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Liu, Hsiao Lin. "“Kuang Cao”. El estilo cursiva loca de la caligrafía China y su relación con la pintura informalista." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397798.
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Kuang Cao (狂草), elevó la caligrafía al nivel artístico con la simple intención de permitir la libre expresión de los sentimientos y la personalidad del artista. Los calígrafos de estilo cursiva loca expresan sus sentimientos a través de sus obras, en ellas podemos sentir una expansión de la emoción.
El manejo del pincel, la composición, el espacio y el ritmo son los elementos básicos de este arte visual. El estilo cursiva se transformó adaptándose a cada calígrafo, cada carácter normalmente debía escribirse de un sólo trazo, sin levantar del pincel, es decir, el Qi y su gesto no se interrumpen. Si los caracteres están unidos, su gesto puede llegar hasta la siguiente columna. El movimiento del pincel puede ser rápido o lento, el gesto del calígrafo se dirige hacia la composición (“cada fila es como una lombriz en primavera, cada carácter es como una serpiente en otoño”) para llegar a un nivel artístico en el que Qi Yun Sheng Dong (氣韻生動) “El espíritu vivo con Qi fluido”.
Respecto a la relación entre la caligrafía y la pintura occidental, no es justa la opinión de algunos calígrafos respecto al poco conocimiento que existe de la caligrafía por parte de los artistas occidentales. Si bien es cierto que algunos pintores como Franz Kline, afirman que sólo utilizan ciertos materiales de la caligrafía china y que su obra no está influenciada por ésta, otros artistas como Brice Marden, Miró o Tàpies han expresado y demostrado claramente su aprecio, conocimiento e influencia de la caligrafía oriental.
En el momento de la gran eclosión del intercambio cultural y artístico entre el mundo occidental y oriental, se esperaba mucho de la influencia de la caligrafía en el arte y es una idea que ha perdurado hasta hoy. Críticos reconocidos como Hebert Read y E. H. Combrich comentaron el papel que jugaba el arte oriental en la historia del arte. Read hizo referencia a un nuevo movimiento influenciado por lo menos en parte por la caligrafía china. En la teoría y la historia del arte en general, se ha hablado mucho sobre la contribución de la caligrafía al arte contemporáneo. Incluso en el estudio de la historia
del arte estadounidense, algunos artistas también empezaron a usar el pincel como los calígrafos.
Esta tesis no sólo pretende buscar la trascendencia del Qi en los calígrafos de Kuang Cao o en los artistas de obras informalistas. Con esta tesis también se pretende honrar a los artistas y mostrar nuestr artistas que no se sintieron atrapados en la tradición, supieron romper esquemas y límites, absorbiendo nuevas culturas e ideas para crear su propia forma de expresarse, su propio arte o respeto.
Quizá algunos de ellos no llegaron a ser famosos en el mundo del arte, pero su audacia en utilizar la tinta y el pincel oriental, colocar el cuerpo en una nueva postura para pintar, imitar con el pincel el baile de la caligrafía oriental expresando así la energía en sus obras ha tenido mucha influencia sobre otros artistas, incluso sobre calígrafos orientales.The meaning of Qi evolved from its purely material sense to reach a metaphysical sense. The character, actions, economic situation, even prosperity or ruin of a country, were influenced by the action of Qi. After the explanations of philosophers in the period of Spring and Autumn and the Warring States, the topic Qi, will be important in Chinese philosophy. Brushwork, composition, space and rhythm are the basic elements of this visual art. The cursive style became adapted to each calligrapher, each character should normally be written in a single stroke, without lifting the brush, that meaning Qi and gesture are not interrupted. If characters are united, their gesture can reach the next column. The movement of the brush can be fast or slow, the gesture of the calligrapher is directed towards the composition ( "each row is like a worm in the spring, each character is like a snake in autumn") to reach an artistic level where Qi Yun Sheng Dong (氣韻生動) "The living spirit with fluid Qi". From all of the styles of calligraphy, the one that can better express the flow of Qi is the cursive, in particular, the one known as Kuang Cao. The strokes of this style can be joined without interruption and the strength of his Qi amazes and even frightens the beholder. The spirit of "the living spirit with Qi fluid" has a different character for painting and calligraphy. A calligrapher needs to use energy to write his work, but the most important thing for him is the preparation process before you start writing so that after the flow of Qi is continuous to finish the work. From an artistic point of view, Qi is the energy of spirit that can be transmitted through the painter or calligrapher maintaining harmony with the universal energy; this is the idea of the aesthetic theory "The living spirit with fluid Qi". When it comes to this "divine" the spirit of the artist is reflected in his work forever, so we are excited when we see great works of art even if they are far removed temporarily, because the artistic spirit comes through work. Body and mind die, but the energy of the spirit remains.
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Hopkins, Rebecca. "Islands and oases Italian colonial cultures, migration, and utopia in women's writing in Italian and English /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Deganutti, Marianna. "Writing exile : Fulvio Tomizza." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:be1d8655-e5b6-40e1-94b7-7c173808e8a1.
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This thesis focuses on the unusual phenomenon of exile from a frontier land, as it is explored by the work of the Istrian writer Fulvio Tomizza. It deals with the diaspora from Istria, a territory at the intersection of different civilizations – the Italian and the Croat-Slovenian – which has historically shaped a mixture of cultures and languages, remarkable for its hybridity. The massive exile which took place at the end of the Second World War, after the redefinition of the Italo-Yugoslav border, presents original features which, by taking advantage of the narrative tool, overturn traditional parameters attributed to exile. Focusing on Fulvio Tomizza’s novels Materada, La ragazza di Petrovia and L’albero dei sogni, and also on some of his most significant essays, I will seek to outline the specific traits that typify the detachment from one’s own native country. In particular, I shall suggest that identity and idioms are called into question even before characters have left their homeland. In addition, exile begins with a clarification of characters’ sense of belonging, which inevitably leads them to split, making the choice of whether to abandon the home country even more complicated. Once abroad, characters will develop a deep sense of estrangement, dictated by the impossibility of fitting into any other context, which will eventually drive them to a double, parallel, unsuccessful exile. In order to investigate fully the characteristics of Fulvio Tomizza’s exile, I will employ some linguistic postulates to examine the bilingualism and diglossia of the origins. The theoretical approaches of Edward Said, Sigmund Freud and Julia Kristeva will be used to inform my analysis of the more subtle mechanisms which rule exile, starting with doubleness and examining the dynamics which commonly characterize the exilic experience, including those in relation to the elaboration of the narrative itself. The novelty of this work lies in its approach to exile without preconceived arguments, which run the risk of limiting the analysis of the topic, and in the exploration of the most crucial aspects of a frontier land shaken by a territorial redefinition. This thesis also aims to reallocate the figure of Fulvio Tomizza, who has as yet not been investigated in any significant manner, most often being neglected or misunderstood. The aim is also to highlight one of the most European writers of the Italian second Novecento and his relationship with Eastern European languages and literatures.
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Walchester, Kathryn. "'Our own fair Italy' : women's travel writing and Italy, 1800-1844." Thesis, Keele University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409552.
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Mee, Catharine. "Interpersonal Encounters in Contemporary French and Italian Travel Writing." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504121.
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Cacopardi, Irène. "Wu Ming : une république littéraire démocratique ?" Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30066.
