Relevant bibliographies by topics / Volponi

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Volponi'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 April 2023

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Journal articles on the topic "Volponi"

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Pedroni, Peter N. "Volponi and Desired Exile." Italian Culture 10, no. 1 (January 1992): 195–203. http://dx.doi.org/10.1179/itc.1992.10.1.195.

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Bush, Elizabeth. "Game Seven by Paul Volponi." Bulletin of the Center for Children's Books 68, no. 8 (2015): 422. http://dx.doi.org/10.1353/bcc.2015.0253.

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Lucente, Gregory L. "An Interview with Paolo Volponi." Forum Italicum: A Journal of Italian Studies 26, no. 1 (March 1992): 218–35. http://dx.doi.org/10.1177/001458589202600116.

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Wataghin, Lucia. "Le mosche del capitale di Paolo Volponi." Revista de Italianística 2, no. 2 (December 30, 1994): 113. http://dx.doi.org/10.11606/issn.2238-8281.v2i2p113-119.

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Makarov, Dimitri I. "CHRISTIAN SUBTEXTS IN ANNIBALE RAMA BY P. VOLPONI." Articult, no. 3 (2017): 113–22. http://dx.doi.org/10.28995/2227-6165-2017-3-113-122.

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Nicoletti, Giuseppe. "Una premessa quasi necessaria. Volponi e il romanzo industriale." Narrativa, no. 31/32 (January 1, 2010): 25–38. http://dx.doi.org/10.4000/narrativa.1525.

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Dal Bon, Piero. "Verifica stilistica de La Macchina Mondiale di Paolo Volponi." Quaderns d’Italià 7 (November 3, 2002): 207. http://dx.doi.org/10.5565/rev/qdi.123.

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Gorbunov, O. G. "A new species of the genus Scarlata (Lepidoptera: Sesiidae) from Laos." Zoosystematica Rossica 31, no. 2 (November 21, 2022): 204–11. http://dx.doi.org/10.31610/zsr/2022.31.2.204.

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Scarlata namsanam sp. nov. from Laos is described and illustrated. The type series was collected on wet soil near the drying stream within a primary monsoon lowland tropical forest. This new species is most similar to S. guichardii Skowron Volponi, 2022, from which it differs in the coloration of the hind tibia, forewing and abdomen and in noticeably wider discal spot of the hindwing.
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Inglese, Andrea. "L’umano e l’animale in Il pianeta irritabile di Paolo Volponi." Cahiers d’études italiennes, no. 7 (May 15, 2008): 347–57. http://dx.doi.org/10.4000/cei.943.

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Ritrovato, Salvatore. "Stagioni e figure della notte nella poesia di Paolo Volponi." Quaderni d'italianistica 43, no. 1 (January 26, 2023): 131–47. http://dx.doi.org/10.33137/q.i..v43i1.40183.

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Il presente articolo offre un attraversamento del tema, ma sarebbe meglio dire del “sentimento” della notte, nella poesia di Volponi, nella quale è presente sin dalle prime raccolte, e non cessa di prodursi in immagini intense nei versi della maturità e della vecchiaia. In particolare, si intende dimostrare la problematica evoluzione della notte dalla originaria dimensione lirica, legata alle stagioni naturali della terra, in cerca di una simbiosi con la vita interiore del poeta (sulla quale la bufera bellica ha lasciato ferito e cicatrici), a una nuova lucida e a volte angosciata percezione della notte, ormai tradita dall’uomo che la proietta su uno sfondo insonne e inerte di struggenti fantasmi lirici (come per esempio la luna).
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Dissertations / Theses on the topic "Volponi"

1

Candiloro, Mauro. "La poésie de Paolo Volponi comme forme complexe de relation." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES022/document.

