Academic literature on the topic 'Italian poetry'
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Journal articles on the topic "Italian poetry"
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Valentini, Jordi. "giovane poesia nella Svizzera italiana." Polisemie 2 (November 10, 2021): 159–75. http://dx.doi.org/10.31273/polisemie.v2.844.
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The article provides a broad overview of the poetry produced in Italian-speaking Switzerland over the past twenty years. The first part presents three channels of poetry dissemination (journals, editorial projects, and literary festivals) both within and outside the Swiss-Italian territory. The second part reflects on some critical readings of Swiss-Italian poetry and addresses the reasons why some forms of poetic writing have appeared later or to a lesser degree within the Swiss territory than they have in Italy, despite the two countries’ proximity. From this analysis, it is argued that the lack of strong counter styles in Swiss-Italian poetry has hindered the development of more mature and diverse forms of poetic expression. In the conclusion, it is argued that the non-use of digital resources for poetry production and dissemination in Italian-speaking Switzerland, as well as an often short-sighted cultural policy, are other important points to address in order to promote dialogue within and beyond the Swiss-Italian border. L’articolo fornisce una panoramica ampia della poesia prodotta nella Svizzera italiana negli ultimi vent’anni. La prima parte indaga tre principali canali di diffusione (riviste, case editrici, festival letterari) dentro e fuori il territorio della Svizzera italiana. La seconda parte riflette su alcune letture critiche della poesia nella Svizzera italiana e cerca di stabilire le ragioni per cui alcuni tipi di scrittura poetica siano giunti tardi o poco sul territorio svizzero rispetto all’Italia, nonostante la vicinanza tra i due paesi. Da questa analisi, si argomenta che la mancanza di controtendenze forti nella poesia nella Svizzera italiana abbia impedito lo svilupparsi di forme di espressione poetica più mature e diverse. In conclusione, si ritiene che il mancato uso di strumenti digitali per la produzione e la disseminazione della poesia nella Svizzera italiana, oltre che una politica culturale spesso poco lungimirante, siano temi importanti da affrontare per promuovere dialogo dentro e oltre il confine della Svizzera italiana. English title Young Poetry in Italian-speaking Switzerland. Publishing Strategies and Critical Readings
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Vinall, Shirley W., and Willard Bohn. "Italian Futurist Poetry." Modern Language Review 103, no. 2 (April 1, 2008): 560. http://dx.doi.org/10.2307/20467851.
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Ardeleanu, Sanda-Maria, and Cristina Ioniță. "The Reading Horizont of Adam Smith from the Perspective of His Italian Library." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 60. http://dx.doi.org/10.26417/ejls.v4i4.p60-66.
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The paper proposes understanding the reading interest in Italian of the thinker Adam Smith (1723-1790), author of the Theory of Moral Sentiments and of the Wealth of Nations from the perspective of the partial review of his library’s catalogue, with approximately 1,000 titles published in English, French, Italian, Greek and Latin. The list of books published in Italian, which Adam Smith purchased for his library and we assume he also read, since he quoted some, represent the Appendix of the present work. From his Italian library, 60 volumes were identified, published between 1547 (B. Castiglione, Il Cortegiano) and 1784 (32 volumes from Parnaso Italiano ovvero Raccolto de’ Poeti Classici Italiani). Just a few years before his death, the great admiror of Italian literature, assiduous reader of Italian poetry, drama, memoirs, correspondence, biographies, jurisprudence, economics, art and history (especially that of Venice and Florence) was still purchasing and reading books from the Italian states, a fact which sketches a personality with a profound cultural and humanities features.
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FELDMAN, R. "ON TRANSLATING ITALIAN POETRY." Forum for Modern Language Studies XXXIII, no. 1 (January 1, 1997): 3–16. http://dx.doi.org/10.1093/fmls/xxxiii.1.3.
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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.
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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.