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Cette étude porte sur la littérature italienne et sur le rapport qu’elle entretient aujourd’hui avec les nouveaux médias, surtout l’Internet. Notre analyse se concentre sur le collectif Wu Ming qui, en recourant à l’écriture collective, à l’anonymat, au copyleft et à l’utilisation des nouvelles technologies comme moyens de diffusion et de création de ses œuvres, représente un projet novateur dans le panorama littéraire contemporain. En effet, les changements introduits par Wu Ming ne touchent pas seulement le rôle et le statut de l’auteur mais ont également un impact sur la nature de l’œuvre et du texte.Grâce à Wu Ming, les histoires sont libérées du lien de la propriété privée et les récits échappent en partie à la logique commerciale pour entrer dans une réalité où le travail culturel peut être librement diffusé. À travers ce processus de diffusion et de socialisation du savoir, les membres du collectif revendiquent une approche de l’écriture qui vise l’instauration d’une République démocratique des lecteurs où les histoires, influencées par plusieurs sensibilités, se développent, se construisent, se reconstruisent et changent de cap. L’emploi des nouvelles technologies joue un rôle central dans cette démocratisation. L’Internet devient un lieu de rencontre, de conflit et de partage où le texte littéraire se déploie en soulevant des questionnements d’ordre sémiotique et ontologique. Est-il vraiment possible de parler d’une démocratisation de l’acte narratif, de la fin de l’auteur et de la désacralisation de l’œuvre ? Dans ce travail, notre but est de comprendre si la démarche de Wu Ming répond à une simple posture intellectualisante, voire à une stratégie marketing, ou si elle met véritablement en place un nouveau paradigme expressif en créant un réel espace de participation démocratiqueAbstract:The present study focuses on Italian literature and its relationship with today’s new media, especially with the Internet. Our analysis concerns the collective Wu Ming which, through the use of collective writing, anonymity, copyleft and new technologies as means of dissemination and creation of his works, represents an innovative project in the contemporary literary panorama. Indeed, the changes introduced by Wu Ming do not only affect the role and status of the author but also have an impact on the nature of the text.Thanks to Wu Ming, stories are freed from the bonds of private property and partly escape the commercial logic to enter a reality where cultural work can be freely disseminated. Through this process of diffusion and socialization of knowledge, members of the collective claim an approach to writing that aims at the establishment of a democratic Republic of the reader, where the stories are influenced by several sensibilities and thus they are constructed, develop, rebuild and change course. The use of new technologies plays a central role in such a democratisation. The Internet becomes a place of encounter, conflict and sharing, where the literary text unfolds by raising semiotic and ontological questions. Is it really possible to speak of a democratization of the narrative act, the end of the author and the desecration of the text? Throughout our work, the goal is to understand if Wu Ming's approach responds to a simple intellectualizing stance -or even a marketing strategy- or if it actually sets up a new expressive paradigm, by creating a real space for democratic participation
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Fiore, Teresa. "Pre-occupied spaces : re-configuring the Italian nation through its migrations /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3064464.
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Holmström, Josefin Maria Kristina. "Transatlantic Italy and Anglo-American periodical writing, 1848-1865." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275892.
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This is a thesis about English and American imaginative identification with Italy in the period 1848–1865, facilitated by and expressed through periodicals and newspapers. At the centre of the thesis sits New England magazine The Atlantic Monthly, which during the Civil War emerged as a vehicle for abolitionist literature, but which also published extensively on Italy. The Risorgimento, the movement that sought Italian unification, triumphed in 1861—the same year that the battle of Fort Sumter signalled the start of the American Civil War that would last until 1865. This thesis investigates the transatlantic relationship between the Risorgimento and the Civil War as it emerged in The Atlantic Monthly, The Springfield Daily Republican and other nineteenth–century publications, and it does so through contextualised readings of Arthur Hugh Clough, Harriet Beecher Stowe, and Emily Dickinson. These three seemingly very disparate authors are connected by The Atlantic Monthly: Clough’s epistolary poem on the fall of the 1849 Roman Republic, Amours de Voyage, was first published there in 1858; Harriet Beecher Stowe serialised her historical Italian romance Agnes of Sorrento in The Atlantic Monthly between 1861 and 1862; and Dickinson was inspired to write a series of poems on Italy and volcanoes after reading both The Atlantic Monthly and local morning newspaper The Springfield Daily Republican. They are also connected by their fascination with Italy. This thesis argues that nineteenth–century periodicals need to be studied in a transatlantic context: they cannot be read, in the traditional style of Benedict Anderson, as simple affirmations of nationalism and national culture. Another way of putting it is to say that this thesis is about a series of exchanges of influence and thought that get attached to national projects but are in themselves international.
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Nannavecchia, Tiziana. "Translating Italian-Canadian Migrant Writing to Italian: a Discourse Around the Return to the Motherland/Tongue." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35220.
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A two-way bond between translation and migration has appeared in the most recent texts in the social sciences and humanities: this connection between the two is exemplified by the mobility metaphor, which considers both practices as journeys across cultural, linguistic and geographical borders. Among the different ways this mobility metaphor can be studied, two particular areas of investigation are of interest for this research: firstly, migrant writing, a literary genre shaped from the increasing migratory movements worldwide; the second area of interest is literary translation, the activity that shapes the way these narratives are disseminated beyond the linguistic borders they were produced in.
My investigation into the role of literary translation in the construction and circulation of a migrant discourse starts with the claim that writing and translation in itinerant contexts are driven by, and participate in, the idea of the journey: an interlingual and intercultural flow regulated by social/economic/artistic constraints, a movement in which the migrant experience is ‘translated’ in writing and then ‘migrated’ across languages and spaces.
The present analysis focuses on the representative case study of migrant narratives by Canadian writers of Italian descent: their shared reflections on the themes of nostalgia and the mythical search for roots, together with a set of specific linguistic devices – hybridity, juxtaposition of languages, idiolects and registers – create a distinctive literary migrant discourse, that of the return to the land of origin.
Guided primarily by the theoretical framework of Cultural Studies, the first part of this work seeks to illustrate how thematic and linguistic elements contribute to the construction of a homecoming discourse in original migrant narratives, and how this relates to the translation practice. Subsequently, the analysis moves to the examination of how these motives are reproduced in the translated texts, and what is/are the key rationale/s behind the translation of this type of works. Ultimately, my research takes a sociologically informed interest in the influence of translation and its agents in endorsing and/or manipulating this rationale in the receiving culture. In fact, this research aims to represent equally the human and cultural-linguistic aspects that affect these translational journeys, concentrating, firstly, on the actors (authors and literary translators) and the social and artistic environments that surround the production of both the source and target texts and, subsequently, on the texts themselves.
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Rasmi, Jacopo. "une écologie des méthodes documentaires.à partir d'écritures filmiques et littéraires de l'Italie contemporaine." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL001/document.