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À quelques exceptions près, dans le canon littéraire italien comme dans la réception que lui réserva la critique, la poésie de Volponi occupe une place secondaire par rapport à sa production narrative. Cela apparaît comme une contradiction, car l’auteur se considérait avant tout comme un poète. Une contradiction qui va de pair avec une biographie fort riche, qui fait de Volponi un homme et un écrivain à mi-chemin entre participation et dissidence, entre ordre et désordre. À la lumière de tout ceci, nous nous sommes interrogé sur la place que Volponi attribue à la poésie, à partir des notions mêmes d’ordre et de désordre : depuis les conquêtes scientifiques du début du XXe siècle ces derniers ne sont plus deux concepts en opposition entre eux, mais les deux faces nécessaires de toute organisation naturelle complexe, y compris humaine. Dès lors, nous avons adopté l’interaction complexe entre ordre et désordre comme clef de lecture de la poésie volponienne. Une complexité que nous avons observée au niveau tout d’abord biographique, d’où émergent les schèmes fondamentaux de la poésie de Volponi qu’on retrouve thématisés au fil de ses livres de poésie, à travers lesquels Volponi montre toujours une volonté claire de construction progressive d’un seul et unique Livre. À cette construction contribuent les outils poétiques empruntés par le poète, car ils varient en fonction de l’organisation qu’ils sont appelés à exprimer. Enfin, nous nous sommes penché sur la réflexion que mène Volponi au sujet de la poésie pour en conclure qu’à ses yeux elle n’est pas un genre littéraire, mais une force créatrice chargée de mettre en relation l’homme et la matière et les hommes entre eux
Despite a few exceptions, Volponi’s poetry remains in the background as opposed to his narrative production, both in the Italian literary cannon and in the way it was received by critics. This seems to be a contradictory statement because the author considered himself as a poet primarily. This contradiction is inextricably linked to a very rich biography based on a plethora of life experiences and which makes Volponi a man and a writer at a crossroads between participation and dissidence, between order and disorder. I raise thus the question of the status assigned to poetry by Volponi. It was first necessary to redefine the notions of order and disorder to answer it: the scientific achievements of the beginning of the 20th century demonstrated that these two concepts are not antithetic anymore but that they are two necessary sides of any complex natural organization, including the human organization. I chose this complex interaction between order and disorder as a key to reading Volponi’s poetic work. First this complexity is to be found in Volponi’s biography, that shapes the fundamental frameworks of his poetry, frameworks which are then used as topics in each of his poetry books. In these works, the poet always clearly shows his will to elaborate progressively towards the one and only Book. Indeed, the poetic tools resorted to by the poet contribute to this elaboration because they vary according to the organization which they are meant to express. Finally, I tackled the problem of Volponi’s own reflection about poetry which leads him to conclude that poetry is not a literary genre, but a creative strength meant to connect man and matter but also man and man
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Vignali, Elisa <1981&gt. "L' "opera mondo" di Paolo Volponi fra satira e morale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3094/1/vignali_elisa_tesi.pdf.

