Journal articles on the topic 'Italian History and criticism'
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1
Marotti, Maria. "The Italian Perspective: Italian Criticism of American Autobiography." a/b: Auto/Biography Studies 5, no. 2 (January 1990): 152–58. http://dx.doi.org/10.1080/08989575.1990.10815460.
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O’Leary, Alan, and Dana Renga. "Teaching Italian Film and Television and Videographic Criticism." Italianist 40, no. 2 (May 3, 2020): 296–309. http://dx.doi.org/10.1080/02614340.2020.1790276.
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Brown, Mary Elizabeth. "Italian Immigrant Catholic Clergy and an Exception to the Rule: The Reverend Antonio Demo, Our Lady of Pompei, Greenwich Village, 1899–1933." Church History 62, no. 1 (March 1993): 41–59. http://dx.doi.org/10.2307/3168415.
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Italians have long been the exception to generalizations about ethnic American Catholicism. As early as the 1880s, American bishops considered them a “problem.” In 1946, Henry J. Browne summarized the “problem”: Italians did not regularly attend mass, did not receive the sacraments, did not contribute to the support of the church, did not educate their children in their faith, did not respect the clergy, and did not appreciate that they should be doing better in all these areas. Although Browne's work has become the subject of revisionist criticism among students of Italian American Catholicism, specialists in other aspects of American Catholicism have incorporated into their work generalizations generated by the Italian-American experts.James Sanders's study of Chicago parochial schools referred to Italians as least likely to support such schools. David J. O'Brien's history of the diocese of Syracuse emphasizes the difficulties Italians faced and the troubles they created for the clergy and hierarchy. Dolan's survey of American Catholic history has a large bibliography on which to base its conclusion that “thereligion of the [southern Italian] people was not the same as the official religion of the church.
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Miller, Stephen, and Rene Wellek. "A History of Modern Criticism, 1750-1950. Vol. 8, French, Italian and Spanish Criticism, 1900-1950." South Central Review 13, no. 1 (1996): 77. http://dx.doi.org/10.2307/3189934.
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Hart, Thomas R., and Rene Wellek. "A History of Modern Criticism, 1750-1950. Vol. 8, French, Italian and Spanish Criticism, 1900-1950." Comparative Literature 45, no. 4 (1993): 372. http://dx.doi.org/10.2307/1771600.
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Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.
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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.
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Mariani, Giorgio. "A View from the Heart of Europe." American Literary History 34, no. 1 (February 1, 2022): 267–71. http://dx.doi.org/10.1093/alh/ajab093.
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Abstract There are at least three ways of understanding “criticism”: 1) as literary scholarship; 2) as teaching; 3) as a way of engaging the general reading public regarding the significance of literary and cultural matters. Every country has developed its own traditions in each of these three areas. This brief essay focuses on the Italian case, arguing that teachers of American literature need to make the most of their role as cultural mediators and translators, as in the formative years of Italian American Studies. The influence of the corporate model on the Italian public university, along with other factors, has made relations between literary scholars’ and the nonacademic public sphere tenuous. Unless the democratic political ethos that presided over the birth of the discipline is rediscovered, the future for Italian “American literary criticism”—in all the three articulations mentioned above—will be rather bleak.
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Corredor, Eva L. "Book Review: A History of Modern Criticism: 1750-1950, Volume 8: French, Italian, and Spanish Criticism, 1900-1950." Philosophy and Literature 20, no. 1 (1996): 260–62. http://dx.doi.org/10.1353/phl.1996.0031.
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Gurenkova, Julia V. "Perception of absurdistic texts of Achille Campanile in criticism." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 164–70. http://dx.doi.org/10.20339/phs.5-22.164.
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The article presents an overview of the critical reception of the work of the Italian writer of the twentieth century Achille Campanile. The relevance of this study lies in the fact that it analyzes the work of a little-known Italian writer-comedian in Russia, which has not been sufficiently studied in Russian literary criticism and in foreign science. Officially, the works of Campanile are not classified as absurdism as a direction, however, according to some critics, this author should be considered not just a predecessor, but the founder of the theater of the absurd. Accordingly, the study of the poetics of A. Campanile’s comedies is necessary from the point of view of analyzing the genesis of absurdism in Western Europe. The purpose of the study is to comprehend the role and significance of the author’s heritage in the history of Italian and world literature. The main methodological basis of the study is a combination of biographical, historical-literary, historical-cultural and comparative research methods. The materials presented in the article allow us to conclude that in the work of A. Campanile, some critics identify common features with futurism, surrealism and absurdism. Researchers of Campanile’s work generally highly appreciate the talent of the writer, highlight the main techniques used by the author to create a comic effect, a feature of the style and language of the works.
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Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (June 20, 2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.
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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.
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Fortini, Franco, and Toscano Alberto. "Introduction to the Italian translation of Fredric Jameson’s Marxism and Form." Historical Materialism 29, no. 1 (January 20, 2021): 235–46. http://dx.doi.org/10.1163/1569206x-29010000.
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Abstract This text is essayist, critic and poet Franco Fortini’s introduction to the Italian translation of Fredric Jameson’s Marxism and Form. Fortini frames his assessment of Jameson in terms of a contrast with the Italian reception of the dialectical criticism assayed in Marxism and Form.
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O'Leary, Alan, and Catherine O'Rawe. "Against realism: on a ‘certain tendency’ in Italian film criticism." Journal of Modern Italian Studies 16, no. 1 (January 2011): 107–28. http://dx.doi.org/10.1080/1354571x.2011.530767.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Wiesner-Hanks, Merry E. "Women, Gender, and Church History." Church History 71, no. 3 (September 2002): 600–620. http://dx.doi.org/10.1017/s000964070013029x.