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Cette recherche se structure autour de quelques pratiques documentaires dans le contexte italien contemporain : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Étudiées en tant que méthodes particulières de médiation et d’écriture parmi de nombreuses autres agençant l’univers médial actuel, ces expériences nous révèlent leur spécifique statut écologique. C’est à une écologie générale (socio-politique, perceptive et symbolique) qu’on se réfère : celle qui a été proposée par des théoriciens tels que Felix Guattari, Tim Ingold ou Bruno Latour. Fidèles à un certain empirisme habitant ainsi qu’à une attention interactive envers nos milieux, ces créations documentaires captent, questionnent et racontent l’ensemble enchevêtré de présences composant nos milieux. Malgré un intérêt cinématographique prioritaire (pour Michelangelo Frammartino, d’abord), les théories et les exemples mobilisés permettent de définir une catégorie de « documentaire » capable d’inclure des formes médiales très variées comme la littérature (à travers Gianni Celati, surtout) ou le théâtre sur la base d’un principe commun d’enquête appareillée des environnements qu’on habite. Entre les lignes de ce paradigme écologique et trans-médiale du documentaire nous identifions les coordonnées d’une manière plus soutenable et attentive d’habiter les milieux complexes (autant « naturels » que sociaux, techniques et sémiotiques) dans les lesquels nous sommes toujours déjà impliqués. Elle est inaugurée par d’autres récits et d’autres perceptions de ce qui nous entoure qu’on appellera des « contre-fictions »This research takes place among some documentary practices in the contemporary Italian field : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Studied as specific methods of mediation and writing in the middle of many others organizing today’s medial world, these experiences reveal us their specific ecological status. We refer to a general ecology (socio-political, perceptive and symbolic) : the one that has been defined by thinkers like Felix Guattari, Tim Ingold or Bruno Latour. Devoted to an empirical dwelling as much as to an interactive attention towards our environments, these documentary creations record, question and narrate the entanglement of presences composing our milieux. Despite a fundamental cinematic interest (first of all for Michelangelo Frammartino), the theories and the exemples taken into account allow us to define a category of « documentary » capable of including other medial forms like literature (through Gianni Celati, above all) or theatre on the basis of a commun technical exploration of the environments we dwell in. Between the lines of such an ecological and trans-medial concept of documentary we spot the landmarks of a more sustainable and attentive way of living the multilayered environments (« natural » as well as social, technical and semiotic) in which we are always already involved. Such an alternative way of living begins with other storytellings and other perceptions of what surrounds us that we will call « counter-fictions »
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周恩珊 and Yan-shan Bonny Chao. "A study of Italo Calvino's postmodernist writings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B42575710.
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Chao, Yan-shan Bonny. "A study of Italo Calvino's postmodernist writings." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B42575710.
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Morelli, Maria. "Queer(ing) gender in contemporary Italian women's writing : Maraini, Sapienza, Morante." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/40306.
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In this thesis I propose a queer reading of the works of three contemporary Italian women writers, Dacia Maraini (1936—), Goliarda Sapienza (1924-1996) and Elsa Morante (1912- 1985), published between the 1970s and 1980s. This timeframe coincides with the height of the Italian pensiero della differenza sessuale, emphasising the socially constructed nature of ‘woman’ and advocating a new symbolic order, with a focus on the redefinition of female identity. Yet, the texts that I examine for my study are not, or not just, feminist manifestoes. Despite sharing many feminist concerns, they also go beyond the dominant theoretical paradigms of the day and venture a step further into the exploration of alternative discourses that challenge taken-for-granted relations between biological sex, gender and sexual desire as fixed patterns for identity formation, thereby problematising the notion of ‘identity’ itself. As such, they appear in tune with more recent formulations arising from a new field of critical theory first elaborated in the North-American context in the early 1990s and now referred to as ‘queer theory’. Used as a framework for my analysis, queer theory will help us understand the critical attitude that Maraini, Sapienza and Morante upheld towards the cultural and philosophical positions of their time, while also suggesting new ways of (re)reading their works nowadays. My thesis will demonstrate that, despite not always sharing the same ideological agendas, these authors manifest a marked unease towards the binary logic implicit to the categories of ‘man’ and ‘woman’, positing these as cultural performances and espousing a queer distrust towards identitarian anchorings.
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Penni, Serena. "Studio dell' opera narrativa di Goffredo Parise." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA030001.
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Goffredo Parise (1929-1986) est désormais reconnu comme l'un des auteurs capitaux de la littérature italienne dans la deuxième moitié du xxe siècle. cependant, la critique (jamais indifférente face à son œuvre) n'a pas toujours su, selon nous, prendre l'exacte mesure du caractère profondément singulier et souvent fortement novateur du travail littéraire de cet écrivain (peut-être parce que sa très grande notoriété comme journaliste et, notamment, grand reporter a gêné la perception d'ensemble). Aussi, estimons-nous qu'il serait utile de tenter d'approfondir la connaissance que nous avons des composantes et des caractéristiques d'une écriture qui n'a pas d'équivalent dans le panorama de la littérature européenne contemporaine (et alors même que l'intertextualité de l'œuvre est considérable et dépasse largement le cadre de cette littérature). notre étude examinera, diachroniquement, les structures narratives mises en place de façon très élaborée par l'auteur tandis que des analyses approfondies des principaux textes devront mettre en lumière, à la fois, les récurrences thématiques, narratives et stylistiques (sur un plan synchronique, en l'occurrence) et les mouvements de fond, parfois les bouleversements, que l'écrivain, très sévère avec lui-même et souvent insatisfait des résultats obtenus, apporta à la qualité de son travail au fil des années, de la publication de nouveaux livres et de la réécriture de certains. notre recherche devrait donc contribuer à mieux définir le parcours d'un écrivain que son remarquable talent, sa formation culturelle au sens large et ses choix aussi bien idéologiques qu'artistiques ont amené à composer, en un espace de temps relativement bref, une œuvre authentique et spécifique qui correspond pleinement à la rencontre unique d'un projet et d'une écriture au sein d'une époque jamais oubliée mais toujours tenue très consciemment à distanceThe aim of this research is to offer an analysis of Goffredo Parise's narrative work which focuses on the elements of continuity and, at the same time, of rupture characterizing his literary career. Indeed, Goffredo Parise was a writer who seemed endowed with a singular capacity of innovation as well as a deep desire to apply self-analysis, whether with reference to the style, the narrative techniques or the contents of his work. It is thus our aim to demonstrate that Parise was capable of constantly renewing himself, with no fear of facing either the historic and cultural alterations of his time or the — internal and external — upheavals that marked-his life. Parise was continuously striving, through his research, to identify the best style to express the multiple meanings that the circumstances imposed upon his writer’s consciousness. His work thus seems, in our opinion, marked by immensely creative dynamics. However, some features accompanied him throughout the years and are thus recurrent in his books. In our view, the continuous presence of weighty structural elements in Parise’s writing as well as the constant renewal of forms and contents are the fundamental facts that allowed the author to find a singular, disturbing and often completely happy balance in his work as a writer. This balance helped Parise to become a leading figure on the 20th-century literary scene. Taking his kind of approach into account, to us the chronological criterion seemed most suited to gain an insight into the author’s rich textual production
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Bazzoni, Maria Alberica. "Writing for freedom : body, identity and power in Goliarda Sapienza's narrative." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d99db352-1203-479b-9f1c-7099e384ffe9.
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This thesis explores the theme of freedom in Goliarda Sapienza's narrative, focusing in particular on three works: Lettera aperta (1967), L'arte della gioia (1998, posthumous) and Io, Jean Gabin (2010, posthumous). The analysis concentrates on the interplay between body and power in processes of identity formation; the main aspects taken into consideration are gender, sexuality and political ideology, with specific attention to the power involved in human relationships. This thesis comprises four chapters. The first three develop a close textual analysis of individual works, each one progressing from the exploration of the internal composition of the self to the analysis of identity in its interpersonal and socio-political dimension. The fourth chapter engages with a comparative analysis of the same works’ narrative structures, accounting for the role of writing in the evolution of Sapienza’s narrative. I identify the pivotal tension of Sapienza's works in the ideal of freedom, and propose to define her narrative as Epicurean and anarchic, characteristics that place it at the intersection of post-structuralist and Marxist-feminist discourses. Overall, I argue in favour of Sapienza's originality and significance within the context of 20th-century Italian literature. I suggest an affinity between Sapienza's works and the literary legacy of Pirandello and Svevo, as well as certain tenets of postmodern fiction, but also a significant difference, concerning the presence of a tension towards agency and subjectivity, extraneous to the trajectory of the modern and postmodern subject. From a position of marginality and ex-centricity, Sapienza gives voice to a radical aspiration to individual and social transformation, in which writing and literary communication are granted a central role. Her works trace the parable of a strenuous deconstruction of oppressive norms and structures, aimed at retrieving a space of powerful bodily desire, which constitutes the foundation of the process of becoming a subject.
