Letteratura scientifica selezionata sul tema "Pastiche italien"
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Articoli di riviste sul tema "Pastiche italien"
1
Marillaud, Pierre. "Une approche du rire dans la litterature italienne". Tyumen State University Herald. Humanities Research. Humanitates 5, n. 2 (28 giugno 2019): 48–74. http://dx.doi.org/10.21684/2411-197x-2019-5-2-48-74.
Testo completoAbstract (sommario):
Les Italiens ont fait rire le monde entier, que ce soit par leur théâtre, leur cinéma ou leur littérature. C’est ce rire dans la littérature italienne dont nous avons voulu faire une approche non exhaustive car il déborda souvent les frontières de la « botte » et marqua les littératures voisines et particulièrement la littérature française. Le poète latin Horace parlait de l’italium acetum (Satires 1-7-32) [15], car ce rire était souvent cruel. En Italie, pays où nous nous sommes souvent rendu pour raisons professionnelles et aussi pour le plaisir, on se moque de tout, y compris de ceux qu’on dit adorer, et c’est par le rire et la dérision que l’on triomphe du désenchantement et des désillusions.<br> Notre communication propose une approche de quelques auteurs italiens très célèbres, et ce depuis Boccace (1313-1375) jusqu’à l’immense Dario Fo, prix Nobel de littérature, dont le rire ravageur fait trembler tous ceux qui flirtent avec le fascisme et le nazisme, et au brillant romancier et sémioticien Umberto Eco qui n’hésite pas à se moquer d’intellectuels célèbres de ses contemporains, en les pastichant. Nous donnons un extrait du texte par lequel il pastiche un autre sémioticien, A. J. Greimas… !
2
Cantone, Luigi, Bernard Cova e Pierpaolo Testa. "Nostalgia and pastiche in the post-postmodern zeitgeist: The ‘postcar’ from Italy". Marketing Theory 20, n. 4 (27 luglio 2020): 481–500. http://dx.doi.org/10.1177/1470593120942597.
Testo completoAbstract (sommario):
The transition towards a post-postmodern zeitgeist has attracted much scholarly attention over the last decade, highlighting the major traits of the coming post-postmodern condition, such as sincerity challenging irony, reconstruction despite paradoxes, hope despite difficult circumstances and structure counterbalancing anti-structure in lived experience. Nevertheless, we know little about what is happening with regard to nostalgia, a key characteristic of postmodernity, especially in terms of one of its major components, pastiche. From the start of the 1990s, marketing research on postmodern nostalgia and pastiche has largely focused on different models of cars. Through an interpretive analysis focusing on the dual comeback of an Italian car, the Giulia, this article aims to investigate the existence and forms that nostalgia and pastiche take under the new zeitgeist. It highlights a mutation of nostalgia that is becoming regenerative. The major consequence of this is the changing nature of pastiche, from stylistic to essentialist. Our understanding of the coming zeitgeist has also improved: in addition to confirming the major features of post-postmodernity already established in the literature, this study argues that the possibility of a (mini)miracle is another key feature of our times.
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Barra, Luca, e Massimo Scaglioni. "Making The Most of the Archive". Making Sense of Digital Sources 1, n. 1 (21 febbraio 2012): 40. http://dx.doi.org/10.18146/2213-0969.2012.jethc007.
Testo completoAbstract (sommario):
In the last 20 years, Italian television has discovered the richness and profitability of its enormous archives. Many new programmes have been broadcast on public and commercial television, making extensive use of historical fragments taken from previously aired shows. This essay explores the rationale behind the commercial re-use of TV archives in four different programmes: the “variety show made of variety shows” Da Da Da, the militant pastiche Blob, the commercial programming remix Super Show, the comedy history rewritten by La Super Storia On the basis of these programmes, the consequences and risks of putting de-contextualized pieces taken from the past into the contemporary TV flow will be explored.
4
Rosenberg, Arthur. "Fascism as a Mass-Movement (1934)". Historical Materialism 20, n. 1 (2012): 144–89. http://dx.doi.org/10.1163/156920612x634898.