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Ripa, Valentina. "Omaggio a Joan Vinyoli." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, no. 5 (June 12, 2015): 305. http://dx.doi.org/10.7203/scripta.5.6377.
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Riassunto: In continuità con l’omaggio a Joan Vinyoli organizzato a Roma nel 2014, si propongono le traduzioni in italiano di alcuni suoi componimenti, con testo a fronte. Parole chiave: Joan Vinyoli, traduzione dal catalano all’italiano, poesia catalana del Novecento. Abstract: In continuity with the Joan Vinyoli Tribute organized in Rome in December 2014, I propose the translation from Catalan to Italian of some of his poems. Keywords: Joan Vinyoli, translation from Catalan to Italian, twentieth-century Catalan poetry.
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Paraíso, Isabel. "Dísticos elegíacos en Carducci (“Nevicata”, Odi Barbare, II)." Rhythmica. Revista Española de Métrica Comparada, no. 16 (February 20, 2019): 149. http://dx.doi.org/10.5944/rhythmica.23926.
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Las Odi Barbare de Giosuè Carducciconstituyen un hito mundial en la poesía que imita las formasmétricas grecolatinas, tanto por su altura poética como porsu precisión técnica. Carducci sortea el insoluble problemade trasvasar los esquemas cuantitativos clásicos medianteel sistema acentual italiano y la reproducción rítmica delmodelo. Dentro de los 55 textos que componen las OdiBarbare, hemos escogido, para su traducción y exégesis,el poema “Nevicata”. Está escrito en dísticos elegíacosgriegos, canónicamente compuestos por un hexámetro yun pentámetro. Con su métrica clasicista, Carducci renuevala poesía italiana moderna, y se convierte en referenciapermanente para la poesía occidental.Giosuè Carducci’s Odi Barbare is aparamount reference for modern poetry in the Westernworld. Their technical perfection and their poetic excellencegrant them a leading place among poems which imitateclassical versification. As it is impossible to use long andshort syllables in modern languages to reproduce Greekand Roman schemes of poetry, Carducci employs a blendof stressed and unstressed syllables to imitate the rhythmof his models. From the 55 Odi Barbare, we have selected“Nevicata” to be translated and studied. Its pattern is Greekelegiac couplet (or distich), composed of a hexameter anda pentameter. Odi Barbare by Carducci stimulates andinnovates the modern Italian poetry. It becomes a permanentreference for poetry in our Western culture.
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Hainsworth (book editor), Peter, Emmanuela Tandello (book editor), and Antonio Franceschetti (review author). "Italian poetry since 1956. The Italianist." Quaderni d'italianistica 17, no. 2 (October 1, 1996): 159–60. http://dx.doi.org/10.33137/q.i..v17i2.10315.
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Vitti-Alexander, Maria Rosaria, John Picchione, and Lawrence R. Smith. "Twentieth-Century Italian Poetry: An Anthology." Modern Language Journal 78, no. 3 (1994): 402. http://dx.doi.org/10.2307/330138.
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Hainsworth, Peter, Alessandro Gentili, and Catherine O'Brien. "The Green Flame: Contemporary Italian Poetry." Modern Language Review 84, no. 2 (April 1989): 493. http://dx.doi.org/10.2307/3731631.
Full textDissertations / Theses on the topic "Italian poetry"
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Gaunt, Bethany Sarah Gaunt. "Poetry after Auschwitz : an Italian perspective." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10055775/.