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Maglaque, Erin. "Venetian humanism in the Mediterranean world : writing empire from the margins." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.
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My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
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Polezzi, Loredana. "Resiting genre : a study of contemporary Italian travel writing in English translation." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/3996/.
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This thesis aims to highlight the presence of a large and varied production of contemporary Italian travel writing and to analyse the reasons for its 'invisibility' in the Italian literary system and critical tradition. Through the use of a comparative approach to genre and of current theories developed in the area of Translation Studies, the thesis will outline the different status attributed to travel writing in the Anglo-American and the Italian literary systems. Such a comparative approach allows the study to escape the narrow confines of a perspective based on the idea of national literature and to adopt a wider view, which, in turn, highlights the presence of phenomena otherwise easily overlooked or discarded as insignificant. The peculiar characteristics of travel writing, a genre mostly based on the representation of the Other for a home audience, are also analysed in order to point out their affinity with translation practices and, ultimately, to underline the 'double translation' implied by translated travel writing. The case studies which make up the remaining part of the thesis are intended to illustrate different aspects of the genre of travel writing; to provide scope for an analysis of its boundaries and connections with other genres (ranging from ethnography to autobiography, from journalism to fiction, from the essay to the novel); and to illustrate the way in which generic expectations influence both the selection of texts for translation and the strategies adopted when translating and marketing them for a new audience. The writings of twentieth-century Italian explorers to Tibet, and their translations into English, constitute a significant case of adaptation of foreign texts to the needs and expectations of a British audience (and to the British interests in the geographical area concerned). The works of Oriana Fallaci and their different reception in Italy with respect to the UK and the USA illustrate the way in which personal biography and generic choices can intersect, determining both the popular image and the critical success of an author and of her work. Calvino's choice to sublimate the genre of travel writing in the stylized fiction of Le citta invisibili is treated as an example of the way in which a text which is meant to provide an escape from a low-status genre can become an icon of that same genre once it is translated and read in a different cultural context. Finally, the case of Claudio Magris's Danubio and of its English-language translation provides evidence of the complex network of literary references which marks the reception of a text in different cultures, and of the way in which generic affiliation can both promote the recognition of a 'marginal' text and constrain its more idiosyncratic (and original) characteristics.
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Schrimpf-Patey, Albane. "Inquirere et in scriptis redigere : administrer par l'écrit au Mont-Cassin sous les abbatiats de Bernard Ier et Thomas Ier (deuxième moitié du XIIIe siècle)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H022.
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Dans la deuxième moitié du XIlle siècle, les abbatiats de Bernard Ier et de Thomas Ier correspondent à une période de reprise en main spirituelle et gestionnaire de l'abbaye du Mont-Cassin et de son patrimoine. Celle-ci se caractérise par une intense production de documents administratifs. La documentation conservée au Mont-Cassin permet une analyse des pratiques scripturales dans l'abbaye et ses dépendances. Nous pouvons ainsi comprendre les caractéristiques des écrits produits à travers l'étude de leurs formes, des acteurs et de leurs modalités de conservation. Ces documents nous révèlent ainsi que l'écriture est utilisée comme un outil d’administration du territoire. Elle permet de connaître et de s'approprier la norme, puis de la produire et de l'énoncer. Elle est enfin considérée comme un moyen de mise en ordre des archives, ce qui peut être révélé par l’étude des réseaux documentairesIn the late XIIIth century, the abbots Bernard Ist and Thomas Ist restored a spiritual order and improved the administrative organization in the Abbey of Montecassino and its possessions. This period is characterized by a rich production of administrative documents, which allows us to analyze the uses of writing in the abbey and its daughter houses. This work studies the forms, actors and storage methods of written sources. As writing is used as a tool for administrating territory, it helps to establish and assimilate the norm, later to produce and enunciate it. It is also a means to better organize the archives, as shown by the document networks
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Olsen, Thomas George. "Circe's court : Italy and cultural politics in english writing, 1530-1685 /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487946776023502.
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Strowel, Marie. "Ideological consistency in Giuseppe Prezzolini's early writings (1903-1908)." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389771.
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Feruglio, Elisabetta. "Caterina Percoto's Racconti : a woman writing about women in pre-Unification Italy." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624693.
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Baran, Kemal Mustafa. "Travelling/writing/drawing: Karl Friedrich Schinkel." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613886/index.pdf.
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Baldo, Michela. "Translation as Re-Narration in Italian-Canadian Writing: Codeswitching, Focalisation, Voice and Plot in Nino Ricci's Trilogy and its Italian Translation." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493444.
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This study draws on poststructuralist narratology in order to examine a trilogy of novels by the Italian-Canadian author Nino Ricci, in the context of diaspora and multilingualism in general, and Italian-Canadian writing more specifically. The novels by Nino Ricci, Lives of the Saints (1990), In a Glass House (1993) and Where She Has Gone (1997), which were translated from English into Italian by Gabriella Iacobucci in 2004, narrate the personal experience of an Italian family before and after they emigrate to Canada and are characterised by the use of codeswitching (the passage from English to Standard Italian dialect and vice versa).
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Macilenti, Alessandro [Verfasser]. "Characterising the Anthropocene : Ecological Degradation in Italian Twenty-First Century Literary Writing / Alessandro Macilenti." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1159514097/34.
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MANZI, LUCA. "L'AUTORE DI FICTION TELEVISIVA IN ITALIA, UNA RICERCA ETNOGRAFICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/256.
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La tesi descrive il processo di ideazione e scrittura di lunga serialità in Italia attraverso l'osservazione etnografica di due scritture di fiction avvenute nel 2007; attraverso l'analisi etnografica si evidenziano le prassi professionali e le dinamiche interpersonali che si stabiliscono durante i processi di ideazione e scrittura, con particolare attenzione ai processi di negoziazione creativa e di differenze generazionali.Thesis describes the creative and writing process of two fiction series in Italy, through ethnographical observation of two writing processes which took place in 2007; through ethnographical analysis professional habits and interpersonal dynamics are underlined, during creative and writing process; spotlight has been put on creative negotiations processes and generational differences.
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Collins, Sally Louise. "Representations of Italy and Italians in British fiction and travel writing, 1900-1930." Thesis, Goldsmiths College (University of London), 2006. http://research.gold.ac.uk/16851/.