Testo completoAbstract (sommario):
Abstract Arthur Rosenberg’s remarkable essay, first published in 1934, was probably the most incisive historical analysis of the origins of fascism to emerge from the revolutionary Left in the interwar years. In contrast to the official Comintern line that fascism embodied the power of finance-capital, Rosenberg saw fascism as a descendant of the reactionary mass-movements of the late-nineteenth century. Those movements encompassed a new breed of nationalism that was ultra-patriotic, racist and violently opposed to the Left, and prefigured fascism in all these ways. What was distinctive about the fascists in Italy and Germany was not so much their ideology (a pastiche of motifs that drew on those earlier traditions of the conservative and radical Right) as the use of stormtroopers to wage the struggle against democracy in more decisive and lethal ways. After the broad historical sweep of its first part, the essay looks at the factors that were peculiar to the Italian and German situations respectively, highlighting both the rôle of the existing authorities in encouraging the fascists and the wider class-appeal of the fascist parties themselves, beyond any supposed restriction to the middle-class or ‘petty bourgeoisie’.
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Mounier, Pascale. "Les Angoysses douloureuses d’Hélisenne de Crenne : un antiroman sérieux". Études françaises 42, n. 1 (16 maggio 2006): 91–109. http://dx.doi.org/10.7202/012925ar.
Testo completoAbstract (sommario):
Il est un parti pris discutable : celui qui consiste à valoriser les principes du roman comique par rapport à ceux du roman sérieux. Comme l’a montré Mikhaïl Bakhtine, le genre romanesque est caractérisé, dans son ensemble, par les liens qui l’unissent à d’autres textes et par la mise en cause de leur fonctionnement thématique, stylistique et idéologique. Cela peut être vérifié au sujet des Angoysses douloureuses qui procedent d’amours d’Hélisenne de Crenne. Cette oeuvre atteste, en effet, l’existence d’une créativité romanesque proprement française à la Renaissance. Le paradoxe tient à ce qu’elle emprunte nombre de ses procédés d’écriture à des textes antérieurs. Sans explorer une voie parodique, elle se présente comme un antiroman sérieux. Tout en affichant son appartenance au genre sentimental, elle met ainsi à distance les traditions italienne et espagnole en même temps que la veine chevaleresque nationale. Elle tire profit du jeu d’influences entre les topiques qu’elle pastiche, mais explore également les incompatibilités entre ces hypotextes. Du coup, la formule narrative à laquelle elle parvient est tout à fait originale. À lire le texte, on voit ses attentes constamment trompées : tout pronostic générique est successivement confirmé, modifié et subverti et toute hypothèse interprétative infléchie, détournée et invalidée.
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Silver, Cassandra. "Making the Bedouins: Code-Switching as Model for the Translation of Multilingual Drama". Theatre Research in Canada 38, n. 2 (novembre 2017): 201–18. http://dx.doi.org/10.3138/tric.38.2.201.
Testo completoAbstract (sommario):
The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the original, instead bulking up Dubois’ macaronic and archetype-heavy collage with some attempts at psychological depth. Because of its polyglossic complexity and because it has been translated, published, and produced in both English and French, it proves an excellent case study that allows for an in-depth analysis of how multilingual theatrical translation can be carried out. I propose that Kevan’s translation of Dubois’ play exhibits not only textual and performative translation, but that he also translates the linguistically-coded aesthetic conventions that distinguish Quebecois and English Canadian drama and their respective audiences. Kevan shows sensitivity to the gap between the politics of language in French and English Canada as well as to the gap between theatrical codes in both linguistic communities by amplifying the psychological realism and consequently tempering the language politics in his “English” version of Dubois’s work. The choices that Kevan made in his translation are here elucidated by borrowing linguistic theories of conversational code-switching to analyze both versions of the play.
7
Nosow, Robert. "THE DEBATE ON SONG IN THE ACCADEMIA FIORENTINA". Early Music History 21 (4 settembre 2002): 175–221. http://dx.doi.org/10.1017/s026112790200205x.
Testo completoAbstract (sommario):
For James Haar on his 70th BirthdayThe sixteenth century in Italy was a time when academies of all kinds flourished as venues, and often as arbiters, of literature and high culture. A casual look at the academies might give the impression that they were mostly social in nature, that they functioned as a pastime for bored aristocrats and ambitious letterati. As originally constituted, the Accademia degli Umidi, founded 1 November 1540, indeed fitted this description, but with one difference characteristic of Florentine society - it was organised by twelve men of various social classes with a common interest in poetry and language. The academy expanded considerably under the patronage of Duke Cosimo I de' Medici and on 25 March 1541 was reconstituted as the Accademia Fiorentina. Its avowed purpose was to promote the Tuscan language as an instrument of literature and knowledge, in an age when mastery of Latin was required of any educated man. In advancing the cause of vernacular literature, the Accademia Fiorentina, like other academies of the time, greatly extended the programme of Italian humanism, making available the fruits of humanist thought and enquiry to a larger public.
