, commente, spécule, autour d’objets divers, et s’autorise pour cela de plus en plus le recours à la narra- tion et à la puissance imaginative. Il est donc étudié comme écriture combinatoire et mimétique qui emprunte des formes aux autres genres (biographie, autofiction, reportage narratif) et puise des procédés littéraires dans le réservoir de la littérature (épiphanies, allégories, dépaysements) au service d’une « pensée en train de se faire ». La recherche montre qu’en alliant pensée, narration et fiction, il fait de sa portée réflexive et de la « thématisation » son pivot organisateur. Elle interroge cette pensée du réel et cette écriture critique en les mettant en regard avec la philosophie, l’anthropologie et la sociologie de notre temps, pour montrer que ces formes d’écritures forment un laboratoire du sens et d’interprétation de notre présentThe dissertation proposes to study current phenomena of generic contamination between the story and the essay in Italian literature of the 21st century, by way of the category of essayism and by drawing on theories of the essay formulated in the 20th century, in particular those of Lukács, Bense and Adorno, considering a hyper-contemporary corpus (Franco Arminio (1960 - ), Vitaliano Trevisan (1960 - ), Tommaso Pincio (1960 - ) and Giorgio Vasta (1970 - ). If the Italian essay has been often confined to the forms of literary or political criticism, its newest forms, renewable in more general contexts of hybridization between fiction and nonfiction, put existing categories in a state of crisis. The dissertation shows that in continuing the tradition of reflexive writing organized around the “I,” (Mon- taigne), current Italian essayism mediates, comments, speculates around a variety of objects, and in doing so, allows itself more and more to resort to narrativity and the power of the imagination. It is therefore studied as a combinatory and mimetic form of writing that borrows forms from other genres (biography, autofiction, narrative reporting) and draws on the literary reservoir for its processes (epiphanies, allegories, estrangement) in order to serve the “thought in the making.” The research reveals that current Italian essayism, in making allies of thought, narration and fiction, presents itself as an ars combinatoria basing its organizational fulcrum on its reflexive scope as well as on “thematization.” It questions this reflection on the real and this critical writing of the present, through their con- sideration alongside the philosophy and anthropology of our time
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Carton-Vincent, Alison. "Écriture du corps et féminismes : genre, sexualité et maternité dans l’oeuvre narrative à la première personne de Dacia Maraini." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3034.
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Avec l’essor du néo-féminisme en Italie à la fin des années 1960, un genre littéraire se développe rapidement : le roman féministe. Souvent relaté à la première personne, il présente des parcours de femmes aux prises avec une société patriarcale qui les opprime et dont elles tentent de se libérer. Dès ses premières oeuvres, Dacia Maraini s’inscrit dans cette veine narrative. Elle en fournira les exemples les plus célèbres (notamment avec Donna in guerra en 1975) et en assurera la diffusion même après la fin du féminisme militant dans les années 1980 avec des oeuvres moins marquées idéologiquement mais toujours inscrites dans une visée de dénonciation des inégalités. À mi-chemin entre création littéraire et engagement politique, les récits féministes à la première personne de Dacia Maraini s’attachent tout particulièrement à la question du corps, interface entre soi et les autres, entre le privé et le politique. Considérant la période 1962- 2001, ce travail montre comment l’auteure investit et questionne les territoires du genre, de la sexualité et de la maternité par le biais de fictions mais aussi d’oeuvres autobiographiques. Dans une optique pluridisciplinaire empruntant à la fois les outils de l’analyse littéraire et de l’histoire des idées, le je des récits du corpus est analysé en tant que modalité énonciative spécifique mais aussi en tant qu’instrument performatif de diffusion du féminisme marainien, dans un rapport circulaire entre art et société, entre culture et pouvoirWith the rise of neo-feminism in Italy in the end of the 1960's, a new literary genre quickly developed: the feminist novel. The first-person narrative was frequently used to portray women who fought against an oppressing patriarchal society from which they tried to get free. From her first works, Dacia Maraini followed this narrative style. She provided its most famous examples (especially in Donna in guerra, in 1975) and she guaranteed its propagation – even after the end of activist feminism in the 1980's – through works that were not as ideologically engaged as the first ones but that still aimed at denouncing inequalities. Halfway between literary creation and political commitment, the first person feminist narrative of Dacia Maraini particularly focuses on the topic of the body, as a link between one and the others, between the personal and the political. I will study the 1962-2001 period, and I will show how the author concentrates on the territories of gender, sexuality and motherhood and how she questions them through fiction and autobiographical stories. I choose a multidisciplinary perspective that takes the tools of both literary analysis and the history of ideas, in order to analyse the use of the first person as a specific enunciative modality and as a performative instrument for the propagation of Marainian feminism in a circular relationship between arts and society, between culture and power
Books on the topic "Italian Personal narrative"
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Sister souls: The power of personal narrative in the poetic works of Antonia Pozzi and Vittorio Sereni. Madison, NJ: Fairleigh Dickinson University Press, 2011.
