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Journal articles on the topic 'Italian poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.

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11

Licata, Laura Baffoni, and Thomas E. Peterson. "The Rose in Contemporary Italian Poetry." Italica 79, no. 2 (2002): 270. http://dx.doi.org/10.2307/3656007.

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12

Vinall, Shirley W. "Italian Futurist Poetry by Willard Bohn." Modern Language Review 103, no. 2 (2008): 560–61. http://dx.doi.org/10.1353/mlr.2008.0280.

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13

Płaszczewska, Olga. "The Italian translations of Norwid’s poetry." Studia Norwidiana 36 English Version (2018): 151–75. http://dx.doi.org/10.18290/sn.2018.36-6en.

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14

Jewell, Keala, Alessandro Gentili, and Catherine O'Brien. "The Green Flame: Contemporary Italian Poetry." Italica 67, no. 2 (1990): 238. http://dx.doi.org/10.2307/478605.

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15

Carle, Barbara, John Picchione, and Lawrence R. Smith. "Twentieth-Century Italian Poetry: An Anthology." Italica 72, no. 3 (1995): 419. http://dx.doi.org/10.2307/479743.

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16

Sălișteanu, Oana. "Translate Italian baroque poetry into Romanian." Translationes 15, no. 1 (December 1, 2023): 27–37. http://dx.doi.org/10.2478/tran-2023-0002.

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Abstract The paper illustrates the Romanian solutions in translating Italian baroque poetry represented by Giambattista Marino and his XVII century followers: redundancy, enumeration, mythological allusions, extravagant concettos, syntactic puzzles and the restrictions imposed by the hendecasyllable.

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17

Peterle, Patricia. "Apontamentos sobre o percurso de São Francisco: uma revisitação pasoliniana." Revista do Centro de Estudos Portugueses 29, no. 42 (December 31, 2009): 89. http://dx.doi.org/10.17851/2359-0076.29.42.89-105.

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<p>São Francisco é considerado um dos primeiros autores da literatura italiana. A poesia religiosa, inaugurada por ele na Úmbria, mais tarde atravessará o território italiano com outros adeptos como Jacopone da Todi. A experiência franciscana é emblemática pelos valores propostos e pela idéia de recusa ali contida. Aspectos que a tornam atual no século XX, sendo recuperada e “transformada” por intelectuais como Pier Paolo Pasolini e José Saramago.</p> <p>San Francisco is considered one of the first authors in Italian Literature. The religious poetry, inaugurated by him in Umbria, later cross the italian territory with others adepts as Jacopone da Todi. The Franciscan experience is emblematic because of the proposed values and because of the idea of refusal contained in it. Aspects that made the all experience actual in the XX century, being recupered and “transformed” by intellectuals as Pier Paolo Pasolini and José Saramago.</p>

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18

Reis, Rafael Vidal dos. "A interculturalidade entre a literatura italiana do Duecento e a literatura árabe-siciliana do Emirado da Sicília." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 19. http://dx.doi.org/10.12957/italianouerj.2021.62147.