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As befits an article encouraging reflection, I would like to start with a personal anecdote. I recently heard a paper by a prominent literary scholar, which I thought would be an analysis of his encounter with a text. (I am familiar enough with current literary analysis to know that it would certainly not be an analysis of a text.) It turned out instead to be purely autobiographical. In talking about this later with a friend of mine from the Italian department, he told me that this was a new trend. As he put it: “We used to do Dante's life and works, then with New Criticism we did ‘the work,’ then with New Historicism we did Dante's works in their historical location, then with post-structuralism we did Dante and me, and now we just do me.’
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Serafini, Stefano. "Between Resistance and Canonisation: A Critique of Italian Crime Criticism." Italian Studies 76, no. 3 (May 5, 2021): 287–301. http://dx.doi.org/10.1080/00751634.2021.1908678.
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Baroni, Walter Stefano. "Paradoxes of the self: the autobiographical construction of the subject in the Italian Communist Party and in Italian neo-feminism." Modern Italy 23, no. 1 (January 22, 2018): 69–84. http://dx.doi.org/10.1017/mit.2017.68.
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This article compares the autobiographical practices used by the Partito Comunista Italiano (PCI) in the aftermath of the Second World War with those developed by Italian neo-feminism from the late 1960s onwards. The former involved a repeated injunction for activists to write about and express themselves upon joining the party, in what amounted to self-criticism. The latter, meanwhile, took shape as a result of self-consciousness exercises practised by feminist groups in various cities across Italy. The terms of comparison of this article aim to describe what changed and what remained the same in the technologies used to produce the political self within the Italian Left in the twentieth century, beginning from its split in the 1960s. In this context, the paper reveals that the communist and feminist experiences were supported by the same discursive mechanism, which hinged on a paradoxical enunciation of the self. Communist activists and feminists thus faced the same difficulty in political self-expression, which was resolved in two different ways, both equally unsatisfactory. In conclusion, examining the communist autobiographical injunction allows a radical critical reappraisal of the idea that the use of the first person and the political affirmation of subjectivity are determining features exclusively bound to the feminist experience.
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Lozinskaya, Evgeniia. "AFTER WEINBERG. BOOK REVIEW: THE RECEPTION OF ARISTOTLE’S POETICS IN THE ITALIAN RENAISSANCE AND BEYOND. NEW DIRECTIONS IN CRITICISM / ED. BY BRAZEAU B." RZ-Literaturovedenie, no. 1 (2021): 23–52. http://dx.doi.org/10.31249/lit/2021.01.02.
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The book written by an international team of scholars and edited by B. Brazeau explores literary criticism and reception of Aristotle's «Poetics» in early modern Italy. Revisiting the «intellectual history» of Renaissance poetic studies written by Bernard Weinberg in 1960-s, the contributors find its own place whithin the 2000-years long tradition of translations, commentaries and polemic treatises. The authors apply new methods from book history, translation studies, history of emotions and classical reception to early modern Italian texts, placing them in dialogue with 20th-century literary theory, and thus map out avenues for future study.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.
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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Mithen, Nicholas. "A Taste for Criticism: ‘Buon Gusto’ and the Reform of Historical Scholarship in the Early Eighteenth-Century Italian Republic of Letters." Erudition and the Republic of Letters 4, no. 4 (October 26, 2019): 439–67. http://dx.doi.org/10.1163/24055069-00404003.
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Historians of scholarship and intellectual historians have recently been paying more attention to the social and epistemic conditioning of scholarly production. Informed by the history of science, such scholarship has shed light upon how knowledge production changed over time, and how its ‘legislation’, ‘administration’, and ‘institutionalisation’ varied in different contexts. This article explores the reform of intellectual culture in the early eighteenth-century Italian republic of letters, as a case-study in the application of such emergent methodologies. From around 1700, a nexus of ethical, aesthetical and epistemological ideals began to crystallize on the Italian peninsula, codified under the concept of ‘buon gusto’ or ‘good taste’. ‘Buon gusto’ became a point of reference for individual scholars, scholarly communities and literary journals seeking to reform scholarly practice. This led to the normalization of historical criticism as the dominant scholarly mode among Italian scholars by the mid-eighteenth century.
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Klyuev, Artem I. "‘I... Should Never Forget What You Did for Me.’ Letters of Famous Russian Emigre Historian Nikolai Ottokar to Italian Scholar Gaetano Salvemini." Herald of an archivist, no. 2 (2018): 591–603. http://dx.doi.org/10.28995/2073-0101-2018-2-591-603.
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This article is a publication of letters of Nikolai Petrovich Ottokar (1884-1957), Russian emigre historian, specialist in the history of the Florentine Republic, professor at the University of Florence, to his colleague and opponent Gaetano Salvemini (1873-1957), established authority in Italian historiography, fervent antifascist, and emigrant as well. The author feels that the historiography implies that there was a certain strain between two historians that stemmed in Ottokar's harsh criticism of Salvemini’s concept of the history of late Duecento era Florence, which he proposed in 1899. Also Ottokar succeeded Salvemini at the Department of Contemporary History after Salvemini was expelled by the fascists from the University of Florence. The scholarship cites Ottokar’s manifest ‘loyalty’ to the fascist regime in Italy, including his likely party membership. It recalls his cooperation in a number of scientific projects of the fascist era, for instance, the Enciclopedia italiana. The author feels that the texts published below allow to correct this outlook and also to add several significant details to the research field. First, as follows from the texts below, the relationship between two historians was clearly not strained, but rather friendly. Secondly, the published letters add a number of interesting details to the biography of the Russian scientist. It should be noted that the Italian scientist played an important role in Ottokar’s life in 1924-1925. Apparently, Salvemini helped Ottokar to settle in Florence, where he emigrated from Perm in 1921. Apparently, Ottokar began his work at the University of Florence at the instigation of the Italian scientist. This, by the way, can testify, albeit indirectly, of a rather longer acquaintance of two scientists, which could have begun in the early 1910s, during N.P. Ottokar’s international trip. Letters are published from autographs stored in the fond of Gaetano Salvemini in the Istituto storico Toscana della Resistenza in Italian and in Russian translation by the author accomplished with permission of the Comitato Salvemini.