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Stras, Laurie. "‘AL GIOCO SI CONOSCE IL GALANTUOMO’: ARTIFICE, HUMOUR AND PLAY IN THE ENIGMI MUSICALI OF DON LODOVICO AGOSTINI". Early Music History 24 (14 luglio 2005): 213–86. http://dx.doi.org/10.1017/s0261127905000094.
Testo completoAbstract (sommario):
In 1571 and 1581, the Ferrarese cleric-musician Don Lodovico Agostini published two books each containing, amongst other pieces, a group of madrigals cryptically notated as musical puzzles, advertised as enigmi musicali on their title pages. The enigmi are aptly named; no doubt the composer would have delighted in the doppiosenso, or double entendre, inherent in the term, for they are musical riddles in both a formal and a metaphorical sense. Their content and their very existence in print pose an intriguing array of questions beyond the obvious enquiries regarding the identifying characteristics of the genre and the identity of their composer. Certainly, the enigmi musicali invite speculation about the nature of music as a pastime in late sixteenth-century courtly Italy. Agostini's enigmi musicali are secular, polyphonic vocal works, but they cannot be classed simply as madrigals, nor are they representative of so-called lighter genres of villanelle or canzonette. They exist somewhere on the fringe of the repertoire, with a specific character that reaches in towards the (to us) more familiar forms of Italian secular music, but that also reaches out to and overlaps with other spheres of play and philosophical engagement. So where may the enigmi be placed within the wider compass of early modern social recreation, and what factors might have motivated their composition and their use? Furthermore, if we accept them as evidence of some sort of collective diversion, how are they intended to amuse – are they humorous or cerebral, or both?
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Sokolova, Alla. "The Origins of the Genre of the English Masque". Culturology Ideas, n. 17 (1'2020) (2020): 89–98. http://dx.doi.org/10.37627/2311-9489-17-2020-1.89-98.
Testo completoAbstract (sommario):
This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.
10
Martinengo, Marirì. "A proposito di trobairitz". Revista do Centro de Estudos Portugueses 27, n. 37 (30 giugno 2007): 99. http://dx.doi.org/10.17851/2359-0076.27.37.99-121.
Testo completoAbstract (sommario):
<p>Na Occitânia dos séculos XII e XIII havia uma sociedade feminina, onde as damas possuíam uma certa importância, e sua voz se fazia ouvir. As <em>trobairitz </em>são a expressão dessa sociedade. Num confronto entre a poesia occitana e a épica francesa observa-se bem a posição da dama. Nos <em>partimen</em>s e nas <em>tensos </em>aparecem as mulheres como conselheiras e educadoras. Observe-se a estética e a ética na <em>tenso </em>de Gullelma di Rosers, o amor entre as damas em Bieiris di Romans e em Azalais d’Altier; a paixão em Castelloza, o tema do distanciamento em Clara d’Anduza e em Azalais di Porcairagues. A posição de relevo das mulheres, no movimento cátaro, assim como na língua e na cultura <em>d’oc</em>, foi importante na formação da identidade occitana. Segue um estudo que elenca os nomes das <em>trobairitz</em>, mesmo daquelas cuja obra se perdeu e que deixaram sua memória nos seus contemporâneos e nas gerações sucessivas; estudase aqui a questão do anonimato, do tempo e dos lugares em que floresceu a poesia occitana feminina, abordando a classe social das mulheres trovadoras, os pastiches, ou seja, algumas místicas e as <em>stilnovistas </em>italianas.</p> <p>Nell’Occitania dei secoli XII e XIII c’era società femminile, cioè una società in cui si teneva gran conto delle donne e la voce femminile era ascoltata. Le Trobairitz sono espressione di tale società. Confronto fra la poesia occitana e l’epica franca riguardo alla posizione della donna. Nei partimen e nelle tenzoni appaiono in luce autorevole, ad esse uomini e donne ricorrono per consiglio; accettarono di svolgere funzione di educatrici; seguono esempi tratti dalle poesie. Confronto fra estetica ed etica nella tenzone di Gullelma di Rosers; amore fra donne in Bieiris di Romans e in Azalais d’Altier; la passione in Castelloza; il tema della lontananza in Clara d’Anduza e in Azalais di Porcairagues. Accenni al Catarismo e alla posizione di rilievo delle donne in questo movimento spirituale, che, insieme alla lingua e alla cultura, fu fautore dell’identità occitana. Segue un corollario che elenca i nomi di tutte le Trobairitz, anche di quelle la cui opera è andata perduta e/o che hanno lasciato memoria nei contemporanei e nelle generazioni successive; si affronta la questione dell’anonimato; si illustrano i tempi e i luoghi in cui fiorì la poesia occitana femminile, la classe di appartenenza delle poetesse, le epigoni delle Trobairitz, cioè alcune mistiche, le stilnoviste italiane.</p>
Tesi sul tema "Pastiche italien"
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Bellomo, Paolo. "La traduction à l’épreuve de l’imitation. Traduction, pastiche, pensées de la ressemblance en France et en Italie aux XIXe et XXe siècles". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA044.
