Academic literature on the topic 'Quotations, Italian'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Quotations, Italian.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Quotations, Italian"
1
Bondi, Marina, and Danni Yu. "Textual Voices in Corporate Reporting: A Cross-Cultural Analysis of Chinese, Italian, and American CSR Reports." International Journal of Business Communication 56, no. 2 (June 27, 2018): 173–97. http://dx.doi.org/10.1177/2329488418784690.
Full textAbstract:
This article investigates direct quotations in a corpus of corporate social responsibility (CSR) reports in Italian, Chinese, and English. The corpus is composed of 60 CSR reports published by Italian, Chinese, and American companies in the banking and energy sector. The study aims at exploring what types of textual voices are involved in the discourse of CSR reporting and how different sources of voices are represented, using the framework of social actor representation proposed by Van Leeuwen. The results show that the voices presented in direct quotations are often “orchestrated” by companies into “symphony” rather than “polyphony.” Most of the sources of direct quotations are represented as individuals with specified names. The comparative analysis shows that companies from different cultural backgrounds present different preferences in selecting and representing the various sources. The Italian and American CSR reports present more voices from managers, while the Chinese CSR reports show a clearer preference for voices from employees and clients.
2
Perrone, Francesco, Maurizio Marangolo, Francesco Di Costanzo, Giuseppe Colucci, Lazzaro Repetto, Marco Merlano, Sabino De Placido, et al. "Cost of Insurance Policies for Investigator-Initiated Cancer Clinical Trials in Italy." Tumori Journal 91, no. 4 (July 2005): 373–79. http://dx.doi.org/10.1177/030089160509100420.
Full textAbstract:
Background Clinical trials with non-profit promoters are frequently performed in oncology and represent a highly valuable source of information. Methods To describe the costs of insurance policies and their determinants, data were collected from 12 Italian non-profit promoters of cancer trials. The cost of policies was expressed as per-patient premium. Results Sixty-two quotations issued by only two companies were collected, relative to 44 trials proposed for quotation between December 1998 and February 2003. Only the date of quotation was significantly associated with the cost (P = 0.0003) of quotations by Company A for policies with a deductible, with cost increasing over time. Date of quotation (P = 0.0002), sample size (P = 0.008) and number of study arms (P = 0.02) were independently associated with the cost of no-deductible policies quoted by Company A. Only the number of study arms was significantly associated with cost (P = 0.0001) in no-deductible policies quoted by Company B. Conclusion There is insufficient competition among companies for insurance of cancer trials with non-profit promoters. Many variables that affect the trial risk profile from a clinical perspective are not associated with insurance cost. Date of quotation is among the strongest determinants of the cost, which has sharply increased over time. This trend may become a serious problem for non-profit promoters of cancer clinical trials.
3
De Fazio, Debora. "«VIRTUOSI SENZA CUJONI!» TRA ITALIANO, LATINO E TEDESCO NELLE LETTERE DI LUDWIG VAN BEETHOVEN." Italiano LinguaDue 13, no. 2 (January 26, 2022): 559–72. http://dx.doi.org/10.54103/2037-3597/17148.
Full textAbstract:
L’articolo si occupa di analizzare alcune espressioni in italiano (non solo di carattere musicale) che compaiono dell’epistolario di Ludwig van Beethoven. L’uso della nostra lingua concorre, con il latino e il tedesco, a caratterizzare la scrittura del grande musicista, fra calembours, giochi di parole, frasi fatte, citazioni, invettiva e turpiloquio.
«Virtuosi senza cujoni!» Italian, Latin and German in the letters of Ludwig van Beethoven
The paper analyzes some expressions in Italian (not only of a musical nature) that appear in Ludwig van Beethoven’s correspondence. The use of our language contributes, with Latin and German, to characterize the writing of the great musician, including calembours, puns, clichés, quotations, invective and foul language.
4
Komarova, Anastasia A. "The Semantic Functions of the Musical Quotations in Luchino Visconti’s Film Vaghe stelle dellʼOrsa…" Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 43–51. http://dx.doi.org/10.33779/2782-3598.2022.2.043-051.