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Michelagnoli, Giovanni. "The modern Italian debate on the Walrasian theory of capitalization (1960-1971)." HISTORY OF ECONOMIC THOUGHT AND POLICY, no. 1 (November 2021): 131–55. http://dx.doi.org/10.3280/spe2021-001006.
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Historians have studied the intellectual relationships between Walrasian eco-nomic thought and the Italian tradition with a primary focus on nineteenth-century economic thought. Nevertheless, in the 1960s heated controversy over Walras's capitalization theory, prompted by Sraffa (1960) and, even more, by Garegnani (1960), developed in Italy. This paper aims to reconstruct that debate to illustrate that, even during such a period of critical reappraisal, a number of Ital-ian economists held a fundamentally sceptical attitude towards a criticism of Walras's scheme.
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Stefanelli, Diego. "Appunti sulla stilistica (italiana) di László Gáldi." Italianistica Debreceniensis 23 (December 1, 2017): 108–21. http://dx.doi.org/10.34102/italdeb/2017/4644.
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The paper deals with László Gáldi’s Introduction to Italian Stylistics (1971), placing it in the coeval context of the methodological discussions between stylistics and structuralism in the 60s and 70s, as well as in the history of the Italian stylistics in the 20th century.
It investigates the theoretical sources of Gáldi’s book, which was influenced by different reference points: the European Romance philology, the Russian literary theory (mainly Viktor Žirmunskij’s approach to stylistics) and the Rumanian aesthetics and literary criticism.
Moreover, it shows the connection between the Introduction and Gáldi’s previous works, particularly the important book on the poetical style of Mihai Eminescu (1964), maybe Gáldi’s most relevant stylistic study, and other significant works of the same period (an interesting stylistic analysis of Musset’ Stances and a historical study of Rumanian versification).
In doing so, it shows the rich methodological and theoretical sources of Gáldi’s Introduction and the peculiar position of the Hungarian scholar in the history of European stylistics.
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Polonskaya, Sofya V. "“Doctor Zhivago” by Boris Pasternak in Italian criticism of the 1950s: a discussion in the magazine “Il Ponte”." Vestnik of Kostroma State University 27, no. 3 (October 28, 2021): 177–82. http://dx.doi.org/10.34216/1998-0817-2021-27-3-177-182.
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the article will focus on the history of the first publication of the novel “Doctor Zhivago” by Boris Pasternak, on its influence on the formation of opinion about Boris Pasternak as a truly major prose writer, as well as on the potential role in the further receipt of the Nobel Prize by the author in 1958. As one knows, the first publication took place in Italy. It is from Italian cultural figures Giangiacomo Feltrinelli (the first publisher of the novel) and Pietro Antonio Zveteremich (its translator) it depended on how the novel would be received abroad, where Boris Pasternak had not been well-known by the late 1957 – the Swedish Academy initially refused to nominate the writer as a Nobel laureate due to insufficient fame in wide literary circles. After the publication of “Doctor Zhivago”, it was essential to determine what the content of the first reviews of this work would be. The paper reviews the first reviews of the novel in the Italian press, in particular, the discussion that unfolded in the independent monthly magazine “Il Ponte”. Such well-known cultural figures in Italian literary circles as Guglielmo Petroni, Carlo Cassola, and Manlio Cancogni spoke out. Their opinions were not ignored, they were accepted by the general public.
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Gordon, Robert S. C. "Pasolini contro Calvino: culture, the canon and the millennium." Modern Italy 3, no. 01 (May 1998): 87–99. http://dx.doi.org/10.1080/13532949808454793.
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Summary This article offers an account of a recent debate in the cultural pages of the Italian press on a polemical work of literary criticism entitled Pasolini contro Calvino, in which the two authors are shown to represent emblematically different attitudes towards literature, cultural institutions and the culture industry in post-war Italy. The debate surrounding this claim is examined in substance, but also as an illustration of the workings of culture in 1990s Italy.
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Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.
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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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VanWagenen, Julianne. "Masters vs. Lee Masters: The legacy of the Spoon River author between Illinois and Italy." Forum Italicum: A Journal of Italian Studies 53, no. 3 (May 30, 2019): 679–98. http://dx.doi.org/10.1177/0014585819854046.
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Edgar Lee Masters’ 1915 Spoon River Anthology has been one of the most popular books of foreign poetry in Italy since it was first translated and published there by Fernanda Pivano and Cesare Pavese in 1943. Yet, in the US, Masters is virtually unknown to the public; American scholars find him a problematic figure and his Spoon River only viable in piecemeal form. This article considers the translation and reception history of Spoon River in Italy as well as Masters’ publication and reception history in the US until his death in 1950, to bring to light the reasons for the poet’s differing legacies. It goes on to examine recent scholarly translations of Spoon River, as they at once engage with and neutralize critical American scholarship in order to secure Masters’ status in Italy. Finally, the article suggests a way forward for Italian scholarly work on Masters, which does not attempt to engage American criticism, but, rather, roots itself in the fraught Italian relationship with “agrarian” literature after the ventennio fascista and Mussolini’s rural rhetoric.
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Kovaleva, A. Y. "THE PHENOMENON OF SILVIO BERLUSCONI." MGIMO Review of International Relations, no. 4(49) (August 28, 2016): 117–30. http://dx.doi.org/10.24833/2071-8160-2016-4-49-117-130.