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This thesis is conceived as a critical exploration of the construction of Italy and Italians in texts by British writers published between 1900 and 1930. Despite this period representing the heyday of writers in and writing on Italy, scholarship on the specifically Italian-centred rhetoric and its significance is sketchy (though advancing): one must look piecemeal to literature on travel-writing, literary modernism, Englishncss and regionalism, or on imperialist-colonialist discourse or on the Mediterranean in literature; and to pre- 1900 periods such as Grand Tourism, Romanticism, the rise of mass tourism in the Victorian age; or the inter-war period. Drawing from this network of scholarship in detailed analyses of a dozen writers' works, a picture is built up of the principal characteristics of literary constructions of Italy and Italians in terms of tropes, rhetorical strategies and themes, accounting for their predominance, while maintaining a sense of variety and change within the parameters of genre and period. The selection of writers is based on their high standing in contemporary literary circles, their personal contact with Italy and the popularity of their texts during the period. Each chapter examines writing on a particular region of Italy - Capri, Tuscany, the North and the South - drawing out the specific connotations of place found in and constructed by the texts. By scrutffuzing the workings of fiction and travel writing on Italy in the light of the discourses and contexts outlined above, the thesis will show that literary representations of Italy provide a window onto the way British writers conceived of British identity as well as of Italy and its people, during the first three decades of the century.
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Wright, David. "Prose fiction in the current millennium: Reading and writing Italo Calvino’s six memos." Thesis, Wright, David (2018) Prose fiction in the current millennium: Reading and writing Italo Calvino’s six memos. PhD thesis, Murdoch University, 2018. https://researchrepository.murdoch.edu.au/id/eprint/44500/.
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In 1985 Italo Calvino wrote a series of lectures (later published as ‘memos) in which he proposed five values he deemed crucial to literature as it moved into the next millennium: lightness, quickness, ‘crystal’ exactitude, visibility, and multiplicity. This creative thesis addresses Calvino’s Six Memos for the Next Millennium in three ways. First, the rise of these values within the Calvino corpus is explored, including Calvino’s creative theoretical approach used in Six Memos for the Next Millennium. Second, Calvino’s values are reimagined in relation to contemporary literature and context. As Calvino’s memos address the current millennium, this thesis responds from the current millennium by contrasting the memos with recent works that can be read as exhibiting Calvino’s values and their binary opposites (i.e. weight, lingering, ‘flame’exactitude, ephemerality, and singularity). Third, Calvino’s memos are explored through creative practice by applying Calvino,s memos to produce five fictional works: The Perfect Democracy, Executive Chairman’s Letter to the Shareholders (a sample of the larger work Paige & Powe), 뻐꾸기 (a sample of the larger work Little Emperor Syndrome), Unlabelled Bottles, and Las Artes Hypnóticas (2022). The creative works serve as a conclusion, as evidence of the relevance Calvino’s memos have in addressing the predicaments in contemporary literature addressed in the theoretical portion of this thesis. This thesis examines each of Calvino’s memos in the various forms that contemporary prose fiction has taken. As the current millennium has been defined as an age of ‘too much’(i.e. too many subjects and issues to examine, too many potential associations to make, too many competing voices to vii represent, too many forms of competing media, and too many potential readers and readings to account for), this thesis examines how this has impacted contemporary fiction:
(a) The values of weight and lightness are explored in the ‘Maximalist’ novel (as defined by Stefano Ercolino);
(b) The values of quickness and lingering are explored in contemporary digital literature (i.e. prose fiction that is ‘digital born’);
(c) The values of crystal and flame exactitude are explored in the contemporary use of ‘stream-of-consciousness’ prose and interpretations of the ‘ideal text;
(d) The values of visibility, ephemerality, and ekphrastic strategy are explored in multimedial prose fiction; and
(e) The values of multiplicity and singularity are explored in contemporary encyclopaedic fiction, paranoid fiction, and the ‘novel of information multiplicity’ (as defined by John Johnston).
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Bortoluzzi, Maria. "The interpersonal function in written discourse : a comparative study of English and Italian undergraduate writing." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/28599.
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This study is a comparative analysis of university student writing in English and Italian (the native languages of the students). The main research issue investigated here relates to the differences and similarities in student writing across languages when the same text-type is produced within comparable situations. Cross-linguistic and cross-cultural variation in encoding and transmitting knowledge and in the way critical enquiry is conducted can be an area of potential difficulty when languages and cultures come into contact. Comparative analysis is a tool for investigating, explaining and, possibly, avoiding some of the potential errors and misunderstandings that may arise in cross-cultural communication. In particular the study focuses on writing conventions used by English and Italian native speaker students when writing about literature for their university courses. The data are texts of argumentative prose about literature (in the students' mother tongue) written for university examinations during an undergraduate degree course. The linguistic analysis focuses on discoursal devices related to the interpersonal metafunction. The fundamental hypothesis underlying the study is that the devices more centrally related to this metafunction can offer insights into the writing conventions adopted by the students. Whereas the interpersonal metafunction as the focus of analysis is a concept derived from Halliday, the actual linguistic analysis of discoursal features draws on different approaches to discourse study because the framework of analysis had to be flexible enough to encompass the investigation of two different languages and there was no standardised method of analysis for the present type of research. The linguistic areas focused upon are: person markers, 'impersonal' and passive structures, modality, evaluative strategies (Politeness Theory), metadiscoursal features, devices establishing an overt link between writer and reader, rhetorical prominence and its effects on discourse.
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Bogiazides, Nick. "Concepts of transition in the writings of Antonio Gramsci." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363358.
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Akieudji, Colbert. "La représentation de l'Afrique dans l'écriture littéraire italienne de la seconde moitié du XXème siècle." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030158.
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Dans les textes des écrivains italiens de la seconde moitié du XXe siècle, plusieurs éléments africains se détachent nettement. Cet ensemble de constituants physiques, humains, spatiaux et socioculturels est mis en forme à travers une multitude de procédés qui montrent d’une part une rhétorique particulière de l’expression de l’altérité et d’autre part un discours littéraire sur l’Afrique qui devient une réelle occasion de relecture et de réinterprétation des volumes de la "bibliothèque" des écrivains. Les images reflétées dans ces textes montrent un imaginaire italien sur l’Afrique caractérisé en majorité par des symboles de l’animalité, de l’obscurité et du déclin; d’où un souci de modernisation de l’image de l’Afrique chez les écrivains. Par ailleurs, c’est finalement l’Italie qui se regarde à travers le continent noir. Si l’on suppose une fonctionnalité de ce discours, on peut dire que les auteurs l’utilisent également pour revenir sur le passé colonial de leur pays, exprimer le drame de l’Afrique postcoloniale et dénoncer certains maux qui minent la société contemporaine. Une écriture autobiographique qui favorise la construction de l’identité individuelle des auteurs ainsi que celle collective de l’Italie, sans oublier le développement de la littérature et du cinéma. D’un côté, une étude diachronique montre que ce phénomène a considérablement évolué durant le XXe siècle italien, et ce à différents niveaux, de l’épitexte au traitement intratextuel de l’espace africain, le regard "pur" de l’époque contemporaine s’opposant aux visions coloniales de la période fasciste. D’un autre côté, une synchronie incluant des textes français amène à hypothiser une vision tout européenne du continent noir, bien que subsiste un regard propre à l’Italie, concernant la singularité du milieu africain. Finalement, l’on constate que les hétéro-images des écrivains italiens coïncident avec les auto-images des auteurs africains et que l’intérêt pour l’autre est réciproque entre les deux espacesIn Italian writers’ texts of the second half of 20th Century, many African elements are particularly brought to light. This set of physical, human, spatial and socio-cultural constituents is textualized through a vast number of techniques which show on one hand a particular rhetoric of elsewhere expression and on the other hand that a literary discourse on Africa becomes a real opportunity to re-read and re-interpret the writers’ books. Images that are reflected in these texts show an Italian imaginary on Africa mostly characterized by primitive, mysterious and fall-oriented symbols, hence the worry to modernize the image of Africa by the writers. Therefore, Italy is finally seen through African continent. If one supposes the functionality of this discourse, one can say that the authors equally use it to dwell on the colonial past of their country, to express the tragedy of postcolonial Africa and to denounce some ills that damage the contemporary society. One has to do with an autobiographical writing that favors the construction of the authors’ individual identity as well as the collective identity of Italy, without leaving out the development of literature and cinema. On one side, a diachronic study shows that this phenomenon has considerably evolved during the Italian 20th Century, and this happens at various levels, from the epi-text to the intra-textual treatment of African space, the “pure” look of the contemporary epoch opposing itself to colonial visions of the fascist period. On the other side, a synchrony including French texts urges to set an hypothesis of a European vision of the African continent, although a look peculiar to Italy remains, concerning the singularity of the African milieu. Finally, one notices that hetero-images of Italian writers coincide with auto-images of African writers and that the interest to the other is reciprocal between the two spaces
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Mastellotto, Lynn A. "Relocation narratives 'Made in Italy' : self and place in late-twentieth century travel writing." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48809/.