Full textAbstract:
The study is devoted to the functions of musical quotations in the film Vaghe stelle dellʼOrsa… (1965) by the outstanding Italian neo-realist director Luchino Visconti. For the first time in the history of Russian film music, the article analyzes in detail the audial side of this film, its interaction with the video sequence. In Russia, from Luchino Visconti’s extensive cinematic legacy, Vaghe stelle dellʼOrsa… is the least studied. According to the author, this situation has developed due to neutral and negative assessments of the movie by cinema critics inthe Soviet Union and other countries. Years later, these trends have not been overcome by Russian researchers. The main problem of such inattention is seen in the difficulty of analyzing the material of the film. Throughout the running time, twenty musical quotations from Prelude, Chorale and Fugue by Cesar Franck and specimens of popular music, for example, E se domani by Carlo Alberto Rossi and Giorgio Calabrese, Strip Cinema by Paolo Calvi, Io che non vivo by Pino Donaggio and Vito Pallavicini, etc. The producer works with quotation material, creating sound-visual counterpoint. He “collides” the video sequence and musical quoted not only vertically, but also juxtaposes the musical layers horizontally to each other. As a result of the interaction in the film, the musical quotations carry out a number of compositional, dramatic and semantic functions.
5
Pivovarenko, Alexander, and Gleb Pilipenko. "The Language Situation among the Italian Community of Koper (Slovenia): Field Study Data." Slavic World in the Third Millennium 17, no. 1-2 (2022): 94–119. http://dx.doi.org/10.31168/2412-6446.2022.17.1-2.06.
Full textAbstract:
This paper discusses the current language situation among the Italian minority in Slovenian Primorje in Koper. During the fi eld research conducted by the authors’ team, narratives in Italian were recorded from informants. Using discursive and structural-typological methods of analysis, the authors reveal that the linguistic reality of modern Koper is perceived as constantly changing, and the Italian spontaneous speech of respondents is intertwined with borrowings from the surrounding South Slavic languages. The modern language situation is the result of historical changes in the Istria region during the twentieth century. In addition to insertions and quotations in Slovenian, items from the Croatian language are found, refl ecting the linguistic situation of the Yugoslav period and the border position of the Slovenian Primorje. Special attention is paid to analysis of the language competence of Italians in the Slovenian language, among representatives of both the older and younger generations of students. In the Slovene language of Italians, a number of features peculiar to Slavic dialects in Italy are found, which allows us to discuss the same linguistic factors. It is possible to reconstruct the language competence of older people only partially on the basis of indirect evidence. There is a discrepancy between the rights guaranteed under the law (the use of the Italian language) and the linguistic reality faced by informants, which may be the result of both a decline in the prestige of Italian and of the small number of the Italian diaspora, part of which is subject to language assimilation, including as a result of mixed marriages. The paper also discusses the role of the media and the linguistic landscape in the region.
6
Berendeeva, M. S., and M. I. Rybalova. "“My Sight, My Strength, Dims...ˮ by Arseny Tarkovsky in the Feature Film “Nostalghiaˮ: The Ways of Poetical Quotation Embedding in the Cinematic Text." Philology 17, no. 9 (2018): 90–104. http://dx.doi.org/10.25205/1818-7919-2018-17-9-90-104.
Full textAbstract:
The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual worldview of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.
7
Pettini, Silvia. "Translating literature into playability." Journal of Internationalization and Localization 4, no. 2 (December 31, 2017): 100–119. http://dx.doi.org/10.1075/jial.00005.pet.
Full textAbstract:
Abstract From the perspective of Game Localisation (O’Hagan and Mangiron 2013, Bernal-Merino 2015), this paper examines the translation of Dante’s Inferno (Electronic Arts 2010) from English into Italian. Parallel excerpts from in-game dialogues are compared in order to analyse the relationship between the source and the target texts, while exploring the influence Dante’s masterpiece exerts on the Italian localisation. The objective is to show that, when a game is based on the target culture literature, the latter seems to constrain translation to ensure a successful local impact. As findings suggest, by means of quotations together with lexical, syntactic and stylistic choices, the Italian game is more literarily expressive than its English source, thus providing players with a multimedia interactive Dantesque experience.