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Nella mia tesi di dottorato mi propongo di indagare la metamorfosi del romanzo nella letteratura italiana contemporanea attraverso il lavoro di Paolo Volponi, che può essere descritto come un’«opera mondo», in accordo con la formula critica coniata da Franco Moretti. Volponi intende superare il divario fra l’io e il mondo e ricomporre il corpo come una mediazione umanistica di ragione e sensi. La sua opera può essere definita ‘epica’ perché recupera la tradizione del romanzo cavalleresco e la parodia esercitata su questa tradizione letteraria da Cervantes nel Don Chisciotte. Ma, come l’Ulysses di Joyce, è un’epica «moderna» perché fondata su una totalità disgiunta e sul conflitto dialogico, in una linea che accomuna la moltiplicazione dei punti di vista, propria del romanzo polifonico secondo Bachtin, alla pluralità di prospettive del discorso scientifico. Dopo un primo capitolo teorico, nel secondo e nel terzo capitolo della tesi i romanzi di Volponi vengono studiati in rapporto al filone dell’«epica moderna» e al genere satirico, che ha un suo modello fondativo nell’opera di Giacomo Leopardi. Il quarto capitolo si focalizza sulle ultime raccolte poetiche, che mostrano la tendenza a recuperare il linguaggio formulare e la matrice orale della poesia delle origini, servendosene per rappresentare in funzione contrappuntistica l’universo globale dell’età contemporanea.
In my doctoral dissertation I investigate the metamorphosis of the genre of novel in Contemporary Italian Literature analysing Paolo Volponi’s literary works. I borrow the critical category invented by Franco Moretti to describe Volponi’s books as “opera mondo.” Volponi wants to overcome the gap between the self and the world, and compose the body as a humanistic mediation between reason and senses. His work is ‘epic’ because it refers to the tradition of the romance and to its parody in Cervantes’ Don Chisciotte. However, Volponi’s work is a modern epic because, not differently from Joyce’s Ulysses, it is based on disjointed totality and dialogic conflict. Modern epic associates the multiplication of points of view, typical of the polyphonic novel theorized by Bachtin, with the plural perspective of the scientific subject. After a theoretical preface, in the second and third chapters of my dissertation, I study Volponi’s novels in relation to the modern epic and the satiric genre, which has its foundational model in Giacomo Leopardi’s work. The fourth chapter focuses on Volponi’s latest collections of poetry, which recall the matrix of oral origins of poetry and represent in counterpoint the contemporary universe of global age.
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Vignali, Elisa <1981&gt. "L' "opera mondo" di Paolo Volponi fra satira e morale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3094/.

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Nella mia tesi di dottorato mi propongo di indagare la metamorfosi del romanzo nella letteratura italiana contemporanea attraverso il lavoro di Paolo Volponi, che può essere descritto come un’«opera mondo», in accordo con la formula critica coniata da Franco Moretti. Volponi intende superare il divario fra l’io e il mondo e ricomporre il corpo come una mediazione umanistica di ragione e sensi. La sua opera può essere definita ‘epica’ perché recupera la tradizione del romanzo cavalleresco e la parodia esercitata su questa tradizione letteraria da Cervantes nel Don Chisciotte. Ma, come l’Ulysses di Joyce, è un’epica «moderna» perché fondata su una totalità disgiunta e sul conflitto dialogico, in una linea che accomuna la moltiplicazione dei punti di vista, propria del romanzo polifonico secondo Bachtin, alla pluralità di prospettive del discorso scientifico. Dopo un primo capitolo teorico, nel secondo e nel terzo capitolo della tesi i romanzi di Volponi vengono studiati in rapporto al filone dell’«epica moderna» e al genere satirico, che ha un suo modello fondativo nell’opera di Giacomo Leopardi. Il quarto capitolo si focalizza sulle ultime raccolte poetiche, che mostrano la tendenza a recuperare il linguaggio formulare e la matrice orale della poesia delle origini, servendosene per rappresentare in funzione contrappuntistica l’universo globale dell’età contemporanea.
In my doctoral dissertation I investigate the metamorphosis of the genre of novel in Contemporary Italian Literature analysing Paolo Volponi’s literary works. I borrow the critical category invented by Franco Moretti to describe Volponi’s books as “opera mondo.” Volponi wants to overcome the gap between the self and the world, and compose the body as a humanistic mediation between reason and senses. His work is ‘epic’ because it refers to the tradition of the romance and to its parody in Cervantes’ Don Chisciotte. However, Volponi’s work is a modern epic because, not differently from Joyce’s Ulysses, it is based on disjointed totality and dialogic conflict. Modern epic associates the multiplication of points of view, typical of the polyphonic novel theorized by Bachtin, with the plural perspective of the scientific subject. After a theoretical preface, in the second and third chapters of my dissertation, I study Volponi’s novels in relation to the modern epic and the satiric genre, which has its foundational model in Giacomo Leopardi’s work. The fourth chapter focuses on Volponi’s latest collections of poetry, which recall the matrix of oral origins of poetry and represent in counterpoint the contemporary universe of global age.
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Pomarici, Cesare <1992&gt. "Memoria e innovazione. Mitologia e letteratura greca nell'opera di Paolo Volponi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9722/1/Paolo%20Volponi%20MEMORIA%20E%20INNOVAZIONE%20Pomarici.pdf.

