Relevant bibliographies by topics / Italian drama

Academic literature on the topic 'Italian drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Italian drama"

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Ardeleanu, Sanda-Maria, and Cristina Ioniță. "The Reading Horizont of Adam Smith from the Perspective of His Italian Library." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 60. http://dx.doi.org/10.26417/ejls.v4i4.p60-66.

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The paper proposes understanding the reading interest in Italian of the thinker Adam Smith (1723-1790), author of the Theory of Moral Sentiments and of the Wealth of Nations from the perspective of the partial review of his library’s catalogue, with approximately 1,000 titles published in English, French, Italian, Greek and Latin. The list of books published in Italian, which Adam Smith purchased for his library and we assume he also read, since he quoted some, represent the Appendix of the present work. From his Italian library, 60 volumes were identified, published between 1547 (B. Castiglione, Il Cortegiano) and 1784 (32 volumes from Parnaso Italiano ovvero Raccolto de’ Poeti Classici Italiani). Just a few years before his death, the great admiror of Italian literature, assiduous reader of Italian poetry, drama, memoirs, correspondence, biographies, jurisprudence, economics, art and history (especially that of Venice and Florence) was still purchasing and reading books from the Italian states, a fact which sketches a personality with a profound cultural and humanities features.
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Johnson-Haddad, Miranda, Louise George Clubb, and Murray J. Levith. "Italian Drama in Shakespeare's Time." Shakespeare Quarterly 43, no. 2 (1992): 253. http://dx.doi.org/10.2307/2870897.

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Rodini, Robert J., and Louise George Clubb. "Italian Drama in Shakespeare's Time." Italica 68, no. 3 (1991): 361. http://dx.doi.org/10.2307/479646.

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Starowicz, Aleksandra. ""Z ziemi włoskiej do Polski". Staropolskie przekłady dramaturgii włoskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 235–40. http://dx.doi.org/10.24917/20811853.17.20.

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From Italy to Poland. Old Polish translations of Italian dramaAbstractThe text discusses the most important problems raised in Jadwiga Miszalska’s book The Songof the Tragic Playthings Teaches us Virtue: Translations from Italian as a Source for PolishSerious Drama till the end of the 18th Century (Kraków, 2013). The author drew attention tothe place that the translation from Italian takes in the Polish culture and literature and notedthe fact, that choice of texts for translation, the way of reading, the changes to which thetranslators of the Italian dramaturgy decided have become a source of knowledge about thehistory of literature, literary trends and reading (and scenic) expectations of the time.Keywords: literary translation, Italian drama, Polish translations
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Zucca, Lorenzo. "The Barroso Drama: All Roads Lead to Rome." European Constitutional Law Review 1, no. 2 (May 19, 2005): 175–81. http://dx.doi.org/10.1017/s1574019605001756.

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Italian governmental crisis at the origin of Rocco Buttiglione's nomination. Hearing before Civil Liberties committee and unprecedented rejection of Buttiglione. October events trigger changes in Italian governmental team. The EU: a Catholic conspiracy?
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Parolin, Gianluca. "Quests for justice across the Mediterranean: Sorelle and *Zayy ish-Shams." Journal of Italian Cinema & Media Studies 12, no. 1 (January 1, 2024): 41–56. http://dx.doi.org/10.1386/jicms_00238_1.

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Through the Egyptian remake of an Italian television series, the article explores the shared – and often overlooked – imaginaries of crime and its investigation that make such work possible across the Mediterranean and, in turn, cast light on broader imaginaries of law, and of the complex relations between citizens and law enforcement. In the Italian television drama Sorelle (Sisters) (2017), the sudden disappearance of her sister prompts the lead character to set off on a journey to solve this mystery. She is fortunate enough to have a close friend working in the police force, but in her struggle to conduct the investigations she is quite alone, and the Egyptian remake *Zayy ish-Shams (‘Like the sun’) (2019) echoes this sentiment. After considering how the two productions were presented within the dominant formats and genre characterizations, this article proceeds to situate them within the Italian and Egyptian formulas of crime drama and concludes that the Egyptian remake enables a new appreciation of an often-marginalized strain of Italian crime drama.
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.