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This thesis offers a critical engagement with poetry about Auschwitz in all its various permutations, addressing issues such as why poetry is a particularly valuable form of Holocaust expression, and why different social groups have historically chosen to, and continue to, write poetry about Auschwitz. Adopting an analytical approach, this work foregrounds the poetical works themselves, in order to demonstrate how poetry facilitates an engagement with the past, for both the writer and reader (or indeed, singer and listener). Beginning with the work of those who experienced the Nazi camps first-hand, chapter one discusses the poetry of two survivors, Edith Bruck (b. 1932) and Primo Levi (1919-1987), identifying three driving motivations behind survivor-writing: to memorialise, to inform and to assist in the writer’s cathartic rehabilitation after Auschwitz. The second chapter offers a comparative analysis of two poems by Salvatore Quasimodo (1901-1968) and two of Francesco Guccini's (b. 1940) canzoni d'autore, exploring how these two artists introduced Auschwitz into their respective genres, and how they interpreted and enacted what they perceived as art's post-Holocaust imperative: to rebuild mankind. Chapter three engages with Italian translations of Paul Celan's (1920-1970) famous 'Todesfuge', exploring the significance of translators in the dissemination of Holocaust writing, and their role as expert intermediate readers. The chapter champions reading multiple translations in parallel, and demonstrates the ways in which different translators foreground different elements of the original work. Finally, chapter four offers an assessment of online poetry about Auschwitz. By focusing on Italian poetry website “Scrivere” and the work of Giorgia Spurio (b. 1986), this chapter discusses the democratisation of art online, the extra-textual possibilities the internet offers, and how these contemporary poems build upon previous Holocaust poems, perpetuating the poetical discussion of the Holocaust for a new generation of readers.
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Berisso, Marco. "La raccolta dei poeti perugini del Vat. Barberiniano Lat. 4036 storia della tradizione e cultura poetica di una scuola trecentesca /." Firenze : L.S. Olschki, 2000. http://catalog.hathitrust.org/api/volumes/oclc/44135461.html.
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Zuccato, Edoardo. "Coleridge's Italian background." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306368.
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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.
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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.
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Figueredo, Dheisson Ribeiro. "Trieste e a poética da vida: proposta de tradução de poemas de Umberto Saba." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-31072017-145512/.
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Esta pesquisa surgiu do anseio de ampliar a presença da poesia de Umberto Saba no Brasil. Decidimos, por isso, selecionar e traduzir alguns de seus poemas, usando como critério de escolha o estudo da obra poética do triestino a partir da abordagem mais frequente: a relação entre o sujeito lírico e a cidade de Trieste. Escolhemos esse recorte porque acreditamos que ele possibilita fornecer uma visão abrangente da obra do autor, haja vista que, a partir dessa relação, muitas outras questões importantes para a compreensão de sua poesia podem ser estudadas, em especial aquelas questões engendradas no que denominamos de poética da vida. Com a expressão poética da vida, buscamos evidenciar uma tendência perceptível na poesia de Saba: a abertura para o que ele denomina de calda vita (vida quente), a vida percebida em toda a sua variedade, incluindo os momentos de dor e sofrimento. Nesse percurso, estudamos a relação sujeito/cidade tendo como norte a interpenetração entre a interioridade do sujeito e a matéria do mundo e, a partir daí, estabelecemos a comparação entre alguns traços da poética de Saba e de Baudelaire, mas também de Pascoli, Leopardi e dos Crepusculares. Tratamos também da temática do olhar, do desejo, das pulsões e da memória, as quais perpassam a relação sujeito/cidade. Abordamos ainda os principais aspectos formais que caracterizam a poesia do triestino, como, entre outros, a narratividade e o prosaísmo, os quais estão ligados ao que a crítica denomina realismo de Saba (a representação de cenas, fatos e personagens do cotidiano).This research arose out of the will of spreading the presence of Umberto Sabas poetry in Brazil. We decided, thus, to select and translate some of his poems, using as a choice criterion the study of the poetical work of the italian poet out of the most frequent approach: the relation between his poetic persona and the city of Trieste. We have chosen this framing because we believe it enables a more embracing view of the work of the writer, since, from that relation, we can study many other important questions that may guide us to the comprehension of his poetry, specially those questions engendered in what we name here poetic of the life. With the expression poetic of the life, we seek to make a trend in Sabas poetry more evident: the openness to what he calls calda vita (warm life), the life realized in all its variety, including those moments of suffer and pain. In such path, we study the relation subject/city having as a north the interrelationship between the inner subject and the world matter, and from then, we establish a comparison among some features of Sabas and Baudelaires poetry, but also Pascolis, Leopardis and the Crepusculares. We also talk about the theme of the visual sense, of the desire, drives and memory, which are intertwined in the relation self/city. We talk, moreover, about the main formal aspects that characterize the poetry of the Italian, as, among others, the narrativity and the prosaicism, which are connected to what the critics call Sabas realism (the representation of scenes, facts and daily characters.)