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At the intersection of life writing and travel writing, relocation narratives form a distinct subgenre of contemporary travel memoirs concerned with the inter-subjective and intra-subjective experiences of travellers who become settlers in foreign locales. Lured by the dream of the ‘good life’ abroad, transnational writers detail their post-relocation experiences in autobiographical accounts that seek to educate and entertain global readers about what it means to accommodate to a new life in a new land. This study examines the entwined processes of identity (re)formation and place attachment represented in recent relocation trilogies set in Italy, highlighting the tension between reality and illusion in the pursuit of la dolce vita in the adopted homeland. Focusing on Frances Mayes’s popular Tuscan texts, Annie Hawes’s Ligurian trilogy, and Tim Parks’s memoirs set in Verona, the study addresses how their accommodation over a period of long-term foreign residency is represented in multipart nonfiction accounts. Are their memoirs of ‘becoming Italian’ merely an exercise in social distinction that appropriates Italian ‘authenticity’ and packages it for global tastes? Or does dwelling in cultural difference over time lead to the development of an intercultural competence that is one aspect of an engaged form of cosmopolitanism? A close reading of the language, stylistics, and form of relocation narratives reveals a tension between colonial and cosmopolitan orientations as strategies for cultural representation. By re-positioning themselves across geographic, conceptual, and generic boundaries, relocation writers are mapping out new possibilities for identity-making through new patterns of home-making within contemporary transnational lifestyles. Their deep immersion in place enables the production of situated readings of Italy, Italians and Italianness that avoid essentialising otherness through the recognition of dialogical subjectivities. Keywords: travel writing; autobiography/memoir; lifestyle migration; cosmopolitanism; identity formation.
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Brioni, Simone. "The Somali within : questions of language, resistance and identity in 'minor' Italian writings." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/56115/.
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The present work examines writings by authors of Somali origin in the Italian language. The analysis draws on and critically evaluates Gilles Deleuze and Félix Guattari’s concept of minor literature. Firstly, it investigates the different strategies through which these texts insert Somali words within the Italian text. Secondly, it scrutinizes the political engagement of Somali-Italian writings with the issue of racism, and their attempt to show the legacy of colonialism in contemporary Italy. Thirdly, it considers the ways in which these partly autobiographical texts envision a relational, plural and dialogical identity for Somali-Italian characters. In particular, the construction of alternative communities and multiple belongings beyond the dichotomy between Italians and Somalis through means of exclusion and inclusion of other minoritarian groups is analyzed. In conclusion, this work suggests rethinking the ways in which Italian literature is conceived, in order to include “minor” transnational narratives that exceed national paradigms.
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Wend, Petra. "The female voice : Lyrical expression in the writings of five Italian Renaissance poets /." Frankfurt am Main : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb38814531p.
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Balletti-Thomas, Joanne. "Women's writing and the "anxiety of authorship" in nineteenth-century Italy : Bruno Sperani and others." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26718.
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As women's literature emerged in late nineteenth-century Italy, female authors encountered many obstacles. Foremost among them was the near-total absence of Italian female literary role models. Female writers often expressed ambivalence towards the writing of other women, which was considered inferior to male writing. However, their reverence for male writers revealed how conflictive their identities as writers were, and it was an impediment to the establishment of a serious women's literary tradition. In addition to such personal conflicts, these writers also faced the challenge of gaining acceptance by the male-dominated literary community and by their readers. These two groups expected that women's writing conform to a moral code which did not apply to men's writing. This thesis is an analysis of the specific problems that female novelist Bruno Sperani and others faced as they strove to establish themselves in Italian literature.
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Jiříček, Milan. "Živý font." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2012. http://www.nusl.cz/ntk/nusl-219475.
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The work describes the theoretical foundations of modern methods of creating new fonts, that is, using information technology, specifically vector programs. It also marginally shows the history of the font, Roman writing, the basic division of its compositions and describes its individual elements. The next part of the project focuses on creating digital fonts and continues with bringing it to live using algorithms and methods that can easily be processed in Matlab programming language. The method of implementation of the bringing the typeface to live is described and presentation of the generated results are then shown in few examples. Attention is also paid to the coordinates system, which is very important to solve geometric transformations, and two-dimensional vector graphics, which are widely used in the design and to render the fonts. Bézier curves and cubic Bézier curves are described in further detail along with vector graphics rasterization. One part of this text describes very important de Casteljau algorithm. The last chapter focuses on implementation in Matlab programming language, the creation of curves, that means single font characters, and the ways of how the algorithm works with transformations. Some sample images showing transformations using different input arguments are displayed in this section as well. There is evaluation of the contribution of this application and the possibilities of further expansion at the end.
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Holmes, Deborah. "Ignazio Silone and 'das rote Zurich' : writing and internationalism in antifascist exile 1929-1939." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367776.
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Balletti-Thomas, Joanne. "Women's writing and the anxiety of authorship in nineteenth-century Italy, Bruno Sperani and others." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29525.pdf.
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Ballantyne, Abigail L. "Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.
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Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.
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Capancioni, Claudia. "Anglo-Italian literary identity in the writings of Margaret Collier, Giacinta Galletti and Joyce Salvadori." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:7152.
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From the introduction]: This thesis will focus on an intertextual literary study of the writings of three generations of female writers in a relatively unknown Anglo-Italian family, the Galletti-Salvadoris. Margaret Collier Galletti di Cadilhac (1846-1928), her daughter, Giacinta Galletti Salvadori (1875-1960), and her granddaughter, Joyce Salvadori Lussu (1912-1998) were all unconventional travellers, writers, and activists. Their writings are powerful testimonies to the historical and intellectual changes in Europe from the end of the nineteenth century to the late twentieth century. The inheritance of a maternal British background influenced the later Anglo-Italian generations of this family. It informs their multicultural identity, their international political and social consciousness, and their creation of an Anglo-Italian literary subjectivity, especially before, during and after the Second World War. Giacinta Galletti and Joyce Salvadori are products of a British maternal legacy that developed into a plural and progressive perspective on the European historical and intellectual context expressed in writing. Anglo-Italian Giacinta Galletti and Joyce Salvadori are not specifically British or Italian. Their struggle to find a narrative language which allows the representation of their familial, cultural and literary subjectivity, identifies concerns about the definition of a European identity and its literary dimension. This study will uncover the dialogic interactions between the published and unpublished works of these three women, revealing the development of an intellectual representation of a cross-cultural Anglo-Italian female subjectivity. Although it recovers their literary writings by a combination of archival research and translation into English of the works written in Italian, this thesis analyses a selection of their travel and autobiographical writings in which the family's literary influences are revealed as 'intertextual dialogue[s]'. In the introduction to her autobiography written in Italian, Portrait (cose viste e vissute) (Portrait: The Things I Saw and Experienced, 1988), Joyce Salvadori claims of her family that their 'dissenting vein descends from their female kinsfolk, most of whom were English'. This thesis identifies a British maternal legacy and its influence in the representation of an Anglo-Italian identity in writing, The female descendants of the Galletti-Salvadori family present an original response to the complexity of a bilingual and bicultural identity. In the development of an Anglo-Italian consciousness, Margaret Collier, Giacinta Galletti and Joyce Salvadori embraced the difficulties, as well as the benefits, of a bicultural identity in their writing.