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RESUMO: Neste artigo, busca-se apresentar e confirmar as seis marcas da literatura e da cultura árabe, do período do Emirado da Sicília para o nascimento da literatura italiana no Duecento, período que remete a Scuola Siciliana. Os objetivos são comprovar a inserção das seis marcas utilizadas por Ibn Hamdis, mas que a partir do processo de interculturalidade e transferência cultural, e a adoção dos seus conceitos foi possível comprovar as contribuições/heranças árabes para o nascimento da Literatura Italiana, além de refutar a hipótese de que a poesia lírica amorosa ter sido originada da Literatura Provençal, assim como, colocar a Literatura Árabe Clássica no mesmo pé de igualdade das Literaturas Clássicas: Grega e Latina para a fundação da Literatura Italiana no mapa literário.Palavras-Chave: Poesia Lírica. Poesia Sarcástica. Scuola Siciliana. Duecento. Interculturalidade. ABSTRACT: In questo articolo cerca di presentare e confermare le sei marche della Letteratura e Cultura Araba nel periodo dell’Emirato di Sicilia per il nascimento della Letteratura Italiana nel Duecento, periodo che fa riferimento alla Scuola Siciliana. Gli obbiettivi sono verificare le inserzioni delle sei marche usati per Ibn Hamdis, ma che attraverso del processo d’interculturalità e di trasferimento culturale ed adozione dei suoi concetti fu possibile dimostrare i contributi arabi per il nascimento della Letteratura Italiana, oltre di rifiutare l’ipotesi di che la poesia lirica amorosa fu originata della Letteratura Provenzale, così come a mettere la Letteratura Classica Araba nella stessa egualità delle Letterature Classiche: Greca e Latina per la fondazione della Letteratura Italiana nel cammino letterario.Parole-Chiave: Poesia Lirica. Poesia Sarcastica. Scuola Siciliana. Duecento. Interculturalità. ABSTRACT: In this article, we will intend to present and confirm the six signatures of Arab literature and culture, from the Sicily emirate to the birth of the Italian Literature during the Duecento, the age of Scuola Siciliana. Our main goal is to prove the insertion of the six signatures used by Ibn Hamdis. Through the process of interculturality and cultural transfer as well as the adoption of his concepts, it was possible to inform the Arab contributions and heritages tot the birth of Italian literature; on the other side, we want to refute the hypothesis that the lyric poetry had its origin in the Provençal poetry. Furthermore, we intend to match the Classical Arab literature with Greek and Latin literatures regarding of the foundation of Italian literature in the studies of literature.Keywords: Lyric poetry. Satirical poetry. Scuola Siciliana. Duecento. interculturality.

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19

BELAVINA, E. "NUOVA POESIA ITALIANA DAL 1980 A OGGI. NEW ITALIAN POETRY FROM 1980 TO THE PRESENT DAY. МOSCOW, 2023. 295 P." Lomonosov Journal of Philology, no. 2, 2024 (June 16, 2024): 261–65. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-21.

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In 2023, a unique non-commercial edition was published in Moscow by the Italian Institute of Culture: the most extensive bilingual anthology of Italian poetry of the recent period. The book includes selections by 17 poets, and their performances could be heard during the Italian Culture Week in May 2021, held at the Rudomino Library of Foreign Literature. The book includes selections of texts published in 1985-2022 in translations by E. Solonovich, V. Kazartseva and the staff of the Institute of Italian Culture. The foreword by D. Rizzi, Director of the IIC, gives a holistic view of the book and the process of its creation. The article by the influential Italian scholar A. Afribo Traits and Faces of New Italian Poetry (translated by A. Yampolskaya) helps the reader to navigate the variety of poetic voices presented.

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20

Toroš, Ana. "Slovene-Friulian-Italian Literary Connections at the Beginning of the 20th Century: The Case of Alojz Gradnik and Select Friulian and Italian authors." Interlitteraria 22, no. 2 (January 16, 2018): 386. http://dx.doi.org/10.12697/il.2017.22.2.15.

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Based on the case of Alojz Gradnik (1882–1967), this article deals with previously unresearched Slovene-Friulian-Italian literary connections that occurred during the last years of the Austro-Hungarian Empire and the first years after WWI along the border of today’s Slovenia (Goriška Brda) and Italy (the region of Friuli-Venezia Giulia: the Provinces of Gorizia, Udine and Trieste). The article highlights the parallels in motifs, themes, ideas and form, as well as the connections between Alojz Gradnik and select Friulian and Italian authors from this region. These links are the consequence of living in a joint cultural space and Gradnik’s Friulian family ties, especially with his cousin Maria Samer. The research uncovers certain differences in motifs, themes and ideas stemming from different national identities. Gradnik’s poetry is closest to Friulian lyrical poetry in their descriptions and experiences of a rural setting, predominantly the deep bond felt between the farming people and native land coupled with their terrible social strife. Gradnik and his contemporary Friulian authors also coincide in works with a nationalist theme – on the threshold of WWI both Slovene and Friulian authors infused their work with their personal vision for the future of their own community. They shared a negative literary depiction of the Austro-Hungarian Empire, and the wish to secure a better economic future, to protect and solidify their cultural heritage. Gradnik’s poetry and that of the contemporary Italian (irredentist) authors share a similar literary technique that depicted the national identities of today’s border between Italy and Slovenia; they were ideologically opposed however: while the Italians depicted the Italian view of the region, Gradnik highlights the presence of a Slavic element within the region.