Testo completoAbstract (sommario):
À partir de l’analyse des discours sur la traduction et le pastiche aux XIXe et XXe siècles, la thèse trace l’archéologie des pensées de la traduction en France et en Italie, souligne la différence radicale de deux territoires pourtant si proches. En articulant les histoires politiques et linguistiques de ces deux pays, ce travail vise à montrer comment l’imaginaire et le sentiment que les cultures française et italienne ont eu de leurs propres langues ont structuré des perceptions foncièrement autres de l’à traduire.La réflexion part d’une lecture de ce que Foucault appelle la « structure parlée du perçu », c’est-à-dire l’ensemble des discours traductifs et imitatifs susceptibles de faire apparaître, par la verbalisation, la perception des ressemblances entre textes premiers et textes seconds. Dans ce travail, la pensée de la traduction est donc moins une pensée produite consciemment par des individus que la pensée appartenant aux discours eux-mêmes et ne pouvant apparaître que dansA study of the discourses on translation and pastiche in the 19th and 20th centuries serves as a basis to examine the archeology of translation thought in France and Italy, highlighting the radical difference between these neighbor territories. Articulating the political and linguistic histories of the two countries, this work aims to show how the linguistic imaginaries and sentiments which developed in French and Italian culture are responsible for shaping radically other perceptions of the à-traduire (‘yet-to-translate’).This work originates in a reading of what Foucault calls the “spoken structure of the perceived”: the discourses on translation and imitation which, through verbalization, render visible the perception of resemblances between original and second texts. In this thesis, the thinking of translation is less a consciously produced thinking than a thinking belonging to the discourses themselves, which can only appear in their circulation. A thinking that is also an epistemology
2
Mariani, Jacob. "From Poet's Aid to Courtier's Pastime: An Examination of the Shift in Visual Style and Sounding Function of Italian Viols During the Renaissance". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18399.
Testo completoAbstract (sommario):
This thesis examines evidence of the earliest viols in Italy. In light of recent changes in perspective on the origins of the Italian viola da gamba, a new approach to building historical models of the instrument is necessary. By using Castiglione's description of violas as a significant signpost, I have developed a clearer picture of the early viola da gamba's socio-musical context. Using this context, along with my experience as a luthier, I redefine the parameters by which we may interpret the corresponding iconography of the instrument. By relating the building techniques that appear in iconography to our modern knowledge of instrument-making, I expose the differences between building conceptions in the late fifteenth and early sixteenth centuries and those that stem from later "surviving" instruments. Finally, by placing historical models within the musical framework of plausible repertoire, I reveal the ingredients for an updated sense of sound and performance practice.
3
Paolucci, Lisa. "From Narrated Pathways to "Pastiche": Complexities in Interpreting and Representing Conversations with Italian American Teachers". Thesis, 2020. https://doi.org/10.7916/d8-0068-qf74.
Testo completoAbstract (sommario):
This dissertation study focuses on the stories that five Italian American teachers tell about their pathways to the teaching profession. The overarching question of this study is: What happens when the researcher attempts to construct interpretations of how Italian American teachers in New York City describe their pathways to becoming teachers? This question is supplemented by the following related questions and subquestions: How, if at all, do the study participants describe their choices to become teachers within the framing concept of “pathways”? What other ways, if any, do the participants speak of their chosen careers? What framing concepts do they employ, if any, other than “pathways” toward their careers as teachers? How, if at all, do participants describe their “identities” as Italian American teachers within both the confines and the possibilities offered by the concept of pathways? What assumptions and biases does the researcher bring into this study that focuses on Italian American teachers’ descriptions and understandings of their career choices?