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Cozzani, Vincenzo. Giorni di guerra: Diario 1939-1944. Arcidosso: edizioni Effigi, 2011.
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Finzi, Fausta. A riveder le stelle: La lunga marcia di un gruppo di donne dal lager di Ravensbrück a Lubecca. Udine: Gaspari, 2006.
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Il giorno che a Beirut morirono i panda: 1982, gli ultimi giorni dell'assedio israeliano alla capitale libanese nel racconto di una testimone oculare. Roma: Gamberetti, 1993.
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Sacchi, Filippo. Diario 1943-1944: Un fuoruscito a Locarno. Lugano: G. Casagrande, 1987.
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Grimaldi, Fabio. Memorie di una guerra civile: La Spagna del 1936 nella voce dei testimoni. Roma: Manifestolibri, 2003.
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Norman, Lewis. Naples ʼ44: An intelligence officer in the Italian labyrinth. New York: H. Holt, 1994.
Find full textBook chapters on the topic "Italian Personal narrative"
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Tosi, Laura. "“Antonio, il mercante della nostra storia”: Adapting The Merchant of Venice for Italian Children." In Studi e ricerche. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-503-2/011.
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This essay discusses the challenges of adapting Shakespeare’s play in narrative form for young readers. It cites the history of such adaptation, thinking about the ‘set of instructions’ authors have provided child readers to respond to the problematic elements of the play (usury, religious and personal prejudice, mercenary marriages, homosexual attraction, cuckoldry). It tracks Tosi’s experience of translating/adapting the play and examines the narrative and ideological choices she made in her illustrated version (2015). The power of this story for children, Tosi argues, lies in its potential to ask questions relevant to their lives today.
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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.
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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.
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Malcolm, Noel. "The First Albanian Autobiography." In Rebels, Believers, Survivors, 255–73. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857297.003.0010.
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This essay presents a hitherto unknown work: the first autobiography ever written by an Albanian. It was composed in 1881–2 by a young man (born in 1861) called Lazër Tusha; he wrote it in Italian, and the manuscript has been preserved in an ecclesiastical archive in Italy. Tusha was the son of a prosperous tailor in the city of Shkodër, which was the administrative centre of the Catholic Church in Albania. He describes his childhood and early education, which gave him both a love of Italian culture and a strong desire to serve the Church; at his insistence, his father sent him to the Catholic seminary there, run by the Jesuits. He describes his disappointment on being obliged, after six years, to leave the seminary and resume lay life, and his failed attempts to become either a Jesuit or a Franciscan. Some aspects of these matters remain mysterious in his account. But much of this unfinished draft book is devoted to things other than purely personal narrative: Tusha writes in loving detail about customs, superstitions, clothes, the city of Shkodër, its market and the tailoring business. This is a very rich account of the life and world of an ordinary late-nineteenth-century Albanian—albeit an unusually thoughtful one, with some literary ambition.
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Margulies, Ivone. "Neorealist Reenactment as Postwar Pedagogy." In In Person, 37–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0003.
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This chapter examines the Italian cinema contexts for Cesare Zavattini’s radical reconception of the notion of the nonprofessional actor—that everyone acts his or her life on camera—during the waning of neorealism. Pedinamento, closely tracking an event, and film-lampo, the investigation film, are analyzed as a transition from neorealist precepts to a verité focus on named individuals who turn their lives into exemplary narratives. Episodes from Love in the City (1953)—Zavattini and Maselli’s The Story of Caterina and Antonioni’s Attempted Suicides—are analyzed in their articulation of narrative of self-revision. A complementary omnibus project We the Women (1953) on famous stars’ everyday existence suggests the ways early 1950s reenactment engages thematically with the star system (e.g., Guarini’s Contest: 4 Actresses; 1 Hope, Franciolini’s Alida Valli) and with questions of authenticity and theatricality. In-person reenactment leads to modern cinema hybrids mixing acting and self-presentation (e.g., Visconti’s take on Magnani, Rossellini’s on Bergman).
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Wells, Naomi. "Porteña Identity and Italianità: Language, Materiality and Transcultural Memory in Valparaíso’s Italian Community." In Transcultural Italies, 47–73. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622553.003.0003.