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21

Jennings, Lauren. "Defining Italianness: Poetry, Music and the Construction of National Identity in Nineteenth- and Twentieth-Century Accounts of the Medieval Italian Lyric Tradition." Journal of the Royal Musical Association 142, no. 2 (2017): 257–76. http://dx.doi.org/10.1080/02690403.2017.1361173.

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ABSTRACTThis article explores the role of music in nineteenth- and twentieth-century accounts of medieval Italian literature and its relation to the construction of Italian national identity both during and long after the Risorgimento. Tracing music's role in the writings of Giosuè Carducci, Vincenzo De Bartholomaeis and Aurelio Roncaglia, it argues that music somewhat paradoxically became entangled with Italy's literary identity even as scholars worked to extricate the peninsula's most renowned poetry from its grasp. In the realm of ‘popular’ poetry, Italianness depends on the presence of music, which serves as a marker of that poetry's popular origins. In contrast, music's absence from the realm of ‘high-art’ poetry was essential to the construction of an Italian tradition independent of and superior to its French and Provençal predecessors.

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22

Kay, Miriam. "La metempsicosi del viandante: percorsi lessicali e topica sepolcrale, dagli epigrammi greci alla lirica italiana." Caietele Echinox 44 (June 1, 2023): 97–112. http://dx.doi.org/10.24193/cechinox.2023.44.06.

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In ancient times, the theme of the wanderer was prominent among the topoi of sepulchral poetry. The literary shift from ancient epigraphs to sepulchral epigrams contained in Alexandrian syllogies caused a progressive change in the use of such themes, which eventually morphed into sepulchral motifs which are recognizable in lyric poetry even centuries later. Through an anthological selection of Italian poems, the aim is to investigate the presence of the wanderer in Italian lyric poetry, as well as the transformations which progressively redefined this figure’s memorial function and its ambiguous location between the world of the living and of the dead.

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23

Crocco, Claudia. "poesie italiane di questi anni (2005-2020)." Polisemie 2 (September 24, 2021): 75–111. http://dx.doi.org/10.31273/polisemie.v2.842.

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The article proposes to make an assessment of recurring features of Italian contemporary poetry during the first twenty years of the 21st century. Five tendencies are here analysed: 1) the representation of subjectivities different from that of the authorial self; 2) deflation and expansion of the poetic self; 3) short poem; 4) installation poetry; 5) poetry in prose. Among these tendencies the first three will be more thoroughly investigated. L'articolo si propone di fare un bilancio delle caratteristiche ricorrenti nella poesia contemporanea italiana dei primi vent’anni del ventunesimo secolo. Vengono considerate cinque tendenze: 1) rappresentazione di soggettività distinte da quella dell'io autoriale; 2) deflazione o espansione dell'io poetico; 3) poemetto; 4) poesia installativa; 5) poesia in prosa. Fra queste, nell'articolo vengono approfondite in particolare le prime tre tendenze.

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24

Niero, Alessandro. "THE GREAT ABSENTEE: NOTES ON THE ITALIAN RECEPTION OF TWENTIETH-CENTURY RUSSIAN POETRY FOR CHILDREN." Children's Readings: Studies in Children's Literature 21, no. 1 (2022): 136–53. http://dx.doi.org/10.31860/2304-5817-2022-1-21-136-153.