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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.
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Golubtsova, Anastasia V. "Alexander Pushkin in the 19th Century Italian Drama." Studia Litterarum 2, no. 3 (2017): 138–49. http://dx.doi.org/10.22455/2500-4247-2017-2-3-138-149.

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Mascio, Antonella. "TV drama and fashion: 1992, An Italian case." Film, Fashion & Consumption 5, no. 1 (August 1, 2016): 55–69. http://dx.doi.org/10.1386/ffc.5.1.55_1.

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Giovannelli, Maddalena. "Subverting hierarchies in Italian productions of ancient drama." Collectanea Philologica 15 (January 1, 2012): 93–101. http://dx.doi.org/10.18778/1733-0319.15.08.

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A través de tres ejemplos voy a mostrar cómo la abolición de las jerarquías es una característica común a varias producciones italianas recientes de obras del teatro clásico. Es un fenómeno general, que, alterando clasificaciones y axiologías, se nota con particular evidencia en las adaptaciones de tragedias. "Fedra risita a tranci" (2011), dirigido por Andrea Cosentino, actor y director, constituye un ejemplo de abolición de la jerarquía de los personajes. El protagonista ya no es el pivote de lo que pasa en la escena, pues su papel pasa a las manos de varios personajes, todos al mismo nivel, cuya identidad es proporcionada a través de una estructura fragmentaria. Al mismo tiempo, el acto trágico en sí pierde su predominancia: en el teatro moderno hay varios eventos dramáticos, que se suceden a lo largo del espectáculo. Es el caso de La Madre (2010, peculiar adaptación de Medea a cargo de Mimmo Borrelli, joven actor y dramaturgo. Con Edipo, tragedia dei sensi (1996), de Massimo Munari, un espectáculo dirigido a una sola persona que comparte las experiencias del protagonista a través de los cinco sentidos, me concentraré en la abolición de roles distintos para actores y espectadores: estos dos papeles se han ido mezclando y los espectadores han sido progresivamente implicados en la acción escénica. Finalmente, con la adaptación de Las Troyanas de Eurípides por la joven compañía Muta Imago (2011) daré un ejemplo de espectáculo basado casi exclusivamente en sugestiones verbales, que rompe la axiología según la cual la palabra prevalece sobre los gestos.
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Dissertations / Theses on the topic "Italian drama"

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Sampson, Lisa Monika. "Italian pastoral drama, 1545-1620." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621591.

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Westhoff, Erica Lynn Mercati Francesco Mercati Francesco Mercati Francesco. "Il sensale, Il lanzi, L'imbroglia reconsidering Renaissance comedy through the plays of Francesco Mercati /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=1997581951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Anderson, E. M. "Of Ariosto's legacy in seventeenth century Italian musical drama." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595511.

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This study offers a critical assessment of musical drama based on the Orlando furioso of Ludovico Ariosto from the beginning of the genre to the end of the seventeenth century, and supplies a companion volume containing transcriptions of nearly all of the relevant poetic texts. The Introduction provides an outline of the history of the Orlando furioso in music in the madrigal through 1632, an assessment of monody and the Camérata, a survey of Seicento Ariosto reception studies, a reflection on modern Italianist scholarship and music, the main elements of the publication history of the Orlando furioso in the Seicento, remarks on the influence of the pastoral drama in the period, a consideration of the literary critical reception of the poem in Seicento commentaries, the method by which texts inspired by the Orlando furioso were identified and selected, and a detailed presentation of the three historical periods around which the central chapters of the thesis are organised. The introduction ends by summarising the central thrust of the thesis, namely that poetry deriving from the Orlando furioso plays a more significant role in the history of Seicento musical drama than previously suggested, and that important differences among the texts of Ariosto-inspired musical dramas in point of narrative structure, visual poetics, language and style (especially meter and syntax) invite a three-part reading of Ariostean musical drama in the period of 1600-1699. Chapter II presents a reading of the exciting variety of Ariostean musical-dramatic texts (libretti and manuscripts) in the early period (1609-1699) and links narrative reform and the emergence of the aria da capo in the period to a prevailing Arcadian poetics of clarity and an increasing demand for tuneful diletto. The Conclusion suggests this new history of Ariosto in musical drama has significant implications for future Tasso musical reception studies.
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Nessi, Erika <1991&gt. "Didactic plays: teaching Italian as a second language through drama texts." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10596.