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Silvio Berlusconi, former Italian Prime Minister, is about to turn 80 this September. He has dominated Italian politics since 1994 and is now Italy's longest-serving PM since Mussolini. He has survived countless forecasts of his imminent departure. Political researchers argue that despite his personal success, he has been a disaster as a national leader. Nevertheless, to call Berlusconi a failure would be absurd, particularly in terms of his political presence. Having provided the country with four governments that lasted for a total of almost ten years, Berlusconi left a profound mark on Italian political history and even defined the era of Berlusconism. This article is based on the assumption that there is considerable political substance to Berlusconism, the substance of Berlusconi's public discourse. In 1994 he launched "Forza, Italia", a political party that within the span of a couple of months would become one of the biggest in Italy. From the outset, the party has evoked both praise and criticism amongst political communications scholars. Most of the discussion was centered on party's antiestablishment rhetoric, its lack of traditional organization, consistent political agenda and controversial nature of the main leader. Interestingly, the celebratory interpretations surrounding the Berlusconi phenomenon have focused on the leaders' ability to create a mass support base primarily through the use of TV; all of this whilst bypassing traditional institutions. This article is about the communicational strategy Berlusconi employed and why it was successful. Berlusconism is a true political phenomenon, which deserves to be analyzed carefully.
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LEHTSALU, LIISE. "CHANGING PERCEPTIONS OF WOMEN'S RELIGIOUS INSTITUTIONS IN EIGHTEENTH-CENTURY BOLOGNA." Historical Journal 55, no. 4 (November 15, 2012): 939–59. http://dx.doi.org/10.1017/s0018246x12000386.
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ABSTRACTEighteenth-century convents are little studied, and women's third order houses even less so, despite the growing numbers of the latter. Through a case-study, this article explores the origins and functions of one eighteenth-century third order house in an Italian urban community. Relying on the rich meeting minutes of Santa Maria Egiziaca in Bologna, the article analyses the everyday realities and the changing perceptions of women's religious institutions among the urban elites connected to the house. Santa Maria Egiziaca emerges as neither only a convent nor a shelter, the two institutional types recognized in current scholarship, but rather as both. The diverse goals of the house's administrators and benefactors suggest why third order houses thrived in the eighteenth century when more traditional convents came under increasing criticism and declined.
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Junior, Joel Decothé. "A crítica de Hegel e Agamben ao liberalismo político." Revista Ágora Filosófica 1, no. 1 (February 19, 2016): 38–57. http://dx.doi.org/10.25247/p1982-999x.2016.v1n1.p38-57.
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Political liberalism receives strong criticism of two thinkers of very different periods of the history of philosophy: think here in Hegel and Agamben. In this paper the question that serves as a reference for the developed reflection is the critique of liberalism and its political stance that relies on contract as a guarantee of social consensus. Therefore, at first I wonder about the conception of state and political power in this criticism that Hegel initiates this political model. This implies the question of mediation between state power in universal terms and the strength of civil society in the field of particularity. On the theme of development, we seek to understand through reflection of Agamben via your vitalism its criticism of the political liberalism model. Agamben in this endeavor underscores the value of the category of life in its nakedness condition. It is also important to note that in the midst of this quandary, the Italian philosopher puts at stake the proposal for a policy that comes and the possibility of an ethic marked by the de-form-life as resistance to bio-political calculations tend to sacralization of the legal factor in liberal democratic architecture.
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Cosma, Iulia. "Le sfide della traduzione di Cuore in romeno (1893-1936)." Translationes 9, no. 1 (June 1, 2017): 98–113. http://dx.doi.org/10.1515/tran-2017-0006.
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Abstract This paper is concerned with the problems and the difficulties faced when translating in Romanian Cuore (Heart): An Italian Schoolboy’s Journal by De Amicis, an extremely important book that left a mark on the cultural history of Romania for being until recently part of the Primary School Curriculum. The aim is to create awareness for the necessity of identifying evaluation criteria for the translation of literature for children. In this regard, the translational activity and its product will be discussed from an analytic and diachronic perspective, requested by the interdisciplinary approach inherent to translation criticism.
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Bassnett, Susan. "Struggling with the Past: Women's Theatre in Search of a History." New Theatre Quarterly 5, no. 18 (May 1989): 107–12. http://dx.doi.org/10.1017/s0266464x00002992.
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Theatre scholarship is only just beginning to respond to the insights and emphases suggested by feminist criticism. In this introductory article to what we intend to be a strong and continuing thread in NTQ, Susan Bassnett outlines the resulting problems, and explores the historical context and conditions in terms of one central issue – the role of women as performers (and non-performers) in the sixteenth and seventeenth centuries. She also examines some of the wider implications for theatre studies, affected as these also are by new historicist approaches to the study of cultural change. Susan Bassnett teaches in the Graduate School of Comparative Literary Theory in the University of Warwick, and has been a regular contributor to New Theatre Quarterly and other journals, notably in the field of Italian theatre. Her most recent books include a feminist study of Elizabeth I, and (in collaboration with John Stokes and Michael Booth) Bernhardt. Terry, Duse: the Actress in Her Time.
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Ph.D., Fabrizio Pezzani,. "The “Media” System and the Hidden Truth: Journalism Betrayed." Journal of Business Theory and Practice 5, no. 3 (July 11, 2017): 217. http://dx.doi.org/10.22158/jbtp.v5n3p217.
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<em>Those wishing to re-read some of the editorials epitomising the cultural and social line of some major </em><em>American and Italian newspaperswould see how far from the truth the mechanistically repeated news </em><em>were, seemingly forgetting the facts, without the least self-criticism and with hypocritical malice because </em><em>the events did not go as they had wanted In this way we are discovering the “fake. News”. The official </em><em>and servile story seemed more geared to interests other than that which independent information should </em><em>have. Honoré de Balzac rightly reminded us “History is of two kinds—there is the official history taught </em><em>in schools, a lying compilation ad usumdelphini; and there is the secret history which deals with the real </em><em>causes of events—a scandalous chronicle”, but it is in this that we must seek the facts and events we are </em><em>witnessing. Thus, in some sort of video game and incapable of criticism, we end up hypnotized and </em><em>subdued by the “big brother” Orwell described, by now unacceptable.</em>
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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 146–69. http://dx.doi.org/10.2307/991482.