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The article offers a review of 20 th century Russian children’s poetry translated into Italian. Despite the fact that Russia can boast a great tradition of children’s literature in verse, the number of existing Italian translations is not very large and the authors translated are only some happy few. They are Vladimir Mayakovskiy, Osip Mandel’shtam, Boris Pasternak, Korney Chukovskiy and Samuil Marshak. Their not very many texts have mostly appeared for little publishers with scarce circulation. Attention to formal aspects has also not always been impeccable, and no Italian poet has systematically devoted himself to elaborate Italian versions that could aspire to true aesthetic autonomy. This is why, in spite of some notable translations in recent times, we must continue to speak of Russian poetry for children as the great absentee on the Italian cultural scene.

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25

Woodhouse, J. R., and Patrick Boyde. "Night Thoughts on Italian Poetry and Art." Modern Language Review 81, no. 2 (April 1986): 505. http://dx.doi.org/10.2307/3729773.

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26

Lindon, John, and Deirdre O'Grady. "Alexander Pope and Eighteenth-Century Italian Poetry." Modern Language Review 85, no. 1 (January 1990): 213. http://dx.doi.org/10.2307/3732870.

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27

Golovchenko, I. F. "THE “ITALIAN CYCLE” IN NIKOLAI GUMILEV’S POETRY." RUDN Journal of Studies in Literature and Journalism 22, no. 1 (2017): 28–35. http://dx.doi.org/10.22363/2312-9220-2017-22-1-28-35.

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28

Vitiello, Justin. "Translating the Contemporaneity of Neodialect Italian Poetry." Forum Italicum: A Journal of Italian Studies 35, no. 2 (September 2001): 498–506. http://dx.doi.org/10.1177/001458580103500213.

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29

Gialdroni, Michele. "ENTRE O BOSCO PARRASIO E OS PENHASCOS DO ITACOLOMI. PRESENÇA DA LÍNGUA ITALIANA NO ARCADISMO BRASILEIRO." O Eixo e a Roda: Revista de Literatura Brasileira 31, no. 2 (September 8, 2022): 92. http://dx.doi.org/10.17851/2358-9787.31.2.92-107.

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Resumo: O artigo surge de uma ampla pesquisa bibliográfica sobre a presença da língua e da cultura italianas na época do arcadismo mineiro, com especial foco nas tendências mais modernas da literatura italiana no século XVIII. A investigação se direciona a uma interpretação da significativa presença de poemas em língua italiana nas Obras de Cláudio Manuel da Costa e da experiência da Arcádia Ultramarina no contexto cultural e político de Vila Rica. Fundamentais para esta interpretação são os trabalhos de Monica Ferrando sobre o sentido político da tradição arcádica e os estudos de Cláudio Versiani dos Anjos sobre a história editorial das Obras. O resultado desta releitura da fase crucial da Arcádia Ultramarina em 1768 leva a reconsiderar o papel fundamental de Basílio da Gama quanto ao vínculo com a cultura italiana, filtrada pelo academicismo romano, e ao uso da língua italiana no contexto do arcadismo mineiro.Palavras-chave: Arcadismo; Arcádia Ultramarina; poesia do século XVIII; Cláudio Manuel Da Costa; Basílio Da Gama; Metastasio; Vila Rica; Inconfidência.Abstract: This paper stems from an extensive literature research on the presence of the Italian language and culture within Arcadism in Minas Gerais, focusing on the most modern trends in 18th century Italian literature. The investigation seeks to understand the significant presence of poems in Italian in Cláudio Manuel da Costa’s Obras and the experience of the Arcádia Ultramarina in the cultural and political context of Vila Rica. Of utmost importance to this interpretation are the works by Monica Ferrando on the political meaning of the Arcadian tradition and the studies by Cláudio Versiani dos Anjos on the editorial history of Obras. This rereading of the crucial phase of the Arcádia Ultramarina in 1768 leads us to reconsider the key role played by Basílio da Gama regarding the link with Italian culture, filtered by Roman Academicism, and the use of the Italian language within Minas Gerais’ Arcadism.Keywords: Arcadism; Arcádia Ultramarina; 18th century poetry; Cláudio Manuel Da Costa; Basílio Da Gama; Metastasio; Vila Rica; Inconfidência.