8
Boron, Oleksandr. "SOURCES OF QUOTATIONS FROM DANTE IN SHEVCHENKO'S LETTERS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 5–8. http://dx.doi.org/10.17721/1728-2659.2022.31.01.
Full textAbstract:
In his works, Shevchenko repeatedly mentioned the name of the Italian poet of the Renaissance Dante Alighieri (1265–1321), used reminiscences and quotes from his work, which indicates a high level of knowledge of "The Divine Comedy" author's legacy (c. 1308–1321). Until now, it was believed that all such references to the poetry by the famous Italian have long been carefully considered and thoroughly studied. However, a closer examination revealed a lack of details about the sources of Shevchenko's acquaintance with the famous poem. The traditional methods of literary source studies and methods of philological analysis applied in this study made it possible in some cases to bring to light, with a high degree of probability, the translations Shevchenko read and the publications he used, although absolute accuracy cannot be achieved here. The author of the article argues that Shevchenko knew the aphorism from the Fifth song in "The Inferno" used in a letter to Osyp Bodians'kyi dated November 15, 1852, not in Avraam Norov's translation, but in Dmitrii Min's translation published in 1843 in the journal "Moskvitianin". It is still unclear where Shevchenko found a quote from the song XVII in "The Paradiso" he used in a letter to Bronisław Zaleski (in the second half of June 1856). It was possible to discover that the poet knew this aphorism, most likely through Alexander Pushkin's novel "The Queen of Spades" (1833), first published in the popular journal "Biblioteka dlia chteniia" in 1834. As a result, the author rejected as unconvincing a hypothesis offered previously by commentators that Shevchenko knew "The Inferno" in a Russian translation by Elizaveta Kologrivova, published for two years in six installments, which the Ukrainian poet most likely did not know. In addition, her translation did not relieve artistic flawlessness (tercins in the original are reproduced in prose). Most likely, Shevchenko heard a lot about "The Divine Comedy", especially about its first part, and read some fragments available in the periodicals, in particular, as it was proved, in a translation by Dmitrii Min.
9
Pettini, Silvia. "Auteurism and game localization — revisiting translational approaches." Culture & Society issue 4, no. 2 (December 31, 2015): 268–88. http://dx.doi.org/10.1075/ts.4.2.05pet.
Full textAbstract:
In the fertile ground between cinema and video games, Hideo Kojima’s Metal Gear Solid saga stands out for its auteur’s clear tendency to use film language and aesthetics and for his evident inspiration from pop culture and the American cinematic tradition. Moreover, the series is rich in quotations meant to pay tribute to cinema and communicate with movie-cultured players intertextually. With regard to the process of localization, auteurist references to film culture represent a constraint for translators rendering Kojima’s game into different languages for a Metal Gear Solid-educated audience. This paper presents a comparative analysis of some film quotations in their English into Italian and Spanish localizations of Kojima’s Metal Gear Solid series in order to demonstrate the importance of loyalty to the game experience as a whole within a translational-cultural approach to localization.
10
Castellacci, Carla. "The disease and the treatment: some remarks on the Darwin issue Italian school curricula." Journal of Science Communication 05, no. 02 (June 21, 2006): C05. http://dx.doi.org/10.22323/2.05020305.
Full textAbstract:
Organized creationism is not widespread in Italy. It is a rather limited resource politicians and columnists draw upon when wishing to stir up a “debate”. Judging by its results, Italian creationism is old-fashioned, still comparing Darwin’s theories with the Bible, hoping to find the wreckage of Noah’s Ark, holding conferences on the origin of apes, questioning fossil dating and distorting science debates with out-of-context quotations from disparate sources. It is not a lobby that could obtain considerable electoral support, win favour or drag scientists to court.