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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.
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Meriggi, Marco. "Legitimism, liberalism and nationalism: the nature of the relationship between North and South in Italian unification." Modern Italy 19, no. 1 (February 2014): 69–79. http://dx.doi.org/10.1080/13532944.2013.871421.
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During the years following national unification, the Mezzogiorno became one of the greatest problems for the Italian government. On the one hand, because of its social and economic backwardness and the loyalty of some sections of the population to the previous illiberal government, it was devalued by the national political and military elite as a part of the large and undeveloped ‘South’ of the world, which was at that time affected by the criticism of ‘orientalistic’ Western discourse. On the other hand, it was also the place where the democratic and progressive opposition to the moderate liberal national rulers was stronger. A transnational and transregional perspective shows how the Mezzogiorno contained two different coexisting nations, a reactionary and a progressive one, which were in mutual conflict and, at the same time, on different grounds, in conflict with the central State. Building the state in the South meant, for the Italian liberal elites, discovering an ambiguous and dangerous periphery of the Nation.
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Volpera, Federica. "Per la fortuna critica di Ludovico Brea: una monografia inedita di Piero De Minerbi (1911-1912)." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 271–309. http://dx.doi.org/10.48294/s2020.015.
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The archive of the Pinacoteca Civica in Savona preserved an unpublished typescript about the painter Ludovico Brea (Nice, 1450 c.-1516/1525): this work was written between 1911 and 1912 by the art historian Piero Hierschel De Minerbi, who belonged to a noble family from Trieste. The study of the text, illustrated by seventy-seven black and white photos, and four tables featuring sketches by the author, enables not only to add a new element to the critical history of Ludovico Brea but also to reflect on the state of the history of art criticism in Italy at the beginning of the Twentieth century. Particularly research tools used by the scholar belong to Historical and Philological method of the connoiseurship as was formulated by Adolfo Venturi (1856-1941) and Pietro Toesca (1877-1962): beyond the choice of a specific genre as the artist’s monograph, and of a research topic focused on an artist who belonged to a peripheral area of Fifteenth- and Sixteenth-century Italian Art, De Minerbi’s method is characterized by the enhancement of the link between history and criticism, a deep attention to the formal and technical aspects of the paintings in order to identify Brea’s style and to reconstruct his catalogue, distinguishing his hands from those of his followers, and the use of research instruments as archival documents, photography and ink sketches of compositional and iconographic details. Finally, some unpublished letters written by Piero De Minerbi and the director of the Pinacoteca Civica in Savona, Poggio Poggi, between 1938 and 1940, enable to reconstruct the history of this typescripts and the reason of its presence in the archive of the museum.
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CAMEROTA, MICHELE. "ISTITUZIONI E FONTI ADATTAR LA VOLGAR LINGUA AI FILOSOFICI DISCORSI. UNA INEDITA ORAZIONE DI NICCOL AGGIUNTI CONTRO ARISTOTELE E PER L'USO DELLA LINGUA ITALIANA NELLE DISSERTAZIONI SCIENTIFICHE." Nuncius 13, no. 2 (1998): 595–623. http://dx.doi.org/10.1163/182539198x00563.
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Abstracttitle SUMMARY /title The manuscript Palatino 1137 in the Biblioteca Nazionale Centrale in Florence contains an unknown text of Niccolo Aggiunti, disciple of Galileo and successor of Castelli to the chair of mathematics at the university of Pisa. The document develops a strong criticism of Aristotle's undisputed authority in philosophy, and, at the same time, advocates the use of the vernacular in scientific dissertations, holding that the Italian language is a more powerful and direct means of expression than scholastic Latin. Aggiunti's linguistic arguments seem closely related to the views of Sperone Speroni (1500-1588), whose linguistic perspective was very influential in late Renaissance Italy. The following work present the transcription of Aggiunti's text, preceded by a preface that attempts to reconstruct the intellectual context in which the document was formulated.
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Maurantonio, Nicole. "Remembering Columbus, Forgetting Ethnicity: Memory, White Supremacy, and Italian American Identity in the American South." Diasporic Italy: Journal of the Italian American Studies Association 1 (October 1, 2021): 43–58. http://dx.doi.org/10.5406/27697738.1.1.043.
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Abstract Following news of the May 2020 murder of George Floyd, protesters around the world organized to highlight police brutality against Black and Brown people. Alongside a list of demands including the defunding of police departments, protesters also called for the removal of public symbols of white supremacy. Although protesters took aim primarily at statues memorializing Confederate leaders, sites commemorating Christopher Columbus drew similar criticism. In Richmond, Virginia, demonstrators not only toppled the statue to Columbus; they lit it on fire and dumped it in nearby Fountain Lake. While the decision to submerge the Columbus statue in water might be interpreted as a convenient performative ploy, this article suggests that the action is one suffused with meaning. Forging a narrative linkage between Columbus and Confederate leaders, protesters cast the monuments commemorating these historic actors as analogue artifacts of racial intimidation. This article argues, however, that this narrative washed away—in both literal and figurative terms—a complex history of Italian immigration to the city, assimilation, and the process of “becoming white.”
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Savinov, Rodion V. "At the origins of the neo-scholastic interpretation of kantianism:from C. Baldinotti to J. Kleutgen." Philosophy Journal, no. 3 (2021): 113–28. http://dx.doi.org/10.21146/2072-0726-2021-14-1-113-128.