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Teaching Italian as a second language using drama texts as the main didactic tool stimulates learners' emotional and motivational involvement. The aim of this project is to develop a didactic methodology that is able to trigger learners' emotions and sustain their initial motivation, thus resulting in a better and more stable mnemonic retention of the linguistic input. The 1st chapter provides an overview of the neuroscientifical specifics of the acquisitional and memory process and of the main theories of motivation. The 2nd chapter discusses the features, aims and techniques of teaching Italian as a second language through drama texts, as well as its strengths and weaknesses, in the frame of humanistic-affective studies. The 3rd chapter stresses the importance of outlining the learner's profile, a table of the student's multiple intelligences, motivational drivers, cognitive and learning styles and main characteristics of his/her interlanguage. Ultimately, the last part describes a project of teaching Italian as a second language using didactically-adapted plays experimented in a multicultural class of adult learners.
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Jordan, Peter Edward Rees. "The Pantalone code patrician fatherhood unmasked in sixteenth-century Venice /." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203761.

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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.

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Redmond, Michael John. "The Scence lyes in Italy : representations of Italian culture in early modern English drama." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321486.

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Levenstein, Anna. "Songs for the first Hebrew play Tsahut bedihuta dekidushin by Leone de' Sommi (1527-1592)." online version, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1138299788.

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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.

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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.

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Books on the topic "Italian drama"

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Clubb, Louise George. Italian drama in Shakespeare's time. New Haven: Yale University Press, 1989.

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Barile, Oscar. Catlinin. Torino: Centro studi piemontesi, 2001.

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Luigina, Stefani, Nardi Jacopo 1476-ca 1563, Nardi Jacopo 1476-ca 1563, and Bonini Eufrosino, eds. Tre commedie fiorentine del primo 500. Ferrara: G. Corbo, 1986.

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Lampugnano, Giovan Battista, and Simona Bortot. Con la sampogna in man, col flauto al labro: Edizioni commentate della Ninfa guerriera di Giovan Battista Lampugnano e della Ninfa spensierata di Giovan Battista Bertanni. Bologna: Archetipolibri, 2011.

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Enrico, Mattioda, ed. Tragedie del Settecento. Modena: Mucchi, 1999.

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1946-, Catalano Ettore, and Compagnia teatrale "Profondo Sud.", eds. Teatro comico in Puglia: Testi inediti di autori pugliesi dal 1800 ad oggi. Bari: Edizioni Levante, 1986.

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Luigina, Stefani, Nardi Jacopo 1476-ca 1563, Nardi Jacopo 1476-ca 1563, and Bonini Eufrosino, eds. Tre commedie fiorentine del primo 500. Ferrara: G. Corbo, 1986.

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Stefano, Termanini, and Trovato Roberto, eds. Teatro comico del Cinquecento: La tonaca in commedia. Torino: UTET, 2005.

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Lumini, Apollo. Le sacre rappresentazioni italiane dei secoli XIV, XV e XVI: Con appendice sul dramma popolare in Calabria. Bologna: A. Forni, 1991.

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Maria, Antonio. La Spagna, il teatro, la Sardegna: Antonio Maria da Esterzili : "comedias" e frammenti dramatici. Cagliari: CUEC, 1992.

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Book chapters on the topic "Italian drama"

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Beare, W. "The Italian Origins of Latin Drama." In The Roman Stage, 10–24. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482192-2.

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Buonanno, Milly. "Italian TV Drama: The Multiple Forms of European Influence." In European Cinema and Television, 195–213. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137356888_10.

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Carlson, Marvin. "1. The Italian Romantic Drama in Its European Context." In Comparative History of Literatures in European Languages, 233. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.16car.

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D’Amelio, Elena, and Valentina Re. "A ‘Bottom-Up’ Approach to Transcultural Identities: Petra and Women Detectives in Italian TV Crime Drama." In Contemporary European Crime Fiction, 229–51. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_13.