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Mazzeo, Tilar Jenon. "Producing the Romantic 'literary' : travel literature, plagiarism, and the Italian Shelley/Byron circle /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9412.
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Woolley, Rachel. "Reanimating scenes of history : the treatment of Italy in the writings of Mary Shelley." Thesis, University of Newcastle Upon Tyne, 2001. http://hdl.handle.net/10443/1028.
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The mediation through history of Shelley's treatment of Italy is the central theme of this thesis. My analysis of her oeuvre participates in the ongoing critical re~ evaluation of Shelley, and emphasises her sophisticated treatment of civic, social, and national identity through history. The opening two chapters discuss influential texts that prefigure Shelley's treatment of Italy and history. My discussion of J. C. L. Sismondi's Histoire des repubuques itauennes du moyen age (1807 -09, 1818) foregrounds the historical significance of the medieval Italian republics. Consideration of Lady Morgan's Italy (1821) and Germaine de Stael's Corinne (1807) further explores the political resonance of the historical past in the present. The shaping of Shelley's historical aesthetic is traced through William Godwin's Essay of History and Romance and Essay on Sepulchres, uncovering Shelley's strong emphasis on place. The compass of these generically diverse texts accentuates a thematic concern with Shelley's own versatile use of genre. The chapter on Valperga (1823) addresses the generic hybridity of fiction that incorporates history and biography. Additionally, it connects Shelley's representation of the North Italian landscape to political liberty through Sismondi's Tuscan landscapes in his Tableau sur l'agriculture toscane (1801). Shelley's historical aesthetic unites reanimation of the past with a sensitivity to Italy's civic and rural topoi, as the chapter on The last Man (1826) shows. The two concluding chapters interpret Shelley's later writings about Italy as an integration of civic identity, memory, and history. Her biographical project Litles (1835-39) invests the individual aesthetic responses to Italy with a cultural heritage. This is then further developed in her travel memoir Rambles in Germany and Italy (1844), which evaluates Italy's emergent nationalism through its past.
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Seed, Ian. "Literature and resistance : dimensions of commitment in the writings of Beppe Fenoglio and the Italian neorealists." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.657630.
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This thesis investigates the different layers of commitment in the writings of Beppe Fenoglio and the Italian neorealists. This involves a reassessment of the neorealist literature of the 1940s and early 1950s, which I argue is far more varied, exploratory and experimental than is generally given credit for. I contend that Fenoglio's writing has a much closer relationship to neorealism than many critics believe. However, it is also the case to say that no partisan author is as critical of the Resistance as Beppe Fenoglio was. What then is the nature of his commitment? Through an examination of Fenoglio's Resistance writings, together with an appraisal of the historical and cultural context in which they were created, I show that Fenoglio's work is driven by a profound moral realism which continually searches for new ways to confront the traumatic nature of civil war and its aftermath. The focus of this examination is on the following works: Appunti partigiani; the Resistance short stories contained in I ventitre giorni della dtta di Alba; 11 partigiano Johnny (taken as a whole to include Primavera di bellezza and Ur partigiano Johnny); Una questione privata; and in conclusion one of Fenoglio's last short stories 'Ciao, Old Lion'. Drawing on existential models, I make the case that it is Fenoglio who uniquely out of the neorealist writers explores what it means to be individually 'authentic' in times of momentous historical happenings while contemporaneously subverting the possibility of 'authenticity', thus leading to a fiction which is 'true', and which is more genuinely 'authentic'. I show that there is no necessary contradiction between the 'existential' and 'historical' interpretations of Fenoglio's work, which have dominated the debate between critics for the last four decades. Indeed, I argue that the two critical approaches should be married in order to enrich our understanding of Fenoglio's complex vision of the Resistance and the significance of his achievement.
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Papworth, Amelia. "A forgotten bestselling author : Laura Terracina in early modern Naples." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290109.
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This dissertation provides a critical assessment of Laura Terracina (1519-c.1577) and her works. It argues that she was a consummate product of her age, embodying the tensions which ruled the Italian peninsula. Terracina published eight books and left a ninth in manuscript at the time of her death, winning legions of admirers and making her sixteenth-century Italy's most commercially successful female author. Yet in spite of her enormous popularity amongst her contemporaries, scholarship has largely neglected Terracina. This dissertation will open up an overdue field of enquiry into her life and works, exploring the significance of her role as a sixteenth-century female poet through the lenses of gender and class. By mapping her place in the literary landscape, it is hoped that this thesis will encourage scholars to afford Terracina the attention she so richly deserves. The first chapter of the dissertation situates Terracina as a poet of Naples, seeing her as a product of her family's political standing within the city, her academician status, and her own construction of an urban coterie of supporters. The second chapter considers the mechanics of the journey into print, assessing Terracina's own input and her close collaboration with male editors and publishers. It proposes a greater attribution of agency to Terracina than has thus far been made, arguing that she is, in fact, an important figure in the process of her texts reaching the hands of readers. The third chapter considers how the poet used her printed books as social tools, employing them to gain social and literary capital. The second section of the dissertation looks at two thematic strands within Terracina's poetry. Chapter four considers her political poetry, including her attitude towards the harm done to civilian populations across Europe. Chapter five looks at the religious dimension to Terracina's work, the spiritual poetry written in her later years, and the relationship this bears to her secular lyric. Finally, the dissertation concludes with a chapter on the contemporary reception of Terracina's texts, providing preliminary thoughts on how she was read, before closing with a consideration of her literary afterlife in the centuries that followed.
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Di, Carmine Roberta. "Cinematic images, literary spaces : the presence of Africa in Italian cinema and Italophone literature /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120620.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-232). Also available for download via the World Wide Web; free to University of Oregon users.
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Bassi, Serena A. "Italy through the mirror of translation : place, culture and difference in the twenty-first century book market." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57594/.