Dissertations / Theses on the topic "Quotations, Italian"
1
LIOI, TIZIANA. "In Others’ Words: A Study of Italian Quotations in the Comparative Method of Qian Zhongshu." Doctoral thesis, 2012. http://hdl.handle.net/11573/917621.
Full textAbstract:
Chinese comparative literature has a great representative in the contemporary scholar and writer Qian Zhongshu (1910-1998). His comparative method tends to escape every categorization and his massive use of quotations in seven different foreign languages, main characteristic of his style, creates a collage of literary motives and genres that constitutes a fertile field for analysis to grasp the general principles of world literature, as outlined by the author.
Chinese scholars have established a discipline, the Qian Xue (Studies on Qian), that since the eighties of last century researches on Qian Zhongshu’s achievements and methodology and that plays an important role to get a full understanding of the author’s approach to writing and literature. The contribution of western scholarship is nevertheless a due and necessary investigation in the work of such a complex and varied literary production and a step that needs to be further developed, since western literature constitutes a great part of Qian’s thematic choices. The number of languages involved in the analysis and the huge number of cross references in Qian’s work require a set of skills of which this work tries to be a tiny, yet necessary, part, analysing the contribution of Italian literature to the comparative method of Qian Zhongshu.
The work tries to outline the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method. As in a case study, through a punctual and meticulous analysis of all the Italian quotations that appear in Qian’s literary essays, the present study tries to answer questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp.
A deductive method is here aimed at in order to delineate the comparative method and the general principles that guide the author through the study and analysis of single quotations.
To seize an understanding of the principles that lead global literatures in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unreal desire: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrate that this desire is, after all, attainable.
2
McLachlan, Cameron Martin John. "The Little Spark and the General Blaze: Speech, Narrative and Fact in James Boswell’s "Life of Johnson"." Phd thesis, 2016. http://hdl.handle.net/1885/114278.
Full textAbstract:
The thesis performs an explorative reading of James
Boswell’s Life of Samuel Johnson (1791) in order to interrogate
assumptions about the function, use and epistemological limits of
direct speech in Boswell’s work, and the Eighteenth Century
more generally. Rather than ignoring the problems posed by the
competing and contradictory epistemological and ontological
claims of the presentation of speech in text, the thesis reads
Boswell as engaging with these problems at different scales. Each
narrative scale carries with it different assumptions about facts
and events, and different conventions with which to represent
speech as a combination of both. The thesis aligns the problems
of narration at different scales with different forms of
narrative intervention and manipulation of the putatively raw
materials of Johnson’s speech and their transition into the
text published in the Life. It does this by drawing on archival
research investigating the many states of Johnson’s speech in
Boswell’s records, drafts and the final version of the Life.
Chapter One investigates Boswell’s attitude to the project as a
whole, seeing in his ideal of journal-keeping and personal
affinity a vision of biography that draws on the non-narrative
conventions of different genres. Chapter Two traces Boswell’s
engagements with connected events and sustained scenes before
investigating his own role as a nodal point constructing extended
analogue conversations between Johnson and other figures over
many years. In these chapters the print technologies of quotation
marks and dashes are read as the mechanism that allows narrative
connections at these different scales. Chapter Three investigates
the workings of dialogue through Boswell’s use of parenthetical
stage directions, reading them as a method of massaging his
journals into narratives. Chapter Four turns to Boswell’s
writerly interventions on the surface of words, seeing in
italicisation a blunt tool for marking conceptual and textual as
well as aural differences in speech, and considers the stress
this places on interpretation. Chapter Five considers Boswell’s
interpretive interventions within the orthography of words
themselves, investigating his attention to the potential of type
to convey aberrant or historically particular sounds through the
representation of laughter, accents and onomatopoeia. Each level
of analysis reveals both the contingency of the whole enterprise
and the inescapably preemptive interpretive choices made by
Boswell in the course of his composition. Boswell emerges as a
writer engaging constantly with the demands and contradictions of
what remains an under-theorised yet crucial aspect of non-fiction
narrative in a context of changing ideas about truth and
narrative.