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AbstractIn her The TV Crime Drama, Turnbull (The TV Crime Drama. Edinburgh: Edinburgh University Press, 2014) argues that “the portrayal of women in the crime drama series has served as an index of women’s changing role in society while providing a catalyst for debate, both in the popular press and in the field of feminist media studies”. Moving from these premises, our aim is to analyse the Italian series Petra (Sky 2020–) within the larger context of contemporary European TV crime productions, to investigate the recurrences, similarities, and differences in the construction, representation, and consumption of TV female detectives, through a conceptualization of what has been called “mediated cultural encounters” (Bondebjerg et al. Transnational European Television Drama: Production, Genres and Audiences. Palgrave Macmillan, 2017). We consider Rosi Braidotti’s claim of the necessity of a “post nationalistic understanding of cultural identity” (2001) as a framework of analysis for the inter-related issues of gender, multiculturalism, and European identities.
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Galatà, Francesco. "Per la fortuna del Decameron nella letteratura di fine Ottocento: riscritture pascoliane edite e inedite." In Studi e saggi, 155–74. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-668-1.09.

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Although Boccaccio’s name is rarely encountered in published works of Giovanni Pascoli (1855-1912), traces of a constant reading and reuse of the Decameron have emerged and continue to emerge from the poet’s manuscripts. The article outlines the history of the already known contacts between the two authors and adds a new document: the unknown verse drama ‘Messer Gentile’, inspired by the novella X 4. This drama, designed as a one-act play with a prologue and three scenes, has been left unfinished: only the prologue and the first scene are preserved, but it is enough to appreciate some dynamics that characterize the rewriting process. A dense network of references to the most ancient Italian poetic tradition emerges from the dramatic lines, and among the manuscripts one discovers an experimental rhythmic prose composed of hendecasyllables arranged in a line that the study reconnects to the reform of modern tragic theater envisaged by Pascoli. Sebbene il nome di Boccaccio si incontri molto raramente nell'opera di Giovanni Pascoli (1855-1912), dai manoscritti del poeta sono emerse e continuano a emergere tracce di una lettura costante del Decameron. Il contributo ripercorre la storia dei contatti già noti tra i due autori e aggiunge un nuovo documento: l'inedito dramma in versi 'Messer Gentile' ispirato alla novella X 4. Il dramma, progettatto come atto unico con prologo e tre scene, rimase incompiuto: ci sono giunti soltanto il prologo e la prima scena, che sono sufficienti per apprezzare alcune delle dinamiche che caratterizzano la riscrittura. Dai versi emerge una fitta rete di riferimente alla tradizione poetica italiana delle origini e tra i manoscritti si ritrova un esperimento di prosa modulata sul ritmo continuato degli endecasillabi riconducibile all'idea di moderno teatro tragico di Pascoli.
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de Panizza Lorch, Maristella. "Honest Iago and the Lusty Moor: the Humanistic Drama of Honestas/Voluptas in a Shakespearean Context." In Theatre of the English and Italian Renaissance, 204–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_10.

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"Italian Drama." In Bibliography of Medieval Drama, 322–25. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306190.16.

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Laviosa, Flavia. "Women’s Drama, Men’s Business." In Popular Italian Cinema. I.B.Tauris, 2011. http://dx.doi.org/10.5040/9780755698295.ch-007.

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REFINI, EUGENIO. "Reforming Drama:." In Innovation in the Italian Counter-Reformation, 169–89. University of Delaware Press, 2020. http://dx.doi.org/10.2307/j.ctv15d81vf.11.

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Everist, Mark. "Les heureux étrangers—Italian Music Drama." In Music Drama at the Paris Odéon, 1824–1828, 227–49. University of California Press, 2002. http://dx.doi.org/10.1525/california/9780520234451.003.0009.

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Conference papers on the topic "Italian drama"

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Saulini, Mirella. "Twenty-Five Years of Research on Jesuit Drama: an Italian Contribution to the History of Theatre." In Új eredmények a színház- és drámatörténeti kutatásban (17-19. század). Eszterházy Károly Katolikus Egyetem Líceum Kiadó, 2022. http://dx.doi.org/10.17048/ujeredmenyekaszinhaz.2022.145.

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