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30

Eisenbichler, Konrad. "“And if Fiume were to Call?” The Impossible Return of Gianni Angelo Grohovaz." Italian Canadiana 35 (August 18, 2021): 239–50. http://dx.doi.org/10.33137/ic.v35i0.37231.

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While most Italian emigrants can return to their hometown whenever they wish, Italians from Istria, Fiume and Dalmatia (areas that were ceded by Italy to Yugoslavia in the wake of World War Two) do not have that luxury. When they return home, they find that their hometown has changed dramatically and is no longer Italian. For them, a return “home” is, at best, a bitter return to a foreign reality and, at worst, an impossible return. By using the poetry of Gianni Angelo Grohovaz (Fiume, 1926—Little Township 1988) as a case study, this article examines Julian-Dalmatians expatriates as exiles for whom nostos is a dream and not a possibility.

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31

Toroš, Ana. "Auto-stereotypes and Hetero-stereotypes in Slovene and Italian Poetry About Trieste From the First Half of the 20th Century." Interlitteraria 21, no. 2 (January 18, 2017): 290. http://dx.doi.org/10.12697/il.2016.21.2.10.

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This article brings to light the socio-political conditions in the Triestine region, at the end of the 19th century and in the fi rst half of the 20th century. Th ese conditions infl uenced the formation of stereotypical, regionally coloured perceptions of Slovenes and Italians in the Slovene and Italian poetry about Trieste from the fi rst half of the 20th century, which were specific to the Triestine area or rather the wider region around Trieste, where the Slovene and Italian communities cohabited. This article also points out that these stereotypes are constructs. The Italian Triestine literature most frequently depicted the Italians (native culture) before the First World War, in accordance to the needs of the non-literary irredentist disposition. In this light, it depicted them as the inheritors of the Roman culture, wherein it highlights their combativeness and burning desire to “free” Trieste from its Austro-Hungarian prison. An increase in auto-stereotypes among the Slovene poetry is noticeable after the First World War and is most likely a consequence of the socio-political changes in Trieste. The Slovene Triestine literature depicted the Slovenes (native culture) after the First World War as “slaves” and simultaneously as the determined defenders of their land, who are also fully aware of their powerlessness against the immoral aggressor and cruel master (Italian hetero-stereotype) and so often call upon the help of imaginary forces (mythical heroes and personified nature in the Trieste region) and God. The Italian Triestine literature mostly depicted the Slovenes before the First World War as an inferior people, often referred to by the word “ščavi”. After the First World War, the Slovenes are depicted merely as the residents of the former Austro-Hungarian Trieste, meaning they were part of the narrative surrounding Trieste, only in when the narrative was set before the First World War. In this case, pre-war Slovene stereotypes appear, also depicted as part of the literary myth of the “Habsburg” Trieste, namely as the folkloric characters from the surrounding countryside.

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32

Condini (book editor and translator), Ned, Dana Renga (book editor and introducer), and Corrado Federici (review author). "An Anthology of Modern Italian Poetry in English Translation, with Italian Text." Quaderni d'italianistica 30, no. 2 (June 1, 2009): 169–71. http://dx.doi.org/10.33137/q.i..v30i2.11916.

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33

Hainsworth, Peter. "Italian Poetry and Tradition: A Footnote to Frederick Jones'sThe Modern Italian Lyric." Romance Studies 6, no. 2 (December 1988): 87–93. http://dx.doi.org/10.1179/026399089786621167.

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34

Hainsworth, Peter. "Italian Poetry and Tradition: A Footnote to Frederick Jones'sThe Modern Italian Lyric." Romance Studies 7, no. 1 (June 1989): 87–93. http://dx.doi.org/10.1179/ros.1989.7.1.87.