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Drawing primarily on the personal narratives of two self-identifying Italo-Chileans, Wells investigates the tangible and intangible traces of Italianness in the city of Valparaíso. The chapter explores the ways the cultural memory of language is interwoven with the embodied and material life of the city and its residents. By combining the analysis of public representations of Italianness with an ethnographic attention to quotidian practices, the chapter illustrates how Italianness has permeated a broader transcultural sense of Porteña identity and heritage.
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Meyer, Ronald. "Dostoevskii’s “White Nights”: The Dreamer Goes Abroad." In Border Crossing. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411424.003.0002.
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This chapter explores four versions of Dostoevskii’s 1848 story “White Nights,” whose nameless protagonist, referred to as the Dreamer, inspired many directors to transpose this early Dostoevskian short work into film. The focus is on four directors: Luchino Visconti, Robert Bresson, Sanjay Bhansali, and José Luis Guerín. As is argued in the chapter, each director takes a different approach to recontextualizing the first-person narrative in various locations, times, and cinematic traditions, ranging from Italian neo-realism and post-1968 Paris to Bollywood and Strasbourg. The author argues that the contemporary directors, Bhansali and Guerín take not only Dostoevskii’s story, but also, respectively, the earlier adaptations by Visconti and Bresson as their subtexts, thus forming a complex chain of intertextual connections.
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Graff, Rebecca S. "Embers from the House of Blazes: Fragments, Relics, Ruins of Chicago." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0013.
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Fragments imply a former whole, and ruins invoke a material landscape once cared for and conserved, now neglected. What meaning is conveyed when fragments of formerly whole structures—ruined or plundered as ‘relics’—are incorporated into new ones, devoid of prior context? Does an aesthetic appreciation for in situ ruins also relate to interest in their fragments? This tradition of, and fascination with, reusing and recontextualizing fragments of ruined structures spans the broad sweep of time from antiquity to the present day (see also Shanahan and Shanahan, Chapter 5). Rome’s Arch of Constantine (erected 315 CE) incorporated fragments from the arches of Hadrian and Marcus Aurelius, visually and materially connecting their collective glory to the new reign. Such reuse is found plentifully in indirect gestures, such as the Beaux-Arts municipal buildings of the United States that draw stylistic influences from classical antiquity, as reimagined in the Italian Renaissance and incorporated into the nineteenth-century architectural canon. Still other examples of direct reuse of fragments, such as architectural fragments from New York’s World Trade Center that have been incorporated into myriad 9/11 monuments, are often a way to commemorate the tragic circumstances that created such ruins, reminding us how the materiality of age, added by narrative and even literal labels, provides a space for nostalgic reminiscence or communion with an event that might be personally distant, though emotionally compelling just the same (see White and Seidenberg, Chapter 1, for discussion of a similar phenomenon in Berlin). Inspired by the increasing impact of contemporary archaeology on considerations of materiality, temporality, and erasure within archaeologically produced ‘present pasts’ (see Harrison et al. 2014), this essay focuses on two cases of creative reuse of fragmentary architectural and building materials in Chicago, one still extant, and the other no longer even a ruin. The first case, once made of ‘ruins’, has been demolished and, more significantly, erased: the Relic House, built in 1872 from ‘leavings’ of the 1871 Chicago Fire. Serving as a saloon, salon, and speakeasy until its demolition in 1929, the Relic House drew guests who wished to commune with the ‘ruins’ of the tragic fire in a space mediated by recreational consumption and novelty. One of these uses included a venue for the bohemian Dill Pickle Club, whose founder renamed the structure the ‘House of Blazes’, evoking its fabrication from Fire debris.
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"of reading and writing not only allowed for the rise of autobiographical dis-course, it also encouraged the development of interiority and the practice of communing with one’s own thoughts in private. At precisely this moment in the acculturation of individualism in England, the evangelical narrative of conversion can be discovered flourishing among a numerous laity. Commonplaces, biblical tropes and narrative conventions occur in evangelical autobiography but this is not hagiography, at least not usually. The emphasis again and again in stories such as that of Martha Claggett is that people were surprised to find that the gospel was for them personally. Martha Claggett discovered that the gospel was not merely about playing a role in a pre-determined world – through nominal adherence to the established church and participation in communal ritual – but that it had to do with a deeply personal story that could make sense of her fears in child-birth, her guilt for having contemplated abortion, her grief over her dead brother, her depression, her vanity, as well as her dreams and hopes. After John Wesley’s own conversion, he wrote with wonder that God had taken away, he writes, ‘my sins, even mine, and saved me from the law of sin and death’, and he put all these personal pronouns in italics in his journal." In The Rise of the Laity in Evangelical Protestantism, 90–91. Routledge, 2003. http://dx.doi.org/10.4324/9780203166505-43.
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