Books on the topic "Quotations, Italian"
2
Angelucci, Alberto. Frasi celebri: Dalla Bibbia a Mike Bongiorno. Milano: A. Mondadori, 1993.
Find full text
4
Mariano, Fresta, ed. I detti piacevoli. Montepulciano, Siena: Editori del Grifo, 1985.
Find full text
5
Erica, Merino, ed. Life, Italian style: Quotes and quips from notable Italian Americans. New York: Avon Books, 1999.
Find full text
7
Ettore, Barelli, and Pennacchietti Sergio, eds. Dizionario delle citazioni: 5.000 citazioni da tutte le letterature antiche e moderne col testo originaledd. Milan: Biblioteca Universale Rizzoli, 1993.
Find full text
8
Spagnol, Elena. Enciclopedia delle citazioni: [oltre 12.000 detti, frasi e massime celebri, battute di spirito, anettoti e aforismi]. Milano: Garzanti, 2000.
Find full textBook chapters on the topic "Quotations, Italian"
1
De Gianni, Donato. "Allusions to and Quotations from Ovid in the Writings of Isidore of Seville." In Giornale Italiano di Filologia - Bibliotheca, 61–88. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.gifbib-eb.5.127592.
Full text
2
Čale, Morana. "Mediazioni e contaminazioni del modello dantesco nelle Montagne di Petar Zoranić (1508-1569?)." In Biblioteca di Studi di Filologia Moderna, 61–79. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.04.
Full textAbstract:
The present paper is dedicated to 16th-century Croatian author Petar Zoranić’s (Zadar / Zara, 1508 – 1569?) direct and mediated echoing of Dante’s oeuvre. Zoranić’s pastoral novel Planine (Mountains) belongs to the consistent tradition of reuse, quotation and translation that the Italian poet’s legacy has enjoyed in Croatia from the 14th century to the present day. Building on the work of the humanist writer Marko Marulić (Marcus Marulus Spalatensis, Split / Spalato, 1450-1524), who aspired to do for the Croatian vernacular what Dante did for the Italian volgare, Zoranić adapted Dante’s example to his own purposes not only in the promotion of the Croatian language and literature, but also in the celebration of the beauty, history and cultural heritage of his homeland. A true connoisseur of Dante’s original, the author from Zadar was also competent in the art of appropriation and creative reemployment of the Commedia’s various aspects, an exercise inaugurated by Boccaccio, and practiced by 15th and 16th-century men and women of letters. My contribution will focus on the modalities through which the text of Planine transforms the materials derived from Dante by mixing them with elements from other prestigious literary sources, in their turn heirs or precursors of Dante, such as works by Virgil, Ovid, the Church doctors, the Roman de la rose, Petrarch’s Trionfi, the Decameron and the early narrative production by Boccaccio, Arcadia by Sannazaro and, according to my hypothesis, the Hypnerotomachia Poliphili (Polifilo’s Dream) by Francesco Colonna.
3
"Italian." In The Concise Dictionary of Foreign Quotations, edited by Anthony Lejeune, 201–41. Routledge, 2018. http://dx.doi.org/10.4324/9781315063676-4.
Full text
4
"INDEX OF BIBLICAL QUOTATIONS." In Italian Carolingian Historical and Poetic Texts, 115–16. Pisa University Press, 2018. http://dx.doi.org/10.2307/j.ctvb1hrrr.11.
Full text
5
"5. Quotations of the Heart." In Invention of Modern Italian Literature. Toronto: University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684959-006.
Full text
6
"Notes on Quotations, Translations, and Abbreviations." In Paroimia: Brusantino, Florio, Sarnelli, and Italian Proverbs From the Sixteenth and Seventeenth Centuries, xxi—xxiv. Purdue University Press, 2021. http://dx.doi.org/10.2307/j.ctv1htpdns.6.
Full text
7
Baumgartner, Michael. "Conclusion." In Metafilm Music in Jean-Luc Godard's Cinema, 385–94. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.003.0011.