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35

Saprykina, Olga Aleksandrovna, and Olga Yurievna Shkolnikova. "Genres of Old Provençal poetry in the Works of Italian Troubadours: Reception and Interpretation." Litera, no. 11 (November 2023): 146–53. http://dx.doi.org/10.25136/2409-8698.2023.11.69129.

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This article is devoted to the study of the development of Old Provençal poetry in Italy in the 12th-13th centuries. Using specific examples from the work of early Italian troubadours (Peire de la Caravana, Peire de la Mula, Sordello, Lanfranco Cigala, etc.), the authors examine in detail such aspects of the topic as the reception and interpretation of the tradition of Old Provençal poetry. Of all the genres of poetry in the works of Italian troubadours, the most developed are the “political” and “social” ones — sirventes and tenso, which should be seen as an intensification of the participation of poets in the social and political life of Italy. All this can be studied by reflection in poetic creativity of the 12th-century and 13th-century Italian troubadours. In this regard, the authors of the article pay special attention to poetic works belonging to these two genres. The relevance of this study lies in a comprehensive linguistic, literary and historical approach to the consideration of the issue. The use of such an integrated approach allows to identify the main trends in the development of Provençal poetry, reasons associated with the historical context, as well as linguistic diversification associated with the choice of a particular genre. The authors come to the conclusion that the repertoire of poetic genres and the choice of language in which poetry is created changes depending on the dynamics of social and cultural conditions. The large number of sirvent and tenson is an important observation, indicating the presence of a social cultural context and space in which such political and satirical works and “impromptu” debates on a variety of topics were in demand. These genres will receive their further development in the history of Italian literature.

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ประดิษฐพงษ์, สรรควัฒน์. ""Linfinito": กวีนิพนธ์โรแมนติกอิตาเลียนกับสุนทรีย์ทางภาษาของอังกฤษ ("L'infinito": Italian Romantic poetry in comparison with English poetic diction)." Journal of Letters 29, no. 2 (June 2000): 78–85. http://dx.doi.org/10.58837/chula.jletters.29.2.5.

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37

Neznamova, Anna Iu. "The epithet “Italian” in Alexander Pushkin's literary, journalistic and epistolary works." Vestnik Tomskogo gosudarstvennogo universiteta, no. 480 (2023): 34–38. http://dx.doi.org/10.17223/15617793/480/4.

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There are many research works describing Italy and Italian in Pushkin's oeuvre. The most elaborated aspects of this problem are literature relations and reminiscences and the question of Pushkin's mastery of the Italian language. However, the forming of the whole image of Italy in Pushkin's mind remains a relevant issue today. The objective of the study is the reconstruction of this image based on linguistic materials specifically on metaphrastic expressions of the concept “Italian” in Puskin's heritage. The data of the study are Pushkin's poetry, prose, epistolary works and journalism. The object is the literal expression of the concept “Italian” in Pushkin's texts. The research methodology is an imagological method. It is determined by the objective of study: an image of another country and culture. The notion of concept in Anna Wierzbicka's defenition referred to the semiotic paradigm is adaptable to realise the imagological description. In this article, the concept “Italian” is analysed only in its literal expression because of large data content. It is realised as the usage of epithet “Italian” and its phonetic variants in Pushkin's texts. The notion of concept is used to serve the methodological tasks of imagology and complemented by the hermeneutical approach. The biographical method was also applied (the epithet and its usage is analysed in Pushkin's biographical context). During the study all cases of using the word “Italian” were found and described. The results of the description were generalised according to the objective of the study. The Dictionary of Pushkin's Language served as a background work in the study and allowed making a quantitative calculation of linguistic usage and selection of representative texts. The study was carried out by analysing the significative complex of “Italian” and its compatibility. According to the Dictionary of Pushkin's Language, the word “Italian” is encountered 21 times in his works and letters. To analyse this phenomenon, the realia should be determined that Pushkin combined with the adjective “ital'yanskiy” [Italian]. The author has found that the adjective describes certain realities of everyday life of the author (in his letters), his characters (poetry, prose) and literary work (critical notes). They are opera, language and some of its elements - lexis, phraseology, some phonetic aspects. As a result of study, the following conclusions are drawn: firstly, the role of Italy in Pushkin's artistic consciousness and his emotional attitude to it were determined; secondly, the evolution of the poet's perception of the Italian topos was shown; thirdly, the basic content of Pushkin's concept of Italy and ”Italian” in three aspects was identified and analysed. The three aspects are: opera and its influence on the poet's state of mind; the role of Italian language in forming the opposition “North-South” in the novel Egyptian Nights; Italian literature compared with Russian.