To interrogate, interrupt, and ultimately respond to these research questions in this multicase study, the researcher conducted open-ended interviews with five Italian American teachers who have taught or currently teach in New York City schools, aiming to explore both personal and culturally relevant histories of these specific Italian American teachers. Using Laurel Richardson’s (2005) creative analytic practices, the researcher aimed to present representations of her own interpretations of the “stories” that these teachers would tell about their specific “pathways” to teaching as Italian American teachers in New York City. The researcher attempted to convey a sense of the multitude of factors that could influence one’s interpretation of “story” by (re)presenting data in the format of pastiche, with textual layers of various voices intertwined.
The researcher’s “non-conclusions” included a furthered wondering of her own motivation in choosing to be a creator of a collage-like work, as well as a questioning of her reliance on the metaphor of “pathway” and the original research focus, especially in light of the conversations that ultimately took place. The researcher continues to seek to re-inscribe the focus of this work as a wondering about how to disturb, disrupt, and/or unsettle the category of “Italian American teacher.”
Libri sul tema "Pastiche italien"
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Eco, Umberto. Comment voyager avec un saumon: Nouveaux pastiches et postiches. Paris: Grasset, 1998.
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Eco, Umberto. Comment voyager avec un saumon: Nouveaux pastiches et postiches. Paris: Grasset, 1998.
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3
Borello, Rosalma Salina. Parodie, travestimenti, pastiches e altre pratiche di riscrittura: Teorie e percorsi di lettura. Roma: UniversItalia, 2014.
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4
Eco, Umberto. Comment voyager avec un saumon. Nouveaux pastiches et postiches. LGF, 2000.
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5
Mauro, Natale, Ritschard Claude, Geneva (Switzerland). Musée d'art et d'histoire. e Université de Genève, a cura di. L' art d'imiter: Images de la Renaissance italienne au Musée d'art et d'histoire : falsifications, manipulations, pastiches. Genève: Ville de Genève, Département des affaires culturelles, 1997.
Cerca il testo completoCapitoli di libri sul tema "Pastiche italien"
1
Walker, Johnny. "Knowing the Unknown Beyond: ‘Italianate’ and ‘Italian’ Horror Cinema in the Twenty-First Century". In Italian Horror Cinema, 62–78. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0005.
Testo completoAbstract (sommario):
Since the year 2000, European horror cinema has undergone a major revival. After the 1990s, which saw very few European horror films made, the first fifteen years of the twenty-first century witnessed a groundswell in production from France, Germany, the Netherlands, Spain, Serbia and the UK. Italy was also part of this ‘new wave’, though its horror films typically did not reach as wide an audience, nor experience the critical recognition, of its continental neighbours. Italian horror during this period also faced a great irony. Whereas several filmmakers from America and Europe pastiched the Italian horror boom of the 1960s, 1970s and 1980s with films that were widely distributed and commercially well received, Italian directors shooting horror films either in Italy or elsewhere typically lacked access to ‘formal’ distribution (Lobato, 2012) and therefore their films were not as widely seen.
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Pollock, Emily Richmond. "Italy, Atonally". In Opera After the Zero Hour, 70–100. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190063733.003.0004.
Testo completoAbstract (sommario):
In König Hirsch, Henze imagined operatic tradition primarily as an Italian inheritance consisting of vocal beauty, formal artificiality, and emotional expression. König Hirsch mediated Henze’s experiences living and listening in Italy through the musical modernism in which he had been trained immediately following the war. Tributes to conventional operaticism included stylized incantations, moments of hysterical coloratura, a villainous Credo, and several instances of folk-music pastiche. A close reading of Henze’s characterization of the musician figure Checco, who expresses himself partly through diegetic “Neapolitan” song, shows the collision between Henze’s modernism and his newfound italianità. The opera’s arias later became emblems of the opera’s expressive excesses; the conductor of the premiere, Hermann Scherchen, subjected them to severe cuts, setting off a fight over the artistic status of traditions of vocalism and emotion that ensured Henze’s definitive break with the avant-garde.