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Questa ricerca mira a ricostruire l'influenza della letteratura greca sulla formazione e sull'opera letteraria di Paolo Volponi (poesie e romanzi).
This research aims to analyze the influence of greek literature through Paolo Volponi's education and literary work (poems and romances).
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Viglino, Sylvie. "La "letteratura d'azienda" les debuts litteraires de ottiero ottieri et paolo volponi." Paris 3, 1999. http://www.theses.fr/1999PA030019.

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Une reflexion sur la categorie de la "letteratura d'azienda" est menee a partir de l'analyse comparee de deux romans, tempi stretti de o. Ottieri et memoriale de p. Volponi, en suivant la demarche de la sociologie de la litterature. Le profil socio-professionnel de ces deux auteurs "olivettiani" et la position qu'ils ont occupee dans le champ litteraire et culturel des annees 50 et 60 sont reconstitues et confrontes dans le but d'eclairer le projet et la strategie que chacun a adoptee pour "percer" en litterature et de comprendre pourquoi, comment et avec quels effets leurs premieres oeuvres ont fait l'objet d'un tel classement
The study of the category of the "letteratura d'azienda" is carried out from the comparative analysis o. Ottieri's tempi stretti and p. Volponi's memoriale, by following the approach of the sociology of literature. The socio-professional profile of these two "olivettiani" authors and the place which they occuped in the cultural and literary field of the fifties and of the sixties are reconstructed and confronted with a view to enlightening their project and the strategy which was adopted by each of them in order to "make a name" in literature and to understanding why, how and with what effects their works were the subject to such a classification
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Bellia, Erica <1991&gt. "«Sugli scalini di una casa altrui». Soglie, margini, esilio nell’opera di Paolo Volponi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8987.

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La tesi costituisce l’esito di una ricerca condotta sui personaggi dei romanzi di Paolo Volponi e volta a indagarne lo statuto. Presupposto teorico fondamentale è l’accettazione e la presa in carico della natura ambigua, duplice della nozione di personaggio, a cavallo tra letteratura e realtà, tra autonomia del significante e spinta referenziale. Mediante la categoria di cronotopo, definita da Michail Bachtin, sono individuate nel corpus narrativo preso in esame certe costanti relative alla posizione marginale, liminale, occupata nel tempo e nello spazio del racconto dagli eroi volponiani. Di questo atteggiamento si offre un’interpretazione in termini di esilio intellettuale, con riferimento all’elaborazione teorica di Theodor W. Adorno ed Edward W. Said. Una volta descritte la ricorsività e la portata di questi aspetti, se ne verifica la tenuta per l’io lirico, ulteriore momento dell’oggettivazione dell’autore. In parallelo, è svolta infatti una riflessione sulla complessa relazione che intercorre tra autore, personaggio e io lirico, letta, ancora con termine bachtiniano, in chiave di “extralocalità”. Dopo aver proceduto all’analisi dei testi, dunque con metodo induttivo e non per deduzione, si suggerisce che anche per il profilo dell’autore possa valere una rappresentazione in termini di esilio intellettuale. L’ipotesi finale è che sia proprio questo uno degli elementi centrali del marcato autobiografismo che informa l’opera volponiana.
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Cuccaroni, Valerio. "La follia nella narrativa italiana (1960-1980) : I romanzi di Paolo Volponi tra scrittura della nevrosi e sperimentazione." Paris 4, 2007. http://www.theses.fr/2007PA040028.