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38

Regosa, Alessandro. "Italian Studies: Novecento and the Contemporary Period: Poetry." Year’s Work in Modern Language Studies 84, no. 1 (April 16, 2024): 328–63. http://dx.doi.org/10.1163/22224297-08401008.

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39

Payne (book author), Roberta L., and Corrado Federici (review author). "A Selection of Modern Italian Poetry in Translation." Quaderni d'italianistica 25, no. 2 (June 1, 2004): 147–49. http://dx.doi.org/10.33137/q.i..v25i2.9200.

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40

Cox (book author), Virginia, and Laura Prelipcean (review author). "Lyric Poetry by Women of the Italian Renaissance." Renaissance and Reformation 38, no. 2 (October 5, 2015): 167–69. http://dx.doi.org/10.33137/rr.v38i2.25631.

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41

Belfiglio, Valentine J. "The Italian and Islamic Poetry: Creating Shared Histories." International Journal of Interdisciplinary Social Sciences: Annual Review 3, no. 1 (2008): 1–8. http://dx.doi.org/10.18848/1833-1882/cgp/v03i01/52480.

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42

Regosa, Alessandro. "Italian Studies: Novecento and the Contemporary Period: Poetry." Year’s Work in Modern Language Studies 82, no. 1 (April 15, 2022): 354–74. http://dx.doi.org/10.1163/22224297-08201015.

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43

Minardi, Enrico, and Alessandro Regosa. "Italian Studies: Novecento and the Contemporary Period: Poetry." Year’s Work in Modern Language Studies 81, no. 1 (May 25, 2021): 443–59. http://dx.doi.org/10.1163/22224297-08101023.

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44

Signorelli-Pappas, Rita. "The FSG Book of Twentieth-Century Italian Poetry." World Literature Today 86, no. 5 (2012): 72. http://dx.doi.org/10.1353/wlt.2012.0195.

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45

Francini, Antonella. "Notes of Translating Yusef Komunyakaa's Poetry into Italian." Callaloo 28, no. 3 (2005): 707–12. http://dx.doi.org/10.1353/cal.2005.0081.

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46

Keller, Michael A. "Italian Music and Lyric Poetry of the Renaissance." Music Reference Services Quarterly 2, no. 3-4 (December 14, 1993): 281–318. http://dx.doi.org/10.1300/j116v02n03_04.

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47

Minardi, Enrico. "Italian Studies: Novecento and the Contemporary Period (Poetry)." Year’s Work in Modern Language Studies 77, no. 1 (2017): 214–25. http://dx.doi.org/10.1163/22224297-07701020.

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48

Minardi, Enrico. "Italian Studies: Novecento and the Contemporary Period (Poetry)." Year’s Work in Modern Language Studies 78, no. 1 (May 24, 2018): 306–13. http://dx.doi.org/10.1163/22224297-07801025.

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49

Minardi, Enrico. "Italian Studies: Novecento and the Contemporary Period: Poetry." Year’s Work in Modern Language Studies 79, no. 1 (May 28, 2019): 440–47. http://dx.doi.org/10.1163/22224297-07901029.

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50

Minardi, Enrico. "Italian Studies: Novecento and the Contemporary Period: Poetry." Year’s Work in Modern Language Studies 80, no. 1 (June 17, 2020): 581–90. http://dx.doi.org/10.1163/22224297-08001031.

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