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The article considers the first experience of interpretation and criticism of the Kantian doctrine of knowledge on the part of neo-scholastic thinkers in 1st half of the 19th century. It is shown that the transition from confessional polemics, which hadn’t philosophical interpretation, to the presentation and analysis of Kantian epistemology in Cesare Baldinotti’s treatise “Tentaminum metaphysicorum” (1817), when scholar takes an understanding of Kantianism as radical skepticism. At the same time, he left unanswered questions about what type of traditional concepts Kantianism refers, and how it can be described in the language of scholasticism. The first problem was solved by the Italian thinker Gaetano Sanseverino, who tried to correlate Kantianism with models traditionally opposed to scholasticism (like averroism). The second problem was solved by Jaime Balmes and Joseph Kleutgen, who outlined the boundaries of the compromise between scholasticism and Kantianism, trying to describe Criticism in terms of Thomism and show possible intersection points between these doctrines. As a result of these efforts, it becomes clear that the mechanical transfer of solutions developed in medieval scholasticism to the problems of modern European philosophy is not a successful polemic strategy. It was necessary to update the scholastic philosophy in a modern European context, which was subsequently carried out by Matteo Liberatore and the Neo-Thomists who followed him.
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Amerini, Fabrizio. "Thomas Aquinas and Some Italian Dominicans (Francis of Prato, Georgius Rovegnatinus and Girolamo Savonarola) on Signification and Supposition." Vivarium 51, no. 1-4 (2013): 327–51. http://dx.doi.org/10.1163/15685349-12341252.
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Abstract Supposition is a controversial logical theory. Scholars have investigated many points of this doctrine such as its historical origin, its use in theology, the logical function of the theory, or the relationship between supposition and signification. In the article I focus on this latter aspect by discussing how some Italian, and in particular Florentine, Dominican followers of Aquinas—Francis of Prato (d. 1348), Girolamo Savonarola (d. 1498), and Georgius Rovegnatinus (d. after 1500)—explained the relation between the linguistic terms’ properties of signifying and suppositing, and hence the division of supposition. After sketching out Thomas Aquinas, Hervaeus Natalis, and William of Ockham’s positions on the relationship between signification and supposition, I closely examine Francis’s criticism of Ockham. Francis follows Walter Burley’s account of supposition and considers the statement that a term has simple supposition when (i) it is taken not significatively and (ii) stands for an intention of mind as the weak point of Ockham’s explanation of supposition. According to Francis, if this were the case, there would be no semantic basis for differentiating simple from material supposition. Francis is however hesitant about the full subordination of supposition to signification, especially with regards to material supposition, when a term, suppositing for itself, is taken to signify itself besides its meaning. More than one hundred years later, Girolamo Savonarola and Georgius Rovegnatinus have no doubt about the fact that terms may supposit only for what they signify.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Levant, Alex. "E.V. Ilyenkov and Creative Soviet Theory: An Introduction to ‘Dialectics of the Ideal’." Historical Materialism 20, no. 2 (2012): 125–48. http://dx.doi.org/10.1163/1569206x-12341247.
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Abstract This article aims to introduce E.V. Ilyenkov’s ‘Dialectics of the Ideal’, first published in unabridged form in 2009, to an English-speaking readership. It does this in three ways: First, it contextualises his intervention in the history of Soviet and post-Soviet philosophy, offering a window into the subterranean tradition of creative theory that existed on the margins and in opposition to official Diamat. It explains what distinguishes Ilyenkov’s philosophy from the crude materialism of Diamat, and examines his relationship to four central figures from the pre-Diamat period: Deborin, Lukács, Vygotsky, and Lenin. Second, it situates his concept of the ideal in relation to the history of Western philosophy, noting Ilyenkov’s original reading of Marx through both Hegel and Spinoza, his criticism of Western theorists who identify the ideal with language, and his effort to articulate an anti-dualist conception of subjectivity. Third, it examines Ilyenkov’s reception in the West, previous efforts to publish his work in the West, including the so-called ‘Italian Affair’, as well as existing scholarship on Ilyenkov in English.
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Siess-Krzyszkowski, Stanisław. "Rozmowa Polaka z Włochem Łukasza Górnickiego. Przyczynek do historii edycji." Z Badań nad Książką i Księgozbiorami Historycznymi 15, no. 4 (December 30, 2021): 451–60. http://dx.doi.org/10.33077/uw.25448730.zbkh.2021.685.
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Rozmowa Polaka z Włochem (A Discussion between a Pole and an Italian) is one of the most important political works by Łukasz Górnicki. Written at the end of the 16th century, it was repeatedly reprinted from the 17th century until today. It is also a widely known example of Polish literary plagiatrism: in 1616 Rozmowa was published by Jędrzej Suski as his own work. For a long time Suski edition was considered to be identical with the anonymous version of Rozmowa published sine anno and sine loco, but in 2008 Anna Sitkowa described the actual plagiatrized version with the dedication letter signed by Suski himself. Moreover, typographical analyses of the anonymous version of Rozmowa indicate that it was in fact printed in 1630s, and thus it is not a first, but a third edition of the work. Determining the correct order of editions has significant consequences regarding textual history and criticism.
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Selim, Samah. "Toward a New Literary History." International Journal of Middle East Studies 43, no. 4 (November 2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.