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COLONNA, VALENTINA. ""Voices of Italian Poets". Analisi fonetica e storia della lettura della poesia italiana dagli anni Sessanta a oggi." Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1041229.
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Questa tesi presenta uno studio pilota sulla lettura della poesia italiana, utilizzando gli strumenti della fonetica sperimentale. Lo scopo principale di questo lavoro è quello di fornire una prima proposta metodologica di indagine, individuando gli elementi più caratterizzanti della voce poetica. La prima parte fornisce un'introduzione teorica dedicata al tema della musica della poesia, presentando anche un primo stato dell’arte degli studi sperimentali su questo tema. La seconda parte introduce il progetto e l’archivio di “VIP-Voice of Italian Poets”, dedicato alla conservazione e allo studio delle registrazioni di poeti italiani. Nella terza parte, infine, viene sviluppato uno specifico sistema di studio, applicato alle letture di autori italiani dagli anni Sessanta a oggi. Si propone una periodizzazione in tre parti, al fine di delineare una prima "Storia della lettura della poesia italiana", impiegando un approccio qualitativo e quantitativo/comparativo. Inoltre, sono indagati i tratti comuni e distintivi tra più letture di una stessa poesia e, infine, viene testata la percezione della poesia su più livelli. Lo studio rivela la preziosità di informazioni che offre quest’area di ricerca ancora poco esplorata e la ricchezza del patrimonio storico della lettura della poesia Italiana degli ultimi decenni.This dissertation is a pilot study of Italian poetry reading through the use of experimental Phonetics. The main purpose of this study is to provide a first methodological proposal for investigation, identifying the characterizing elements of the poetic voice. The first part offers a theoretical introduction to the music of poetry and presents a literature review of experimental studies on this topic. The second part introduces the project and the archive of VIP-Voice of Italian Poets, which is dedicated to the study of the recordings of Italian poets. Finally, the third part develops a specific system to study the readings of Italian authors from the 1960s to the present. It proposes a periodization in three parts to outline a first “History of Italian poetry reading”, using a qualitative and a quantitative/comparative approach. In addition, common and distinct traits among many readings of the same poem are investigated, as well as the perception of poetry, tested on several levels. This study sheds light on the many, yet relatively unexplored, layers and rich historical heritage of Italian poetry reading of the last decades.
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Silva, Valmir Luis Saldanha. "O mal de viver na poesia de Luigi Pirandello /." Araraquara, 2016. http://hdl.handle.net/11449/141530.