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Pour comprendre la représentation que les romans et les récits italiens donnent de la folie entre 1960 et 1980, il faut considérer les différentes méthodologies herméneutiques qui se sont développées depuis le 19ème siècle jusqu’aujourd’hui, ainsi que le contexte historique et les structures textuelles. Les années soixante et soixante-dix ont été caractérisées par la diffusion des psycholeptiques et des psychothérapies ainsi que par la critique de la psychiatrie institutionnelle et la crise du système asilaire. Les écrivains italiens se sont confrontés aux poétiques et aux pratiques d’avant-garde. Ils ont été aussi influencés par la méthode psychanalytique. Dans ce contexte, les romans de Paolo Volponi (1924-1994) donnent une des représentations parmi les plus originales et heuristiquement fécondes de la folie. Ils dévoilent les stéréotypes et ils modernisent la vieille métaphore du theatrum mundi, liée à une conception éthique de la folie, répandue à la même époque par la psychiatrie sociale et des savants tels que Erving Goffman
In order to understand which kind of madness was represented in the Italian novels published from the 60’s to the 80’s, it is necessary to face the several hermeneutical methodologies which have appeared since the 19th century onwards, the historical context and the textual structures. The 60’s and the 70’s were characterized by the diffusion of psychotropic drugs and psychotherapies, by the critic of institutional psychiatry and the overcoming of the asylum system. The Italians writers faced the experimental and avant-garde poetics and praxis. They were also influenced by the psychoanalytical method. In this context, the novels by Paolo Volponi (1924-1994) are the ones that stand out from the works of other coeval Italian authors, giving us one of the most original and heuristically fertile representation of madness. They criticize stereotypes and they modernize the old theatrum mundi metaphor linked with the ethical conception of madness promoted by the social psychiatry and scholars like Erving Goffman
Per comprendere che tipo di follia sia stato rappresentato nelle opere narrative italiane pubblicate fra il 1960 e il 1980 è necessario confrontarsi con le molteplici metodologie ermeneutiche che si sono succedute dall’Ottocento ai giorni nostri, con il contesto storico e le strutture testuali. Gli anni Sessanta e Settanta sono stati caratterizzati, in ambito medico psichiatrico, dalla diffusione degli psicofarmaci e delle psicoterapie, dalla critica della psichiatria istituzionale e dal superamento del sistema manicomiale. Gli scrittori italiani si sono confrontati e scontrati con le poetiche e le pratiche sperimentali e di avanguardia e sono stati influenzati dal metodo psicoanalitico. In questo contesto, i romanzi di Paolo Volponi (1924-1994) risultano quelli che, rispetto agli altri italiani coevi, forniscono una delle rappresentazioni della follia più originali ed euristicamente fertili, svelando gli stereotipi e attualizzando l’antica metafora del theatrum mundi, in consonanza con la concezione etica della follia promossa nello stesso periodo dalla psichiatria sociale e da studiosi come Erving Goffman
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QUINTANS, PAULA SALGADO. "STRUCTURE AND NARRATIVE: THE FORM IN ALFREDO VOLPI." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4748@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A obra de Alfredo Volpi particulariza-se por uma dinâmica da forma que, a partir de um modo quase artesanal de trabalho, alcança a construção moderna do espaço pictórico autônomo. Essa constatação nos levou a uma análise de sua extensa produção, acompanhando as investidas do artista sobre o objeto, sua gradual depuração e sua relativa abstração, o que veio fortalecer suas qualidades estéticas justo pela renovação do código de representação. Em Volpi, o amadurecimento da experiência pessoal e artística suprime contornos e detalhes, e, através da lógica formal moderna, faz emergir a força das relações pictóricas intrínsecas, isto é, a sua própria estrutura.
The works of Alfredo Volpi characterizes itself by a dynamic of the form which, almost from a handiwork way, reaches the autonomous pictorial modern construction of space. This acknowledgement has taken us to an analysis of his wide production, following his attempts on the object, his gradual purification and relative abstraction, which make his esthetical qualities even stronger by the renovation of the representation`s code. In Volpi, the maturity of his personal and artistic experience put down details and contours, and through the modern formal logic, brings up the strength of the intrinsic pictorial relations, that is to say, its own structure.
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Hunziker, Andreas. "Wissenschaft als literarischer Stoff: Fiktion um die deutsche Atomphysik Analysen und Hintergründe zu Jorge Volpis "En busca de Klingsor" /." [S.l.] : [s.n.], 2006. http://www.zb.unibe.ch/download/eldiss/06hunziker_a.pdf.