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The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was German, with Spanish as a distant second for those interested in Andalusia, but rarely French, say, or Italian or Russian. Other Middle Eastern languages were mainly conceived as primary-text languages rather than research languages. Philology, traditional literary history, and New Criticism formed the methodological boundaries of research. “Theory”—even when it purported to speak of the world outside Europe—was something that was generated by departments of English and comparative literature on the other side of campus, and crossings were rare and complicated in both the disciplinary and the institutional sense. Of course, one branch of “theory”—postcolonial studies—made its way into area studies much faster than the more eclectic offshoots of continental philosophy, for obvious reasons. From nationalism studies to subaltern studies, from Benedict Anderson to Gayatri Spivak, the wave of postcolonial critical theory that swept through U.S. academia in the 1980s and 1990s sparked an uprising in area studies at large and particularly in the literature disciplines. One of the first casualties of this uprising was the old historical paradigm itself: narratives of rise and fall, golden ages, and ages of decadence. Slowly but surely, scholars began to question the entire epistemological edifice through which Arabic literary history had been constructed by Orientalism. It was through the postcolonial theory of the 1980s that Arabic literature came to a broader rapprochement with poststructuralism: Foucault, Derrida, Ricoeur, Jameson, and White, to name a few of the major thinkers who began to transform the field in the late 1990s.
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Stortini, Paride. "Between Tradition and Revolution." Journal of Religion in Japan 10, no. 2-3 (July 14, 2021): 243–70. http://dx.doi.org/10.1163/22118349-01002005.
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Abstract Recent research on the intellectual history of modern Japan has shown how Buddhism provides a variety of ideas that inspire both conservative and progressive views of society. The aim of this paper is to consider how similar ambiguities and multiplicities can be found in the appropriation of Japanese Buddhism in Italy. In particular, it focuses on two cases: Traditionalist philosopher Julius Evola’s (1898–1974) interest in Zen, and debates in Italian media related to Sōka Gakkai. Building on an anti-democratic reading of Buddhism as the religion of the Aryan Übermensch, Evola found in the modernist Zen of D.T. Suzuki and Nukariya Kaiten tools to resist modernity. Sōka Gakkai’s particular success in Italy, especially in left-wing and progressive contexts, has spurred a mix of praise and criticism in the media; indeed, the analysis of debates around this success has become a way to discuss socio-economic and political issues in the country.
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Rizzo, Gianluca. "What’s left of 1963: Mariano Bàino and the avant-garde with two “nei”." Forum Italicum: A Journal of Italian Studies 52, no. 1 (December 7, 2017): 153–80. http://dx.doi.org/10.1177/0014585817746651.
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After Gruppo 63 disbanded and Quindici ceased publication, the Italian neo-avant-garde experienced a period of crisis. While a few poets continued undeterred on their path of experimentation, many of its protagonists turned to a plainer, more traditional style. In the 1980s a new generation of authors attempted to form a third wave of avant-garde: they called themselves Gruppo 93. Although their organizational efforts were mostly unsuccessful, they led to the creation of a large amount of poetry, prose, and essays on aesthetics and poetics. This literary and theoretical output is almost completely neglected by contemporary criticism. The present article begins to remedy these circumstances, by reconstructing the forces at play during those years, describing some of the protagonists active in the field, reconstructing their ideas, and providing an account of their differences and commonalities. Additionally, it situates Mariano Bàino and one of his most interesting collections of verse, Fax giallo ( Yellow Fax, 1993), within the context of this complex history.
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Luleva, Ana. "The Concept of Totalitarianism in the Bulgarian Public Discourses." Scientific knowledge - autonomy, dependence, resistance 29, no. 2 (May 30, 2020): 231–42. http://dx.doi.org/10.37708/bf.swu.v29i2.16.
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The aim of this paper is to discuss the use of the concept of totalitarianism in Bulgarian public discourse since the 1980s. The main focus lies on academic and political discourses, started with Zhelyu Zhelev’s book published in 1982, "Fascism. A documentary study on the German, Italian and Spanish fascism", and developed after the fall of the Communist regime (1989). The content of the concept, dynamics and criticism of it are analyzed. It is concluded, that the disputes for and against totalitarianism divide the academic field and public memory. The proponents of the theory of totalitarianism insist on remembering the terror, the camps, deportations, suppression, and non-freedom under Communism. On the other hand, the supporters of the left are reluctant to use the term totalitarianism or relate it only to the period of Stalinism.
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Tronti, Mario. "Words for Being and Acting: The pci and Its History." Notebooks: The Journal for Studies on Power 1, no. 2 (February 14, 2022): 349–55. http://dx.doi.org/10.1163/26667185-01020007.
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Abstract Starting from a personal intellectual and political militant position in the Italian Communist Party (pci), this contribution addresses some of the criticisms of the pci on the occasion of the 100th anniversary of its founding. The text offers an insight into the relationship between the party, its political strategy and the action of each communist militant. It stresses the relevance of the language developed within the pci and its importance as a direct expression of a way of being, thinking, communicating and acting as a ‘communist’, as well as the need to return to the revolutionary passion that was masterfully expressed in the young Gramsci’s writing style and form of thought.
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Fossati, Fabio. "Italy and European Union enlargement: A comparative analysis of left and right governments." Modern Italy 13, no. 2 (May 2008): 187–98. http://dx.doi.org/10.1080/13532940801962140.
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This article explores the attitudes of Italy's ruling and opposition parties towards the European Union (EU) enlargement process in Central and Eastern Europe. It shows that during both left (1996–2001) and right (2001–2006) governments there was a convergence between conservative and constructivist political platforms. In the first case, support for the Balkan countries (i.e., Slovenia, Romania, Bulgaria, Croatia) and Turkey was based on their economic (penetration of Italian firms) and political (stabilisation of a difficult area) potential. In the second case, support was justified for both economic (i.e., redistributive policy towards Romania, Bulgaria and Croatia) and cultural (i.e., pursuing a ‘plural’ Europe by including Turkey) reasons. Some liberal criticism based on Turkey's partial compliance with the political requirements for accession were raised by individual politicians of moderate right and left parties, and cultural biases against Islamic Turkey were stressed by the Lega Nord. Neither view, however, had a significant impact on the decision-making process.
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Batsak, K. Yu. "Italian opera stars of the Kharkiv stage: the 80s of the 19th – early 20th centuries." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 89–119. http://dx.doi.org/10.34064/khnum2-18.06.