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Orientador: Sérgio MauroBanca: Ivair Carlos Castelan
Banca: Alfredo Bossi
Resumo: O autor Luigi Pirandello (1867-1936) é, sem dúvidas, um dos mais importantes escritores da passagem do século XIX para o século XX. Já tendo sido reconhecido pela crítica por suas inovações teatrais e suas boas construções em prosa, resolvemos colocar a poesia como centro de nossa investigação. Desmentindo o que certa crítica apressada propagou nos últimos tempos, demonstramos que a poesia de Pirandello não se limitou ao início de seu trabalho literário, mas acabou se fazendo presente em praticamente toda a carreira do escritor. Assim, empenhamo-nos em demonstrar que já nas poesias juvenis do autor um mesmo obsessivo tema lhe aparecia como constituinte principal de sua literatura, o "male di vivere", a que denominaremos mal de viver. Essa transição de gêneros não é, de modo algum, destituída de senso estético próprio do autor siciliano, ao contrário, ela denuncia a visão de mundo que suas obras contemplam. Para tanto, dissecamos o mal triste de viver que escapa dos textos de Pirandello, de tal forma a descolá-lo do momento histórico a que está preso e materializá-lo como conceito teórico, filosófico e antifilosófico dentro da poesia do autor siciliano, mas também demonstrando várias ramificações na obra de Pirandello como um todo. Seguimos, para isso, as lições de De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre O existencialismo é um humanismo (1970) e empenhamo-nos em tr... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The author Luigi Pirandello (1867-1936) is undoubtedly one of the most important writers of the late nineteenth century to the twentieth century. Having already been recognized by critics for his theatrical innovations and their good buildings in prose, we decided to put poetry at the center of our research. Denying what certain hurried criticism spread in recent times, we will demonstrate that the poetry of Pirandello was not limited to the beginning of his literary work, but ended up doing this in virtually all the writer's career. Thus, we strive to show that already in youth poetry of the author the same obsessive theme appeared to him as the main constituent of your own literature, the "male di vivere" that will call evil of live (mal de viver). This transition of genres is not, in any way, devoid of own aesthetic sense of the Sicilian author, instead, it denounces the subject view of the world that his works include. Therefore, we dissect the evil of life that is contained in Pirandello's work to remove it from the historical moment that is trapped and materialize it as theoretical, philosophical and unphilosophical concepts within the Sicilian author poetry, but also demonstrating several branches in the work of Pirandello as a whole. We continue to do so, the lessons of De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre, O existencialismo é um humanismo (1970), and w... (Complete abstract click electronic access below)
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Aloè, Carla. "The New World mythology in Italian epic poetry, 1492-1650." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7013/.
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My thesis explores the construction of the New World mythology as it appears in early modern Italian epic poems. It focuses on how Italian writers engage with and contribute to this process of myth-creation; how the newly created mythology relates to the political, social and cultural context of the time; and investigates extent to which it was affected by the personal agendas of the poets. By analysing three New World myths (Brazilian Amazons, Patagonian giants and Canadian pygmies), it provides insights into the perception that Italians had of the newly discovered lands in the Sixteenth and Seventeenth Centuries, as well as providing a greater understanding of the role that early modern Italy had in the ‘invention’ of the Americas. Italian epic poets domesticated New World myths for their own purposes, using written, visual and material sources as an anchor for their agendas. The study of these myths changes, in some cases completely, our reading of the poems. New World myths are at once an exercise in ekphrasis of the maps, cartouches, engravings and collectible objects they derived from, and a record of the impact the Americas had on the early modern Italians.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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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.
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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.
Books on the topic "Italian poetry"
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Gayle, Ridinger, and Renello Gian Paolo, eds. Italian poetry, 1950-1990. Boston: Dante University of America Press, 1996.
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Luciano, Rebay, ed. Introduction to Italian poetry. New York: Dover Publications, 1991.
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1942-, Hainsworth Peter, and Tandello Emmanuela, eds. Italian poetry since 1956. Reading: University of Reading, 1995.
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Peterson, Thomas E. The rose in contemporary Italian poetry. Gainesville: University Press of Florida, 2000.
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1949-, Picchione John, and Smith Lawrence R. 1945-, eds. Twentieth-century Italian poetry: An anthology. Toronto: University of Toronto Press, 1993.
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Calabrese, Agatino Zurria. Le poesie del nonno: Antología poética dialettale siciliana. Maracaibo, Zulia, Venezuela: Maracaibo-Edo., 1998.
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Ferdinando, Alfonsi, ed. Poeti italo-americani e italo-canadesi: Antologia = Italo-American and Italo-Canadian poets. Catanzaro: Carello, 1994.