Full textAbstract:
Abstract The first part of this concluding chapter summarizes Godard’s concept of film music. He self-consciously approaches film music by either fragmenting musical compositions or repeating the unaltered fragments several times in the same film. Fragmentation and repetition are two devices with which Godard questions the validity of the leitmotif technique for cinematic use. He further explores music with quotations by self-consciously integrating into his films works of the Western musical canon or French, English, American, and Italian popular songs. He also expands the concept of quotation to referencing self-reflexively genre-specific film music. Critically questioning the function of film music in musical comedies, films noir, science-fiction films, and melodramas, he pastiches or parodies music associated with these stereotypical Hollywood genres in several of his 1960s films. A last category of metafilm music in Godard’s work is concerned with music making as a metaphor for filmmaking. This analogy between the two arts was prompted by the increasing intensification in the 1980s of his creative crisis as a postmodern filmmaker struggling with completing a meaningful work. The second part of this concluding chapter offers an outlook confirming that the concept of metafilm music is not confined to Godard’s work. A list provides names of other primarily modernist or postmodern filmmakers drawn to self-reflexive filmmaking and further suggests bodies of films that may likely include music that can be analyzed as metafilm music.
8
"Insurance: Request for quotation for fleet car insurance." In Italian/English Business Correspondence, 132–33. Routledge, 2008. http://dx.doi.org/10.4324/9780203133149-63.
Full text
9
Shrock, Dennis. "The Romantic Era." In Choral Repertoire, 464—C5.P809. 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0005.
Full textAbstract:
Abstract The Romantic era began in the 1820s when ideals of elegance changed to those of grandiosity, conventional structures gave way to freer forms, and expressive individuality determined textual selection and treatment. Throughout the entire Classical era, adjectives such as sweet, refined, and graceful were used to characterize musical composition and performance, even when choral ensembles and orchestras were very large. Many primary source quotations verify this view, including a comment by the French author Marie-Henri Beyle (1783–1842) in his 1817 book (published under the pseudonym César Bombet) about the lives of Mozart and Haydn. Beyle makes reference to an early nineteenth-century Handel festival concert in Westminster Abbey, stating, “Although 377 stringed instruments accompanied a single voice, such was the lightness of the effect, they did not overpower or incommode it.” Large numbers of performers did not necessarily presume loud volumes of sound. However, the majority of composers at the beginning of the Romantic era desired to create imposing and grandiose effects—such as is evident in Berlioz’s Grande messe des morts and Beethoven’s Missa solemnis and Symphony No.9. Composers also desired to create overtly dramatic effects, and, as a result, the dynamic ranges of volume became extreme and the use of numerous expressive markings became commonplace. Indications for very loud volumes were contrasted with those for very soft volumes, and various symbols for articulation and emphasis were employed to vary the scope or compass of dramatic portrayal. In addition, more and more Italian terms were used to indicate precise tempo and expressive intent.
10
"Editorial Note." In The Lost Lectures of C. Vann Woodward, edited by Natalie J. Ring and Sarah E. Gardner, 52–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863951.003.0002.
Full textAbstract:
THIS COLLECTION ABIDES by simple editorial practices. We have taken care to leave the words of C. Vann Woodward as close to the original as possible. We have corrected minor spelling errors when it is clear what he intended to say and are likely the result of poor typing. Woodward’s punctuation is often idiosyncratic and we have left the errors in place. We have chosen not to correct matters of style such as his choice to capitalize Northern and Southern or use foreign spelling. Underlined words have been converted to italics. We have left off the accent mark of the surname Grimké given that Woodward’s editor at Louisiana State University Press chided him for this lapse and he was aware of it. Woodward relied heavily on quoted material. Occasionally he made noticeable spelling and punctuation errors, as well as errors in transcription, in his use of quotations from primary and secondary sources. We have corrected these mistakes when we were able to ascertain their accuracy. We cannot guarantee the accuracy of every quotation, however....