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This thesis asks how stereotypical images of a foreign country are reinforced or contested through translation in the context of the contemporary consumer book market. Taking Italy and the British publishing market as its focus, it sets out to examine the translation process for one popular genre of Italian fiction and two Italian bestsellers published in Britain after 2000. Gomorra by Roberto Saviano (2006) and Cento colpi di spazzola prima di andare a dormire by Melissa P. (2003) and the so-called ‘new Italian crime fiction’, are three recent Italian publishing phenomena that have been selected for translation into English. Once translated and distributed in the British market, they attracted significant commercial and critical attention in the literary field. How important was the association with stereotypical images of Italy in determining the success of these texts in Britain, a market that is famously resistant to translation? How was the idea of Italy re-negotiated and re-imagined throughout the translation process? In order to provide an answer to the above questions, both the translation and the paratranslation of the Italian texts are investigated. The translation of new Italian crime fiction is examined with a focus on the Italian and the British history of the genre and on its paratranslation. The fascinating implications of the new branding of the author Roberto Saviano, which emerged in the British literary field when Gomorra was translated into English, are explored in the context of both translation and paratranslation. Finally, in analysing the translation of Cento colpi I have focused on the work of the translator, Lawrence Venuti, and particularly on the implicationsthat his ideology of translation has on the idea of Italy and on that of “cultural difference” as they emerge from the target text. This thesis adopts an interdisciplinary theoretical framework, in which theoretical understandings from Translation Studies, Italian Studies, studies of the contemporary book market and media culture are integrated. It uses translation as a method to look into the workings of the contemporary book market and, more generally, to shed light on contemporary representations of Italy that circulate in the large mass mediated textual space through the mirror of translation.
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Owtram, Nicola Tamzin. "The pragmatics of academic writing : frameworks and approaches for the contrastive analysis of two research article introductions in English and Italian." Thesis, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419857.
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Petsota, Myrto. "Italo Calvino : mythical writing in an enlightened world : desire, utopia and earthly transcendence in the cosmicomic stories, Le città invisibili, and Palomar." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7829.
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This thesis offers an interpretative framework of Italo Calvino’s later work (the cosmicomic stories, Le città invisibili, and Palomar), based on the notions of myth, desire, utopia and science. Its aim is to suggest a reading of these texts as a common literary project best described as being deeply influenced by mythological elements and structures, while clearly bearing the mark of enlightened thought. The study exposes both the intellectual implications of such a project, and the aesthetic mechanisms by which it takes its form. The research was informed by Calvino’s own relevant critical work, a network of secondary criticism approaching either the texts which were of interest to this particular work or the themes and notions that were to be explored, and a set of tertiary texts, which helped to consolidate pivotal notions. The latter include the work of thinkers who had a major influence on Calvino as it is known from his essays and his letters (like Charles Fourier or Giorgio de Santillana), but also other figures, such as Anton Chekhov or Albert Camus, who emerged as interesting comparative opportunities for our study. The analysis of the cosmicomic stories explores the relationship between myth-making and individual responsibility. It draws parallels between intellectual commitment and literary projection, and defines Calvino’s utopian project, including it in a reflection on knowledge, myth and the tyranny of abstract thought. Individual responsibility emerges as a prospective and a retrospective activity, which is explained alongside the idea of ‘poetics in the making’. Le città invisibili is studied as an illustration of Calvino’s precise poetics using the image of the city. The notions of the episode and the frame are the central concepts around which the inquiry is articulated. Discussing the ideas of desire and the search for the ideal, it is possible to draw solid links with the cosmological project of the cosmicomics and Calvino’s idea of utopia and myth. With an examination of characterisation in Palomar and a close analysis of the quest for meaning, this thesis also attempts a definition of Calvino’s aesthetics as the ‘aesthetics of earthly transcendence’. It moves on to a comparative study of Palomar and Le Mythe de Sisyphe by Albert Camus, in order to suggest an interpretation of the main character, as a man who lives and observes his life in the face of the absurd; the literary consequence being the immediate confrontation between writing and death, and the presence of silence threatening understanding and communication.
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Leslie, L. L. "'Writing consciously for a small audience' : an exploration of the relationship between American magazine culture and Henry James' Italian fiction 1870-1875." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1448844/.
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This thesis explores Henry James’ engagement in his relatively neglected early fiction about Italy with material from contemporary magazine culture. By bridging the gap between critics who focus on James’ relationship with Italian culture, and those who examine James’ relationship with his publishers and audience, it aims to explore how he uses interest in Italy manifested in literary magazines to develop his writing and build his reputation. The first part of the thesis explores how James writes about Italian culture in his first tales in ways with which his audience would be familiar, in order to cultivate his readership. The first three chapters deal with ‘Travelling Companions’ (1870), ‘At Isella’ (1871), and ‘The Madonna of the Future’ (1873) respectively. Looking at how magazines represent contemporary debates about the Italian artists and works of art that James depicts, I study the way James draws on this context to emphasise the relationship between culture and character in his fiction. The second half examines his fiction after 1873 in the light of James’ sense of his emerging literary reputation. Aware of his growing fame, James began to write tales incorporating material from his own serialised travel writing, thus reinforcing his reputation as a writer about Italy. The penultimate chapter explores this aspect of ‘The Last of the Valerii’ (1874) and ‘Adina’ (1874). In the last, discussing his first novel, Roderick Hudson (1875), I examine how James draws together material from his earlier tales to construct this longer narrative, and presents the overlapping themes in a way that allows his informed readership an enhanced appreciation of some elements of the plot. The conclusion briefly explores how James’ later fiction engages with his readership in a similar way, depending on the magazine he is writing for.
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Frigerio, Sara. "The Role of Transfer in Italian High School Students' Written Production in English." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-144710.
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This study aims at exploring to what extent transfer plays a role for young Italian learners of English. The informants consisted of a group of Italian high school students whose English written compositions are investigated. The collection of data is made up of an error analysis based on Pit Corder’s methodology (Corder in Ellis 2008: 46), in which six different linguistic categories are examined such as collocations, word order, the past tenses with special focus on the simple present perfect versus the simple past, furthermore the null subject parameter, false friends and subject-verb agreement. A brief discussion is also dedicated to the difference between what constitutes an error and a mistake. What emerges in this study is that the category of collocations is the one in which most instances of transfer errors are found followed by word order and the use of the simple past tense. Finally, the research aims to find out what could be the plausible reasons as to why certain categories appear to be more subject to the transfer phenomena.
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Baker, Renan. "A study of a late antique corpus of biographies (Historia Augusta)." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4722d4da-5f09-4306-837f-45c6cf69ec21.
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This thesis provides a fresh investigation of a collection of Roman imperial biographies conventionally known as the 'Historia Augusta'. The thesis supports the authenticity of the texts included in this corpus, in particular the claims they make about their dates, authorship, and scope, through philological, literary, prosopographical, and historical arguments. It shows that this corpus of texts, if the main conclusions are accepted, potentially improves our understanding of the tetrarchic-Constantinian era. It also explores the wider implications for the historiography of the fourth century; the transmission and formation of multi-author corpora in antiquity and the middle ages. It also suggests that the canon of Latin imperial biographies be widened. The thesis has two parts. Part I explores the actual state of the corpus, its textual transmission, and relation to other texts. It shows that the ancient and medieval paratexts presented the corpus as a collection of imperial biographies. The paratexts are compatible with the authorial statements in the main text. It then explores the corpus' medieval transmission, and the interest medieval scholars had in such texts. This part suggests that the corpus’s current state explains well the inconsistencies found in it. Finally, it shows that words and phrases, once thought peculiar to the corpus and the holy grail of the forgery argument, are intertextual links to earlier texts. Part II explores chronological statements and historical episodes relevant to the Diocletianic-Constantinan period. It establishes the actual dates of each author, and suggests that the confusion found in these biographies is similar to that of other contemporaries. The few apostrophes are shown to be authentic, and the historical and prosopographical passages are shown to represent, and improve our understanding of, the zeitgeist and history of the period. The final conclusion weaves the various arguments together, and emphasises the authenticity and significance of the corpus' texts. It suggests separating the composition of the texts from the disinterested formation of the corpus as a whole, as part of a new hypothesis and further lines of enquiry.