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Burtin, Tatiana. "Figures de l’avarice et de l’usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L’Avare de Molière." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100136/document.

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L’émergence d’un « ‘esprit’ capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l’usure et de l’intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l’époque, et plus particulièrement chez les grands dramaturges qui ont marqué l’imaginaire collectif en mettant en scène des personnages avares. À partir d’un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l’Occident chrétien, l’appréhension nouvelle de l’argent comme objet et comme signe permet de construire une véritable figure moderne de l’avarice. Shylock, Volpone et Harpagon sont suspendus entre un or quasi divin, et l’univers plus ou moins connu de l’argent, qu’ils pensent maîtriser grâce à leur trésor. S’ils s’intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » (Simmel) suscitée par l’économie de l’usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L’analyse finale de ces dénouements permet de comprendre le travail de chaque auteur sur la forme et la fonction du comique, à travers le texte, les genres, ou une esthétique de l’espace. Elle montre que chacun s’attache à valoriser l’apport de son art au public dans une période de crise socio-économique
The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis
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Books on the topic "Volponi"

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Volponi. Palermo: Palumbo, 2001.

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Zinato, Emanuele. Volponi. Palermo: Palumbo, 2001.

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Emanuele, Zinato, ed. Volponi, personaggio di romanzo. San Cesario di Lecce (Lecce): Manni, 2009.

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Marongiu, Elena. Intervista a Paolo Volponi. Milano: Archinto, 2003.

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Intervista a Paolo Volponi. Milano: Archinto, 2003.

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", Gruppo "Laboratorio, ed. Paolo Volponi: Scrittura come contraddizione. Milano: F. Angeli, 1995.

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Filippo, Bettini, ed. Volponi e la scrittura materialistica. Roma: Lithos editrice, 1995.

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Massimo, Raffaeli, ed. Paolo Volponi: Il coraggio dell'utopia. Ancona: Transeuropa, 1997.

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9

Emanuele, Zinato, ed. Il cerchio: Omaggio a Paolo Volponi. Casette d'Ete (Ascoli Piceno): Grafiche Fioroni, 2005.

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Salvatore, Ritrovato, and Marchi Donatella, eds. Pianeta Volponi: Saggi interventi testimonianze : giornate di studio dedicate a Paolo Volponi (Urbino-Urbania-Cagli, 2-4 novembre 2004). Pesaro: Metauro, 2007.

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Book chapters on the topic "Volponi"

1

Wild, Gerhard. "Volponi, Paolo." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18368-1.

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Haefelin, Charlotte. "Volponi, Paolo: Memoriale." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18369-1.

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Fioretti, Daniele. "Utopia and Hybridization in Paolo Volponi." In Utopia and Dystopia in Postwar Italian Literature, 155–93. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46553-1_6.

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Hinchliffe, Arnold P. "Introduction." In Volpone, 8. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_1.

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Hinchliffe, Arnold P. "Ralph Richardson: George Devine’s Production, 1952." In Volpone, 64–68. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_10.

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Hinchliffe, Arnold P. "Tyrone Guthrie’s Old Vic Production, 1968." In Volpone, 68–73. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_11.

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Hinchliffe, Arnold P. "Paul Scofield: Peter Hall’s National Theatre Production, 1977." In Volpone, 73–80. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_12.

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Hinchliffe, Arnold P. "Postscript: Bill Alexander’s Production, The Other Place, 1983." In Volpone, 80–84. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_13.

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Hinchliffe, Arnold P. "Rare Ben." In Volpone, 8–18. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_2.

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Hinchliffe, Arnold P. "Gold Fever." In Volpone, 18–25. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_3.

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Conference papers on the topic "Volponi"

1

Siqueira, Vera Beatriz. "Crítica e cultura nas obras de Volpi, Dacosta e Pancetti." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3920.

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