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Introduction. The Italian opera in Kharkiv has a long history tradition. Its beginnings date back to the 1850s, when the city became a part of the tour routes of Odesa Italian opera troupes under F. Berger’s, V. Sermattei’s direction (1850s – early 1860s), those of Taganrog – under V. Sermattei’s, Corsi’s and Co (second half of 1860s – 1876). These little provincial troupes with unequal by quality the stuff of singers, with a little choir, usually without their own orchestra, within their possibilities, introduced the popular Italian opera repertoire to the Kharkiv audience. Technical and technological achievements – the development of the rail network, the shipping industry, the telegraph and telephone as the newest means of communication, etc., facilitated communication and, among other things, caused cultural achievements rapid exchange. Those times were marked by increasing of diffusive phenomena (in opera repertoire, in the troupe composition, etc.) in musical and theatrical arts, which, in particular, contributed to the scenic creativity activation of Italian artistes and the extension of the geography of their performances. Outstanding and average singers from the Apennines have travelled to different countries of the world with solo concert programs as part of wandering or stationary opera groups. Artistic tours to Eastern direction – to the European territories of the Russian Empire, along with touring trips to the North and South America countries, – became one of the most prevalent. Kharkiv, being one of the largest industrial and cultural centres in the Russian Empire, as a rule, was included by Italian theatre management in vocal-artistic tour programs. Theoretical background. The problem of the famous Italian opera singers’ activity on the Kharkiv stage in the 80s of the 19th – the beginning of the 20th is poorly investigated. Separate pages of M. Battistini’s, J. Bellinchoni’s, A. Mazini’s, T. Ruffo’s, and E. Tamberlik’s biographies related to Kharkiv were studied by M. Varvartsev (2000) in his historical and biographical work “Italians in the cultural space of Ukraine (the end of 18 – 20s years of the 20th century”, written in the form of a dictionary. The main source for the study of this subject were the local musicologists’ (V. Sokalsky, K. Bych-Lubensky, Yu. Babetsky, etc.) theatrical reviews, published in the Kharkiv regional and city press. Objectives. As the Italian opera art had undeniable influence on the Kharkiv musical culture development, the purpose of the article is to study the scenic activity of the famous Italian opera artistes, which acquainted the local theatrical audience with the assets of the world opera arts in the last decades of the 19th – early 20th century. For this purpose, the following tasks have been outlined: to find out the information potential of music-critical publications, dedicated to the Italian singers’ performances, which were printed in the local press; identify and systematize the facts describing the Italian opera performers’ participation in Kharkiv musical life during that period; to reveal the concert and opera repertoire, to study the evaluations of the Italian singers’ performances by professional criticism, the ways of artistes’ interaction with the audience; to determine the Kharkiv performances position in the famous vocalists’ creative biography, to reconstruct the geography of their tour routes, included performances in Kharkiv. The methodology involves the application of the semiotic-hermeneutic method in order to analyze the phenomena of musical-theatrical life (peculiarities of vocal-stylistic style, specificity of musical-critical thought, reactions and preferences of the audience) as a culture text and their hermeneutical understanding; bio-bibliographic method (to find out and combine facts of life and creative activity of Italian singers in Italy and abroad, in particular, in Kharkiv as well-known culture centre); cultural and historical method (allows to study the Italian singers’ scenic activities as a social phenomenon, to identify social factors contributed to the spread of the Italian opera achievements in the local music and theatre environment). Results and discussion. The study of famous Italian singers’ performances on the Kharkiv stage in the definite period allowed highlighting new facts of their biographies, to analyze the concert and opera repertoire, the features of vocal and performing style, acting specifics. The research revealed the place of Kharkiv concert and opera performances in Italian artistes’ touring programs, analyzed the directions and peculiarities of communicative interactions between performers and spectators, determined the Kharkiv performances place in creative biographies of vocalists who have gained European fame. Conclusions. Italian artistes’ performances had a great influence on local opera singers’ professional growth, the formation of musical tastes and preferences of the educated part of the city residents. The investigation of the repertoire of the Italian singers testifies to their desire to acquaint the listener with the best achievements of European opera art, as well as to present contemporary Russian composers’ operas, which, at the time, were getting popularity in the Western European countries, due, primarily, to Italian performers. Kharkiv performances were usually the part of Italian artistes’ tours, being organized in the largest cities of Ukraine and surrounding regions of former Russian Empire – in Odesa, Kyiv, Mykolayiv, Rostov on Don, which testified, in particular, that the city was transformed into one of the European music culture distribution centres then. The high valuation given by the musical critique of the famous singers artistic talents, the active support of their performances by the audience, attest to the utmost importance of the Italians’ touring activity in the Kharkiv musical culture development.
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Dickie, John, Lucy Riall, and Giuseppe Galasso. "The nation and the South in the work of Rosario Romeo: A debate between John Dickie, Lucy Riall and Giuseppe Galasso: The idea of nation in Romeo." Modern Italy 7, no. 1 (May 2002): 59–84. http://dx.doi.org/10.1080/13532940220121843.
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The last seven or eight years have brought a flood of printer's ink dedicated to the issue of national identity in Italy. At the same time, the new political forces that have emerged since Tangentopoli have all, in various ways, contributed to the re-emergence of patriotism in the language of the public sphere. What would Rosario Romeo have said about this new cultural and political climate? How would he have sought to intervene? It seems likely that he would have turned his famously acerbic critical intelligence on many of the volumes published. A signi. cant number of them merely offer versions of the same old pathologizing version of Italian history, or even, ahistorically, of the Italian national character. All the Sicilian historian would have to do would be to dust off his criticisms of those Anglo-American and Marxist historians who portrayed Italy, in his view, as having had the ‘wrong’ history, of having certain aboriginal defects.