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Gibbs, Marion E. (Marion Elizabeth), 1940- and McConnell Winder, eds. Der Welsche Gast =: The Italian guest. Kalamazoo, Mich: Medieval Institute Publications, 2009.
Find full textBook chapters on the topic "Italian poetry"
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Patti, Emanuela. "Italian Net Poetry." In The Routledge Companion to Literary Media, 233–43. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003119739-22.
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Di Martino, Simona. "Gothic Poetry." In Italian Gothic, edited by Marco Malvestio and Stefano Serafini, 107–22. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474490160.003.0008.
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This chapter outlines the rise and the development of an autochthonous strain of Italian sepulchral poetry and the employment of Gothic themes in the late eighteenth century. It emphasises the complex imagery that will provide nineteenth-century popular literature with a set of macabre and deathly motifs contributing to the creation of a Gothic writing. Scholarship has traditionally considered eighteenth-century Italian sepulchral poetry as derivative from foreign models, primarily focusing on the influence of British ‘graveyard poetry’. However, the chapter investigates the largely autochthonous roots of Italian sepulchral poetry (e.g. Dante’s works, religious texts, Christian eulogy) as well as the specificity of the ways Italian literature deals with what Julia Kristeva calls the ‘abjection’ of death (e.g. from a Classical viewpoint) through thematic close readings of selected texts. Therefore, this contribution provides a gallery of poetical deathly images like horrific depictions of dead bodies, corpses, and visions of one’s own death.
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Di Martino, Simona. "Chapter 7 Gothic Poetry." In Italian Gothic, 105–22. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781474490184-009.
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"Poetry." In The Cambridge History of Italian Literature, 5–27. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521434928.003.
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"Introduction." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-001.
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"F.T. Marinetti." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-002.
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"Enrico Cavacchioli." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-003.
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"Aldo Palazzeschi." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-004.
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"Corrado Govoni." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-005.
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"Luciano Folgore." In Italian Futurist Poetry, edited by Willard Bohn. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676336-006.
Full textConference papers on the topic "Italian poetry"
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Luzzi, Cecilia. "ManUScript Italian poEtry in muSic (1500-1700) interoperable model." In the 1st International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660168.2660189.
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Delmonte, Rodolfo, and Nicolò Busetto. "Word Predictability is Based on Context - and/or Frequency." In 8th International Conference on Artificial Intelligence and Applications (AI 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.121818.
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In this paper we present an experiment carried out with BERT on a small number of Italian sentences taken from two domains: newspapers and poetry domain. They represent two levels of increasing difficulty in the possibility to predict the masked word that we intended to test. The experiment is organized on the hypothesis of increasing difficulty in predictability at the three levels of linguistic complexity that we intend to monitor: lexical, syntactic and semantic level. To test this hypothesis we alternate canonical and non-canonical versions of the same sentence before processing them with the same DL model. The result shows that DL models are highly sensitive to presence of non-canonical structures and to local non-literal meaning compositional effect. However, DL are also very sensitive to word frequency by predicting preferentially function vs content words, collocates vs infrequent word phrases. To measure differences in performance we created a linguistically based “predictability parameter” which is highly correlated with a cosine based classification but produces better distinctions between classes.
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Oliveira Júnior, Hélio Batista de. "Arte da fuga: as guerras, as dores e os traumas gerados no corpo." In Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4527.
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Com a efervescência do Manifesto Futurista Italiano (1909), de Marinetti em Paris, vários artistas e poetas em seus guetos buscaram romper através da leitura de manifestos/poesias com as tradições europeias da pintura, escultura e representação. Obtendo experimentações das vanguardas europeias do século 20, o corpo ganha um espaço e passa a ser trabalhado no hapenning, na arte corporal chegando na performance.
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Maia, Pedro, and Raul Pinto. "Original-Copy: ideation for a lampshade inspired by nature." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003545.
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The following article looks at nature as a cultural pre-set narrative (or set of narratives) and reflects on how it can influence the design process to achieve a concrete result - a product. It describes an ongoing process that intersects intangible (behaviours) and tangible (matter) expressions of nature with the concept of Original-Copy, as the conceptual framework to develop and materialize a lampshade.The inclusion of behaviour patterns presents poetic and imaginative properties to trigger the conceptual phase of a project, while biomatter was chosen to physically materialize the ideas. In this context, the Original-Copy concept works as the archetype on which a new product can be based.The aforementioned approach has been applied and developed through a workshop, which intends to join the three concepts referred to above: behaviours, matter and original-copy.Firstly, a taxonomy of animals´ seduction rituals and courtship behaviours has been developed, which includes various criteria of classification, such as duration, triggers, interaction, or intensity. This taxonomy works as the catalyst of the workshop, to promote imagination and disruption in the design process.In this challenge, the shape of the object is predetermined by an original form (an archetype), in this case, the renowned Constanza lampshade, produced by the Italian brand Luceplan. The poetic dimension is induced by the attempt of translating the patterns of animal mating rituals described in the taxonomy into the characteristics of the biomaterial. The final objective was for the participants to express themselves through the physical dimension (texture, opacity, smell, touch, taste, bias) of created materials, inspired by animal behaviours, and use it to create the reinterpretation of the pre-existing form of the Constanza lampshade.After explaining the workshop methodology, the article presents the main ideas generated. Selected behaviours and the way of their application, composition of the created biomaterials used to materialize the ideas, as well as the final outcomes are described.An important part of the article is the report on the failed attempts of creating the materials and constructing the lampshades, their causes and the impact on the whole process.In the future, further evaluation and development of the proposed approach are anticipated, through the described workshops in different social and geographic contexts. It is awaited the possible creation of collections of other design classics lampshades, based on distinct triggers, for example on endogenous resources, emphasizing different ways how nature can influence design.
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Herrero García, Roberto. "Lo que fue y lo que será. Un proyecto artístico sobre el fin de la cultura campesina a través de la obra poética de Pier Paolo Pasolini." In VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. València: Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.17852.
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En 1975, el mismo año de su asesinato, el cineasta y poeta Pier Paolo Pasolini publicó su poemario La nuova gioventù. Escrito mezclando el italiano con la lengua campesina friulana, este libro era un reflejo de las problemáticas que más obsesionaban a su autor en ese momento. En concreto, el tema central de esta obra era el cambio antropológico que se estaba gestando a raíz de los grandes éxodos rurales. Después de catorce mil años de existencia, aseguraba Pasolini, la clase campesina había desaparecido prácticamente de golpe. El resultado de todo ello era la erradicación de la cultura comunal propia del mundo labriego, así como la imposición de un único estilo de vida basado en el consumo capitalista. Las composiciones de La nuova gioventù, lejos de ofrecer un mero diagnóstico de esta situación, pretendían ser un programa de acciones con el que revertir dicho acto de eliminación histórica. A punto de cumplirse medio siglo de la redacción de los poemas de Pasolini, su lectura resulta casi tan actual como en el momento de su publicación. En los últimos años, un gran número de creadores y creadoras se están interesando por rescatar la memoria de las diásporas rurales. Se multiplican los libros, películas o producciones artísticas que exploran el mismo imaginario que La nuova gioventù. A ello se añade, además, que las consecuencias de la desaparición de los modos de vida campesinos son cada vez más evidentes. Ahí están, por ejemplo, la crisis ecológica, la homogeneización de las diferencias culturales o el fin del pensamiento utópico. A partir del proyecto artístico Lo que fue y lo que será, un trabajo sobre La nuova gioventù que estoy realizando en estos mismos momentos, esta ponencia explora cuáles son las posibilidades de reactivar en el presente el programa político propuesto por Pasolini.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.